The Silver Age of Russian culture is a brief basic history. Essay “Silver Age as a cultural and historical era. Coexistence of various ideological and aesthetic concepts. compose a senkan for the concept of the Silver Age
The Silver Age is usually called the period of development of Russian culture in turn of the 19th century-XX century The term itself is applicable only to Russian culture; in the West and East, other definitions are used to designate this period, for example, in France “belle-epoque” or modernism in English-speaking countries. Most often, when speaking about the Silver Age, they mean artistic culture and mainly poetry.
silver Age so named by analogy with the Golden Age, the period of the early 19th century, when Pushkin and the lyceum poets worked. In addition, the Silver Age is not associated with the flowering of culture as such, but rather with its decline, an era of decadence and nostalgia for bygone times.
Not all poets and artists who lived and worked during this period can be attributed to the culture of the Silver Age; in addition, many of those who are considered a classic representative of the Silver Age continued their creative careers after its completion.
The most famous poets of the Silver Age are: A. Akhmatova, N. Gumilev, A. Blok, K. Balmont, M. Voloshin, M. Tsvetaeva, V. Bryusov, A. Bely, I. Severyanin, B. Pasternak, I. Annensky etc.
The author of the term Silver Age is considered to be the philosopher N. Berdyaev, who, speaking about the period between the two centuries, called it the Russian Renaissance. Here is what the philosopher writes about him in his work “Self-Knowledge” (Berdyaev N.A. Self-Knowledge (the experience of a philosophical autobiography). - M, 1990): “Now it is difficult to imagine the atmosphere of that time. Much of the creative upsurge of that time entered into the further development of Russian culture and is now the property of all Russian cultural people. But then there was the intoxication of creativity, novelty, tension, struggle, challenge. During these years, many gifts were sent to Russia. This was the era of the awakening of independent philosophical thought in Russia, the flowering of poetry and the intensification of aesthetic sensuality, religious anxiety and quest, interest in mysticism and the occult. New souls appeared, new sources were discovered creative life, saw new dawns, combined the feeling of decline and death with the hope of a transformation of life. But everything happened in a rather vicious circle...”
N. Berdyaev Photo 1912
The culture of the Silver Age was inherently an elitist and intellectual culture, not intended for the mass reader. However, at that time the concept of mass literature did not exist at all. In this regard, it is impossible to apply the concept of the Silver Age to the entire Russian culture of this period. Therefore, some researchers warn against viewing the Silver Age only as a chronological period, according to formal characteristics.
The Silver Age is rather a way of thinking characteristic of certain poets and philosophers, who often argued with each other and were carriers of completely opposite views. However, all this polemic, creative quest, the socio-political context in which they took place essentially formed that specific atmosphere, which today is commonly called the Silver Age, and which is so succinctly characterized by Berdyaev’s words above.
At the turn of the century, a new artistic direction emerged in Russian artistic culture, in particular in literature - modernism. This was a worldwide trend, since modernism is characteristic of both European and American cultures. Modernity was a natural result of the search for a new way of understanding the world around us. Part of the Russian intelligentsia believed that it was possible to have a direct, naive view of nature. Refusing analysis public relations and the complexity of the human psyche, this part sought solace in the “quiet poetry of everyday life.” Another part believed that art should strive for the intensity of feelings and passions, which artistic image in art it should become a symbol that gives rise to complex associations. Symbolism arose as an artistic movement in Russian poetry. Its features appeared in the works of such symbolists of the early 20th century as V. Bryusov, A. Blok, Vyach. Ivanov, A. Bely. Their credo: the material world is just a mask through which another world of the spirit shines through. Images of a mask, a mysterious stranger, beautiful lady often appear in the poetry and prose of the Symbolists. The world in their works it is depicted as something illusory, chaotic, as a lower reality in relation to the world of ideas.
The onset of the Silver Age is strongly associated with the Symbolists. Indeed, cultural researchers suggest that the beginning of this era should be considered 1892, when the ideologist and oldest participant in the Symbolist movement D. Merezhkovsky read a report “On the causes of the decline and on new trends in modern Russian literature.” This is how the Symbolists first declared themselves, this is how the Silver Age debuted.
From left to right: D. Filosofov, Z. Gippius, D. Merezhkovsky
Beginning of the 20th century was a heyday for the Symbolists, but by the 1910s, crisis phenomena had matured in it. The attempt of the Symbolists to lead the literary movement and dominate the artistic consciousness of the era failed. In society, the question again arises about the relationship of art to reality, about the meaning and place of art in the development of Russian national history and culture.
Saint Petersburg. Photo from the 1900s.
The mood of pessimism, which intensified in society after the defeat of the revolution of 1905, was clearly manifested in the poetry of the Acmeists and Futurists, in particular in the works of L. Andreev, N. Gumilyov, A. Akhmatova. Prose writers I. Bunin and A. Kuprin, who wrote in a realistic manner, introduce new forms of romanticism into literature.
In his famous article “The Heritage of Symbolism and Acmeism N. Gumilev wrote (Gumilev N. The Heritage of Symbolism and Acmeism // Gumilev N. Selected. - M., 2001): “Symbolism is being replaced by a new direction, no matter how it is called Acmeism ( from the word acme (“acme”) the highest degree of something, color, blooming time), or Adamism (a courageously firm and clear view of life), in any case, requiring a greater balance of forces and more exact knowledge relationship between subject and object than it was in symbolism." Calling themselves this way reflects the desire of the Acmeists themselves to reach the heights literary excellence. Symbolism was very closely connected with Acmeism, which its ideologists constantly emphasized, starting from symbolism in their ideas.
The traditions of the Symbolists, who laid the foundation for the Silver Age, were reflected in painting, in particular in the works of artists M. Vrubel, V. Serov (Itinerant artist), K. A. Korovin, N. K. Roerich and many others.
Swan Princess. Hood. M. Vrubel, 1900, State Tretyakov Gallery, Moscow
During this century, the Art Nouveau style dominated in painting, sculpture and architecture. This was the name given to the modern style in European and American art. late XIX- beginning of the 20th century He is distinguished by the poetics of symbolism, high discipline of composition, emphasized aestheticism in the interpretation of utilitarian details, the decorative rhythm of flexible, flowing lines, passion for social and romantic motives, and an emphasis on the individuality of the artist.
During the Silver Age in painting, instead of the realistic method of directly reflecting reality in the forms of this reality, the priority of artistic forms that reflect reality only indirectly was asserted. The polarization of artistic forces at the beginning of the 20th century and the polemics of multiple artistic groups intensified exhibition and publishing (in the field of art) activities.
Genre painting in the 90s of the XIX century. loses its leading role. In search of new themes, artists turn to changes in the traditional way of life, which they themselves observe. Industrialization, which replaces traditional agrarian relations, is reflected in artistic creativity. Artists are attracted to the theme of the split of the peasant community, the prose of stultifying labor and the revolutionary events of 1905. The blurring of the boundaries between genres at the turn of the century in the historical theme led to the emergence of the historical genre. For example, the artist A.P. Ryabushkin was not interested in global historical events, but in the aesthetics of Russian life of the 17th century, the refined beauty of ancient Russian ornament, and emphasized decorativeness (Rapatskaya L.A. Russian artistic culture. - M., 1993).
They're coming! (The people of Moscow during the entry of a foreign embassy into Moscow in late XVII century) Hood. A. P. Ryabushkin, 1901, State Russian Museum, St. Petersburg
In the philosophy of the Silver Age, there is a tendency towards cosmism, which means the desire to understand man in his unity with the Universe, the activity of his spiritual world. Philosophers who adhere to this trend presented the Universe as a living organism, as an animated integral system, and spoke about the impossibility of separating the natural and the spiritual. Within the framework of the philosophy of the Silver Age and under the tireless influence of symbolism, the meaning of the theory of evolution was rethought, since it did not affect the spiritual essence of man.
Among the philosophers of the Silver Age, several directions emerged: philosophical and theological, the prominent representatives of which were V. S. Solovyov and N. F. Fedorov; natural science, which was defended by A. L. Chizhevsky, V. I. Vernadsky and K. E. Tsiolkovsky; artistic, inspired by N.K. Roerich.
Theater and music at the turn of the century in Russia are also marked with the stamp of the Silver Age. The most important event was the opening of an art theater in Moscow in 1898, founded by K. S. Stanislavsky and V. I. Nemirovich-Danchenko. In the production of plays by Chekhov and Gorky, new principles of acting, directing, and performance design were formed. An outstanding theatrical experiment, enthusiastically greeted by the democratic public, was not accepted by conservative critics, as well as representatives of symbolism. V. Bryusov, a supporter of the aesthetics of conventional symbolic theater, was closer to the experiments of V.E. Meyerhold - the founder of metaphorical theater (Balakina T.I. History of Russian Culture. Part 2. -M., 1994).
The building of the Moscow Art Theater in Kamergersky Lane. Photo from the 1900s.
In 1904, the theater of V.F. Komissarzhevskaya arose in St. Petersburg, the repertoire of which reflected the aspirations of the democratic intelligentsia. The directorial work of E. B. Vakhtangov is marked by the search for new forms, his productions of 1911-12. are joyful and spectacular. In 1915, Vakhtangov created the 3rd studio of the Moscow Art Theater, which later became a theater named after him (1926).
The building of the Komissarzhevskaya Theater in St. Petersburg. Photo from the 1900s.
Development of the best traditions musical theater associated with the St. Petersburg Mariinsky and Moscow Bolshoi theaters, as well as with the private opera of S. I. Mamontov and S. I. Zimin in Moscow. The most prominent representatives of the Russian vocal school, world-class singers, true children of the Silver Age, were F. I. Chaliapin, L. V. Sobinov, N. V. Nezhdanova. Reformers ballet theater became choreographer M. M. Fokin and ballerina A. P. Pavlova. Russian musical art began to be recognized and admired throughout the world.
Fyodor Chaliapin
The outstanding composer N. A. Rimsky-Korsakov continued to work in his favorite genre of fairy tale opera. The highest example of realistic drama was his opera The Tsar's Bride (1898). In the work of composers of the Silver Age, there was a departure from social realistic issues, an increased interest in philosophical and ethical problems, in cosmism, the ideas of which occupied not only philosophers, but also the entire layer of cultural relations of the era. This found its most complete expression in the work of the brilliant pianist and conductor, the outstanding composer S. V. Rachmaninov; in the emotionally intense music of A. N. Scriabin, with sharp features of modernism; in the works of I. F. Stravinsky, which harmoniously combined interest in folklore and the most modern musical forms(Grushevitskaya T. G., Sadokhin A. P. Culturology. Textbook. 3rd edition. - M.: Unity, 2010).
The unity and integrity of the concept of the Silver Age and the entire Russian culture attributed to it lies in the combination of old and new, outgoing and emerging, in mutual influence different types art, in the interweaving of tradition and innovation. In fact, the Russian Renaissance combined the realistic traditions of the 19th century, the outgoing century, and the new directions of the emerging century - the 20th.
The Silver Age did not abolish realism in the general palette of Russian cultural creativity. It was during the Silver Age that later creations L. N. Tolstoy (“Resurrection”, “Living Corpse”), theatrical dramaturgy by A. P. Chekhov (“The Seagull”, “Uncle Vanya”), works by V. G. Korolenko, V. V. Veresaev, A. I. . Kuprina, I. A. Bunina, early works M. Gorky. Realist artists were also present on the cultural canvas of the Silver Age - Repin and Surikov painted their works and exhibited everywhere. Rather, we can say that the Silver Age enriched the traditions of realism, giving them a new direction that put man with his spiritual quest and suffering at the forefront.
In conclusion, it makes sense to say a few words about the influence that the culture of the Silver Age had on the further development of culture and, in general, to determine its cultural significance.
The culture of the Silver Age was the final stage in the formation and development of the Russian nation, which only by the end of the 19th century. acquired the characteristics of an integral ethnic community. Russian national culture, which flourished in the Silver Age, played a consolidating role in the multinational Russian Empire, which then turned into the Soviet Republic.
The shock that occurred in Russia at the turn of the century affected primarily its cultural and spiritual life. Artists, poets and philosophers of the Silver Age hastened to draw attention to man, to his place in the world and to the interconnection that permeates all living space (cosmism), reducing attention to the problem of sociality. They certainly succeeded, since the era of the turn of the century is considered the heyday of Russian art and culture and can only be compared in scale with Pushkin’s Golden Age.
The demarcation of creative forces provided the Silver Age with a wide variety of artistic activity, which did not stop even after its completion. And this is the determining influence of the Silver Age on the development of all subsequent socio-cultural activities. Artists in all spheres of art became cramped within the framework of established classical rules. All this led to the creation of new movements: symbolism, acmeism, futurism, cubism, abstract art, etc. The ideal of the time was and remains an artist of a universal type.
Russian culture of the Silver Age (term by N. A. Berdyaev). During this period, there was a meeting of two different cultural streams: on the one hand, traditions coming from the 19th century prevailed, on the other, a tendency to search for non-traditional forms appeared.
The Art Nouveau style is emerging in architecture. A characteristic feature of the culture of the early 20th century was the emergence and rapid spread of urban popular culture. The most striking example of this phenomenon was the unprecedented success of a new type of spectacle - cinema.
The growth of industry created a demand for educated people. The number of middle and higher educational institutions: by 1914 there were more than 200 of them. Saratov University was founded (1909).
In general, the education system did not meet the needs of the country.
The modernization of the country also required a fresh influx of forces in the field of natural science knowledge. New technical institutes were opened in Russia.
Among the famous scientists of this time is V.I. Vernadsky (1863–1945), an encyclopedist, one of the founders of geochemistry, the doctrine of the biosphere, which later formed the basis of his idea of the noosphere, or the sphere of planetary intelligence. In 1903, the work of the creator of the theory of rocket propulsion, K. E. Tsiolkovsky (1875–1935), was published. The work of N. E. Zhukovsky (1847–1921) and I. I. Sikorsky (1889–1972) in aircraft construction was of significant importance.
The development of literature followed the traditions of Russian classical literature XIX century, the living personification of which was L.N. Tolstoy. Russian literature of the early 20th century. represented by the names of A. Chekhov, M. Gorky, V. Korolenko, A. Kuprin, I. Bunin, etc.
Beginning of the 20th century was the heyday of Russian poetry. New movements were born: acmeism (A. Akhmatova, N. Gumilev), symbolism (A. Blok, K. Balmont, A. Bely, V. Bryusov), futurism (V. Khlebnikov, V. Mayakovsky), etc.
It was also intense theatrical life, where the leading positions were occupied by the Bolshoi (Moscow) and Mariinsky (St. Petersburg) theaters. In 1898, K. Stanislavsky and V. Nemirovich-Danchenko founded the Moscow Art Theater (originally the Moscow Art Theater).
At the beginning of the 20th century. The attention of the musical community was drawn to the work of such talented Russian composers as:
1) A. Scriabin;
2) N. Rimsky-Korsakov;
3) S. Rachmaninov;
4) I. Stravinsky.
Particularly popular among various segments of the urban population was the one that appeared at the turn of the 19th and 20th centuries. cinema; in 1908 the first Russian fiction film “Stenka Razin” was released.
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General characteristic culture silver century. Education And the science. Literature. Theater. Cinema. Russian culture late XIX - early XX centuries. got the name silver century(term by N.A. Berdyaev). -
General characteristic culture silver century. Education And the science. Literature. Theater. Cinema.
Literature, movie, theater, media, painting, architecture and sculpture in Russia 1991–2003. -
General characteristic culture silver century. Education And the science. Literature. Theater. Cinema. Russian culture late XIX - early XX centuries. got the name silver -
General characteristic culture silver century. Education And the science. Literature. Theater. Cinema. Russian culture late XIX - early XX centuries. got the name silver century(term by N. A. Ber. Painting, architecture and sculpture of the Golden century... -
Theater. Movie.
Periodization and general characteristic culture Ancient Egypt. Religion. Education And the science. Literature. -
General characteristic culture Middle Ages. Education And the science. Worldview. Literature. Theater. B IV century The Great Migration began - the invasion of tribes from Northern Europe and Asia to the territory of the Roman Empire. -
Modern broadcast methods are spreading culture– television, World Wide Web, Internet.
New industries are developing Sciences: 1) space
6) cloning, etc. Great changes have occurred in the field cinema. -
General characteristic culture 20-30s XX century Education And the science. Sport. Literature. Public life. Cinema.
General characteristic Education And the science. -
Literature and social thought, museums, theater, music of Golden century Russian culture(second half).
Education And the science. Second half of the 19th century. - the time of the final approval and consolidation of national forms and traditions in Russian art. -
Literature, music, theater, painting and architecture of the Great era Patriotic War.
General characteristic era of the Great Patriotic War. Education And the science.
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Target: give students general idea about the poetry of the “Silver Age”; define the basic principles of modernist poetry; to reveal the social essence and artistic value of new trends in art of the late 19th and early 20th centuries; improve expressive reading skills; bring up moral ideals, awaken aesthetic experiences and emotions.
Equipment: textbook, texts of poems, portraits of poets of the “Silver Age”, table.
Lesson type: a lesson in mastering new knowledge and developing skills.
Predicted results: students compose abstracts of the teacher’s lecture; participate in a conversation based on previously studied material; define the basic principles of modernism; expressively read and comment on poems by poets of the “Silver Age”, revealing their artistic originality; interpret selected poems.
DURING THE CLASSES
I. Organizational stage
II. Updating of reference knowledge
Poetic moment
Reading by the teacher of a poem by B.A. Slutsky.
A weary century
Not cars - motors
those cars were called
easily now with whom -
and then they were wonderful.
Pilot aviator,
airplane - airplane,
even light painting - photo
was called in that strange century,
what happened by chance
between the twentieth and the nineteenth,
started in nine hundred
and ended on the seventeenth.
- What century is the poet talking about? Why does he call less than two decades a century? With what inventions and scientific theories, besides those mentioned by B. Slutsky, is this era connected?
- “Silver Age”... What thoughts arise in your mind when you hear these words? What associations does the sound of these words evoke?
III. Motivation for learning activities. State the topic and purpose of the lesson.
Teacher's word
20th century...In what images, ideas, authors, literary forms was it imprinted? At the beginning of the twentieth century. Russian religious philosophical thought flourished. In 1909, a group of philosophers and publicists (P. Struve, N. Berdyaev, S. Bulgakov, S. Frank) published the collection “Milestones”. It included articles about the Russian intelligentsia and its choices. The authors of the book warned about the disastrousness of the revolutionary path for Russia.
V. Solovyov, N. Berdyaev, S. Bulgakov, V. Rozanov, N. Fedorov had a huge influence on the development different areas culture.
The time at the turn of the 19th - 20th centuries is called the “Silver Age” of Russian poetry. This is a period of unprecedented cultural upsurge, the flourishing of poetry and philosophy, literary and religious quest. In poetry, different directions and schools emerge.
And today in the lesson we will learn about the phenomenon of the “Silver Age”, we will reveal the artistic value of new trends in the art of the late 19th - early 20th centuries.
IV. Working on the lesson topic
1. Teacher's lecture (Students write theses.)
So, we are meeting with a whole universe, a new world - the “Silver Age”. There are many new talented poets, many new literary trends. They are often called modernist or decadent.
The word “modern” translated from French means “newest”, “modern”. Russian modernism represented different movements: symbolism, acmeism, futurism, etc. Modernists denied social values and opposed realism. Their goal was to create a new poetic culture that would promote the spiritual improvement of humanity.
The name “Silver Age” is firmly attached to the period of development of Russian art of the late 19th - early 20th centuries. This time amazes with the abundance of names of artists who opened truly new paths in art: A.A. Akhmatova and O.E. Mandelstam, A.A. Blok and V.Ya. Bryusov, D.S. Merezhkovsky and M. Gorky, V.V. Mayakovsky and V.V. Khlebnikov. We will continue this list with the names of painters (M.A. Vrubel, M.V. Nesterov, K.A. Korovin, V.A. Serov, K.A. Somov, etc.), composers (A.N. Scriabin, I. F. Stravinsky, S.S. Prokofiev, S.V. Rachmaninov), philosophers (N.A. Berdyaev, V.V. Rozanov, G.P. Fedotov, P.A. Florensky, L.I. Shestov).
What artists and thinkers had in common was a sense of beginning new era in the development of humanity... Today, the “Silver Age” of Russian culture is called a historically short period at the turn of the 19th - 20th centuries, marked by an extraordinary creative upsurge in poetry, the humanities, painting, music, theater. This name was first proposed by N.A. Berdyaev. This period is also called the “Russian Renaissance”. The question of the chronological boundaries of this phenomenon in literary criticism has not been completely resolved. The era also influenced the conditions of existence of culture in general and literature in particular. Many movements, groups, groupings appeared. At the same time, different aesthetic trends existed. Along with realism, modernism became widespread.
Realism remained the most influential literary movement at the turn of the 19th - 20th centuries. Writers of this movement continued the traditions of great Russian literature of the 19th century. The most striking of them are I. Bunin, A. Kuprin, I. Shmelev, B. Zaitsev, V. Veresaev, M. Gorky.
Modernist movements usually include symbolism, acmeism, and futurism.
Symbolism is the first and largest of the modernist movements that arose in Russia. The beginning of the theoretical self-determination of Russian symbolism was laid by D. S. Merezhkovsky. The new generation of writers faced “enormous transitional and preparatory work.” D. S. Merezhkovsky called the main elements of this work “mystical content, symbols and the expansion of artistic impressionability.” The central place in this triad of concepts was given to the symbol. What is a “symbol”? This is a word-sign, which is always broader than what is designated, an objective or conventional sign, through which the poet wants to express the essence of the phenomenon.
From the very beginning of its existence, symbolism turned out to be a heterogeneous movement: several independent groups. Based on the time of formation and the characteristics of their ideological position, it is customary to distinguish two main groups of poets in Russian symbolism. Adherents of the first group, who made their debut in the 1890s, are called “senior symbolists” (V.Ya. Bryusov, K.D. Balmont, D.S. Merezhkovsky, Z.N. Gippius, F. Sologub, etc.). In the 1900s New forces poured into symbolism, significantly updating the appearance of the movement (A.A. Blok, Andrei Bely, V.I. Ivanov, etc.). The accepted designation for the “second wave” of symbolism is “young symbolism.” The “senior” and “younger” symbolists were separated not so much by age as by the difference in worldviews and the direction of creativity (Vyach. Ivanov, for example, is older than V. Bryusov in age, but showed himself to be a symbolist of the second generation).
Symbolism enriched Russian poetic culture with many discoveries. The symbolists gave the poetic word mobility and polysemy, and taught Russian poetry to discover additional shades and facets of meaning in the word. Symbolism tried to create a new philosophy of culture and, after going through a painful period of revaluation of values, sought to develop a new universal worldview. Having overcome the extremes of individualism and subjectivism, the symbolists at the dawn of the 20th century. they raised the question of the social role of the artist in a new way, and began to search for such forms of art, the comprehension of which could unite people again.
In the early 1910s. a new literary movement emerged - Acmeism. It was genetically linked to symbolism. Poets N. Gumilev, S. Gorodetsky, O. Mandelstam, A. Akhmatova united in the group “Workshop of Poets”. In their work they contrasted the “element of nature” with the mystical aspirations of symbolism; declared a concrete sensory perception of the “material world”, returning the word to its original meaning.
Acmeism, as N.S. believed. Gumilyov, there is an attempt to rediscover the value of human life, abandoning the “chaste” desire of the symbolists to know the unknowable.
Futurism, like symbolism, was an international literary phenomenon (from lat. futurum- “future”) is the general name for the artistic avant-garde movements of the 1910s - early 1920s, primarily in Italy and Russia.
The birth of Russian futurism is considered to be 1910, when the first futuristic collection “Zadok Judges” was published. The most influential poets of this movement were D. Burliuk, V. Khlebnikov, V. Mayakovsky, A. Kruchenykh, V. Kamensky.
There were several futuristic groups: egofuturists(I. Severyanin, I. Ignatiev, K. Olimpov, etc.); Union "Centrifuge"(B. Pasternak, N. Aseev, K. Bolshakov, etc.).
Futurism as a movement in Russian poetry did not arise in Russia. This is a phenomenon entirely brought from the West, where it originated and was theoretically justified. Futurists preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process of the 20th century. They are characterized by a reverence for action, movement, speed, strength and aggression; exaltation of oneself and contempt for the weak; the priority of force, the rapture of war and destruction were asserted. Futurists wrote manifestos, held evenings at which these manifestos were read out from the stage and only then published. These evenings usually ended in heated arguments with the public that turned into fights. This is how the movement gained its scandalous and very wide popularity. Futurist poets (V.V. Mayakovsky, V.V. Khlebnikov, V.V. Kamensky) opposed themselves to classical poetry, tried to find new poetic rhythms and images, and create the poetry of the future.
2. Checking the level of perception of what is heard: literary criticism (crossword) dictation
MOSCOW INSTITUTE OF MANAGEMENT
Specialty – organization management
Specialization
COURSE WORK
Discipline: cultural studies
on the topic: “The “Silver Age” in Russian culture”
STUDENT I.V. Zhuravleva
SUPERVISOR _____________________
Moscow 2006
Introduction........................................................ ............................................3
Chapter 1. “Silver Age” in Russian culture.................................5
1.1.Science................................................... ..............................................5
1.2.Literature.................................................... ....................................7
1.3.Theater and music.................................................... ...............................9
1.4.Architecture and sculpture.................................................. .........eleven
1.5.Painting.................................................... .....................................13
Chapter 2. Russian “Renaissance”.................................................. ...........16
Conclusion................................................. ......................................19
Bibliography............................................... 21
Introduction
The “Silver Age” in Russian culture, although it turned out to be surprisingly short (late 19th - early 20th centuries), but it left its mark on the history of Russia. I consider this topic relevant, since during this period Russian culture managed to reach a world level. The culture of Russia in the “Silver Age” was marked by high development, many achievements and discoveries. I believe that every citizen of his country should know about its culture.
The great upheavals that our country experienced over a relatively short historical period could not but affect its cultural development. Russian culture, without losing its national identity, increasingly acquired features of a pan-European character. Its connections with other countries have increased.
The goal of my course work is to study and analyze the “Silver Age” in Russian culture. In order to approach this goal, it is necessary to solve some of the problems I have set. In the first chapter of my work, I want to consider everything that happened during the “Silver Age” in science, literature, theater, music, architecture, sculpture and painting. There are various achievements and discoveries of world significance in science. Modernist trends appeared in literature: symbolism, acmeism, futurism. Theater and music reach the highest level among other countries. Great composers are emerging. It is also worth paying attention to the greatest Russian sculptors: Trubetskoy, Konenkov, Erzya, who managed to express the main trends in the development of domestic trends. It is necessary to get acquainted with the creativity of the “world artists”, which is associated with the revival book graphics and the art of books. In the “Silver Age” there was a “modern” style, which had folk roots, relying on an advanced industrial base, and absorbed the achievements of world architecture. “Modern” can still be found today in any old city. One has only to look closely at the rounded windows, exquisite stucco molding and curved balcony grilles of any mansion, hotel or store. The "Silver Age", first of all, includes spiritual phenomenon: Russian religious revival of the early twentieth century. Therefore, I want to study and analyze the religious “renaissance” in the second chapter of my work. Philosophical thought reaches true peaks, which gave rise to the great philosopher N.A. Berdyaev to call the era a “religious and cultural renaissance.” Soloviev, Berdyaev, Bulgakov and others major philosophers had a strong, sometimes decisive influence on the development of various spheres of Russian culture. Particularly important in Russian philosophy was the appeal to ethical issues, focusing on spiritual world personality, on such categories as life and fate, conscience and love, insight and delusion.
Now it is necessary to solve all the tasks I have set, thereby I will be able to fulfill the goal in my course work.
Chapter 1. “Silver Age” in Russian culture
Russian culture second half of the 19th century– beginning of the 20th century. absorbed the artistic traditions, aesthetic and moral ideals of the “golden age” of the previous time. At the turn of the 19th – early 20th centuries. In the spiritual life of Europe and Russia, trends emerged related to the worldview of a person in the 20th century. They demanded a new understanding of social and moral problems: personality and society, art and life, the place of the artist in society, etc. All this led to the search for new visual methods and funds. A unique historical and artistic period developed in Russia, which his contemporaries called the “Silver Age” of Russian culture. Expression and title "silver Age" is poetic and metaphorical, not strict or defined. In A. Akhmatova it is present in the famous lines: “And the silver month cooled brightly over the silver age...”. It is used by N. Berdyaev. A. Bely called one of his novels “Silver Dove”. The editor of the magazine "Apollo" S. Makovsky used it to refer to the entire time of the beginning of the 20th century. Russian culture in the conditions of the country's development at the beginning of the twentieth century, it acquired significant scope and a number of new directions. In Russia there was an upswing in the field of education: the number of educational institutions grew, the activities of teachers and teachers of higher educational institutions intensified. The publishing industry was actively developing. Now let’s take a closer look at what happened during the “Silver Age” in science, literature, theater, music, architecture, sculpture and painting.
1.1.Science
In the second half of the XIX - early XX centuries. The process of differentiation of sciences, their division into fundamental and applied, deepened. Needs of industrial development of Russia and new attempts philosophical understanding The relationship between nature and society left a special imprint on the state of the natural and human sciences.
In natural sciences largest value was the discovery of the Periodic Law of Chemical Elements by D.I. Mendeleev. Classical theory chemical structure organic bodies were created by A.M. Butlerov. The research of mathematicians P.L. Chebyshev and A.M. Lyapunov in the field of number theory, probability theory and a number of branches of mathematical physics was of fundamental and applied importance. Outstanding discoveries were made in physics and mechanics. The works of A.G. Stoletov prepared the conditions for the creation of modern electronic equipment. A revolution in electric lighting was made by the discoveries of P.N. Yablochkov (arc lamp), A.N. Lodygin (incandescent lamp). A.S. Popov was awarded a gold medal for the invention of electrical communication without wires (radio). P.N. Lebedev confirmed the electromagnetic nature of light. N.E. Zhukovsky created the theory of hydraulic shock, discovered the law that determines the magnitude of the lifting force of an aircraft wing, developed the vortex theory of a propeller, etc. K.E. Tsiolkovsky, with his work in the field of rocket dynamics, substantiated the possibility space flights. The encyclopedic works of V.I. Vernadsky contributed to the emergence of new directions in geochemistry, biochemistry, and radiology. The development of biology and medicine was marked by major successes. I.M. Pavlov developed the doctrine of higher nervous activity and the physiology of digestion. K.A. Timiryazev founded the Russian school of plant physiology. Russian geographers and ethnographers continued their exploration of little-known countries. S.O. Makarov completed 2 voyages around the world and gave a systematic description of the Black, Marmara and North Seas. He also proposed using icebreakers to explore the Northern Sea Route. Discoveries in the natural sciences (atomic fission, X-rays, radioactivity) changed the previous understanding of the materiality of the world and significantly influenced the social sciences. Philosophy revealed the need for a new understanding of nature, society and their connection with man. Criticism of Charles Darwin's evolutionary theory has intensified. At the same time, Marxism became widespread in Russia as philosophical basis knowledge and transformation of society. Interest in historical knowledge has grown enormously. S.M. Soloviev wrote many works on various historical issues. V.O. Klyuchevsky had a huge influence on the development of domestic historical science.
Thus, we examined the main achievements in the development of science of the “Silver Age”.
1.2.Literature
Russian literature continued to play an exceptionally important role in cultural life countries.
Realistic direction in Russian literature at the turn of the twentieth century. continued by L.N. Tolstoy (“Resurrection”, “Hadji Murat”, “The Living Corpse”), A.P. Chekhov (“Ward No. 6”, “Ionych”, “House with a Mezzanine”), I.A. Bunin (“Village”, “Mr. from San Francisco”) and A.I. Kuprin (“Olesya”, “The Pit”). At the same time, new artistic qualities appeared in realism. The spread of neo-romanticism is associated with this. Already the first neo-romantic works “Makar Chudra”, “Chelkash” and others brought fame to A.M. Gorky.
Appear in the literature modernist movements: symbolism, acmeism, futurism.
Russian symbolism as a literary movement developed at the turn of the 19th and 20th centuries. Creativity in the understanding of the symbolists is a subconscious-intuitive contemplation of secret meanings accessible only to the artist - the creator. The theoretical, philosophical and aesthetic roots and sources of creativity of symbolist writers were very diverse. Thus, V. Bryusov considered symbolism to be a purely artistic movement, Merezhkovsky relied on Christian teaching, Vyach. Ivanov sought theoretical support in the philosophy and aesthetics of the ancient world, refracted through the philosophy of Nietzsche; A. Bely was fond of Vl. Solovyov, Schopenhauer, Kant, Nietzsche.
The artistic and journalistic organ of the Symbolists was the magazine “Scales” (1904 – 1909).
It is customary to distinguish between “senior” and “junior” symbolists. The “elders” (V. Bryusov, K. Balmont, F. Sologub, D. Merezhkovsky), who came to literature in the 90s, preached the cult of beauty and free self-expression of the poet. The “younger” symbolists (A. Blok, A. Bely, Vyach. Ivanov, S. Solovyov) brought philosophical and theosophical quests to the fore. The symbolists offered the reader a colorful myth about a world created according to the laws of eternal Beauty.
In 1910, symbolism was replaced by acmeism(from the Greek “acme” - the highest degree of something). The founders of Acmeism are considered to be N.S. Gumilev (1886 – 1921) and S.M. Gorodetsky (1884 – 1967). The Acmeists, in contrast to the symbolic nebula, proclaimed the cult of real earthly existence, “a courageously firm and clear view of life.” But together with him they tried to establish, first of all, the aesthetic-hedonistic function of art, avoiding social problems in his poetry. Theoretical basis philosophical idealism remained. However, among the Acmeists there were poets who, in their work, were able to go beyond the framework of this “platform” and acquire new ideological and artistic qualities (A.A. Akhmatova, S.M. Gorodetsky, M.A. Zenkevich). The work of A.A. Akhmatova occupies a special place in the poetry of Acmeism. A. Akhmatova’s first collections “Evening” and “Rosary” brought her great fame.
Simultaneously with Acmeism in 1910-1912. arose futurism, which split into several groups: “Association of Ego-Futurists” (I. Severyanin and others), “Mezzanine of Poetry” (V. Lavrenev, R. Ivlev, etc.), “Centrifuge” (N. Aseev, B. Pasternak and others. ), "Gilea", whose participants D. Burliuk, V. Mayakovsky, V. Khlebnikov and others called themselves Cubo-Futurists, Budutlyans, i.e. people from the future. Futurism proclaimed a revolution of form, independent of content, absolute freedom poetic word. Futurists rejected literary traditions.
There were bright individuals in the poetry of this time that cannot be attributed to a specific movement - M. Voloshin (1877-1932), M. Tsvetaeva (1892-1941).
Conclusion: modernist movements appeared in the literature of the “Silver Age”: symbolism, acmeism and futurism.
1.3.Theater and music
The most important event in the social and cultural life of Russia at the end of the 19th century was the opening of an art theater in Moscow (1898), founded by K.S. Stanislavsky and V.I. Nemirovich-Danchenko. At first it was not easy for the new theater. Income from performances did not cover expenses. Savva Morozov came to the rescue, investing half a million rubles in the theater over five years. In a short period of time, an ensemble of wonderful actors was formed at the Art Theater (V.I. Kachalov, I.M. Moskvin, O.L. Kniper-Chekhov, etc.). In the production of plays by Chekhov and Gorky, new principles of acting, directing, and performance design were formed. An outstanding theatrical experiment, enthusiastically greeted by the democratic public, was not accepted by conservative critics. In 1904, V.F. Komissarzhevskaya’s theater arose in St. Petersburg, the repertoire of which reflected the aspirations of the democratic intelligentsia. The directorial work of Stanislavsky's student E.B. Vakhtangov is marked by the search for new forms, his productions of 1911-1912. are joyful and spectacular. In 1915, Vakhtangov created the 3rd studio of the Moscow Art Theater. One of the reformers of the Russian theater, A.Ya. Tairov, sought to create a “synthetic theater” with a predominantly romantic and tragic repertoire. Russian theater of the 19th century. - This is primarily an actor's theater.
Only a very well-coordinated troupe made up a single ensemble. The influence of the Moscow Art Theater in those years extended beyond the dramatic stage. A galaxy of wonderful “singing actors” appeared on the opera stage - F.I. Chaliapin, L.V. Sobinov, A.V. Nezhdanova. Gifted with brilliant vocal abilities, during the course of the performance they not only performed their opera roles, but also acted like first-class actors. Of particular importance for the popularization of the theatrical and musical art of Russia was the activity of S.P. Diaghilev, who organized the “Russian Seasons” (1907-1913) in Europe, which became a triumph of Russian culture. The names of Russian dancers flashed on the newspaper pages - Anna Pavlova, Tamara Karsavina, Vaslav Nijinsky. Representatives ""(M.P. Mussorgsky, N.A. Rimsky-Korsakov, etc.) and other Russian composers (P.I. Tchaikovsky, S.V. Rachmaninov, etc.) created many opera, ballet, chamber-vocal and symphonic works. At the beginning of the twentieth century. The search for new musical means of expression was continued by A.N. Scriabin, in whose works intimacy and symphony were surprisingly intertwined.
Conclusion: in the second half of the 19th century. our music has received worldwide recognition and has a place in the family of European cultures. The first years of the twentieth century saw the heyday of Russian theater.
1.4.Architecture and sculpture
In the second half of the 19th century. Russian architects faced new challenges. Previously, they built mainly palaces and temples, but now they had to design railway stations, factory buildings, huge shops, and banks. The use of iron and glass expanded, and the use of concrete began. The emergence of new building materials and the improvement of construction technology made it possible to use constructive and artistic techniques, the aesthetic understanding of which led to the establishment of the “modern” style (from the end of the 19th century to the beginning of the World War). The masters of the Art Nouveau era ensured that everyday objects bore the imprint of folk traditions. Convex glass, curved window sashes, fluid forms of metal gratings - all this came into architecture from “modernism”. The works of F.O. Shekhtel (1859-1926) most fully embodied the main development trends and genres of Russian modernism. The formation of style in the master’s work proceeded in two directions - national-romantic, in line with the neo-Russian style (Yaroslavsky Station in Moscow, 1903) and rational (A.A. Levenson’s printing house in Mamontovsky Lane, 1900). The features of Art Nouveau were most fully manifested in the architecture of the Ryabushinsky mansion at the Nikitsky Gate, where the architect, abandoning traditional schemes, applied the asymmetrical principle of planning. Early “modernity” was characterized by a desire for spontaneity, immersion in the flow of formation and development. In late “modernity,” a calm, “Apollonistic” beginning began to predominate. Elements of classicism returned to architecture. In Moscow, the Museum was built according to the design of the architect R.I. Klein fine arts and Borodinsky Bridge. At the same time, the buildings of the Azov-Don and Russian Commercial and Industrial Banks appeared in St. Petersburg.
Like architecture, sculpture at the turn of the century was liberated from eclecticism. Eclecticism – a variety of directions and a shift in styles. The renewal of the artistic and figurative system is associated with the influence of impressionism. The first consistent representative of this trend was P.P. Trubetskoy (1866-1938). Already in the first works of the sculptor, the features of the new method appeared - “looseness,” lumpy texture, dynamic forms, permeated with air and light. Trubetskoy’s most remarkable work is the monument to Alexander III in St. Petersburg (1909, bronze). Trubetskoy’s younger contemporary was S.T. Konenkov. He managed to introduce into sculpture folk motives , which, first of all, were embodied in carvings on huts, handicraft toys and other works applied arts
. S.F. Nefedov-Erzya knew how to convey both the state of mind and the beauty of the human body in his sculptures. Marble, wood, and new materials such as cement and reinforced concrete were obedient to him. Conclusion: the century of “modern” was very short, but it was a very bright period in the history of architecture. In addition to Trubetskoy, Konenkov and Erzya, other famous sculptors worked in Russia at that time, but it was these three masters who with particular force managed to express the main trends in the development of domestic trends at the beginning of the twentieth century - increased attention
to the inner world of man and the desire for nationality.
1.5.Painting At the turn of the 19th and 20th centuries, significant changes took place in Russian painting. Genre scenes faded into the background. The landscape lost its photographic quality and linear perspective and became more democratic, based on the combination and play of color spots. Portraits often combined the ornamental conventionality of the background and the sculptural clarity of the face. Blurring boundaries between genres at the turn of the century in historical theme led to the emergence historical and everyday genre . Artists of this direction: A.P. Ryabushkin, A.V. Vasnetsov, M.V. Nesterov. Impressionism, as a direction, is represented in the works of such artists as I.I. Levitan (“Birch Grove”, “March”); K.A. Korovin is the most prominent representative of Russian impressionism (“Paris”). Central figure were M. Vrubel and V. Borisov-Musatov. M.A. Vrubel was a versatile master. He successfully worked on monumental murals, paintings, decorations, and designs for stained glass. The central image of Vrubel’s work is the Demon (“Seated Demon”, “Subjected Demon”). V. Borisov-Musatov created a beautiful and sublime world in his canvases. His work is one of the most striking and large-scale phenomena. At the turn of the century, the artistic association “World of Art” appeared. Artists of this direction: K.A. Somov, N.A. Benois, E.E. Lansere, M.V. Nesterov, N.K. Roerich, S.P. Diaghilev and others. The “Miroiskusniks” were worried about the advent of the industrial era, when they grew huge cities, built up with faceless factory buildings. They were worried that art was being crowded out and becoming the property of a small circle of “selected people.” The revival of book graphics and the art of books is associated with the creativity of the “world artists”. Not limiting themselves to illustrations, artists introduced splash pages, intricate vignettes and Art Nouveau style endings into books. It became clear that the design of a book should be closely related to its content. The graphic designer began to pay attention to details such as book format, paper color, font, and trim.
In 1907, another artistic association, “Blue Rose,” arose in Moscow, which included symbolist artists, followers of Borisov-Musatov (P.V. Kuznetsov, M.S. Saryan). “Goluborozovtsy” were influenced by Art Nouveau stylistics, hence the characteristic features of their painting – flat-decorative stylization of forms, search for sophisticated color solutions.
The artists of the “Jack of Diamonds” association (R.R. Falk, I.I. Mashkov and others), turning to the aesthetics of post-impressionism, fauvism and cubism, as well as to the techniques of Russian popular print and folk toys, solved the problems of identifying the materiality of nature, constructing a form color. The initial principle of their art was the affirmation of the subject as opposed to spatiality. In this regard, the image of inanimate nature - still life - was put in first place.
In the 1910s originates in painting primitivist a trend associated with the assimilation of the style of children's drawings, signs, popular prints and folk toys. Representatives of this direction are M.F.Larionov, N.S.Goncharova, M.Z.Shagal, P.N.Filonov. The first experiments of Russian artists in abstract art date back to this time, one of the first manifestos of which was Larionov’s book “Rayism” (1913), and V.V. Kandinsky and K.S. Malevich became the true theorists and practitioners.
Thus, the extraordinary diversity and inconsistency artistic quest, numerous groups with their program settings reflected the tense socio-political and complex spiritual atmosphere of their time.
In general, the achievements of Russian culture of the “Silver Age” received worldwide recognition. Many domestic scientists were honorary members of European academies and scientific institutions. Domestic science has been enriched with a number of achievements. The names of Russian travelers remained on geographical map peace. The creativity of artists is developing, their associations are being created. There is a search for new solutions and forms in architecture and sculpture. The art of music is enriched. The drama theater is experiencing its heyday. IN Russian literature new art forms were born.
Culture of Russia at the beginning of the twentieth century. marked by a high level of development and many achievements that have replenished the treasury of world culture. She clearly expressed the turning point nature of her time, its searches, difficulties, both progressive and crisis phenomena.
Religious philosophy reached particular heights, giving the entire period the name of the philosophical renaissance, which we will get acquainted with in the next chapter of my course work.
Chapter 2. Russian “Renaissance”
"Silver Age" - a manifestation of spiritual and artistic renaissance, marking the rise of Russian culture at the end of the 19th and beginning of the 20th centuries.
The culture of the turn of the century rehabilitated political “lack of ideas,” ethical uncertainty, creative individualism and spiritual chosenness, which were condemned at one time by representatives of Russian democratic culture. This unique revival of the ideals and principles of Russian classics gave contemporaries the basis to call the Silver Age metaphorically the Russian “cultural renaissance.” Among other things, this name also included the idea of Renaissance completeness, universalism, cultural multidimensionality and encyclopedicism. This characteristic of the Russian cultural Renaissance gives a lot for understanding the deep patterns of the Silver Age era itself, which led Russia to revolution.
Supporters of the religious Renaissance saw in the revolution of 1905-1907. a serious threat to the future of Russia, they perceived it as the beginning of a national catastrophe. They saw the salvation of Russia in the restoration of Christianity as the foundation of all culture, in the revival and establishment of the ideals and values of religious humanism. The onset of the cultural Renaissance contradicted any rationalistic logic and was often justified only by the spiritual chosenness of Russian culture itself. N. Berdyaev, who continued and substantiated the concept of “Russian spiritual and cultural renaissance,” characterized the implementation of a holistic style of culture in the Silver Age as a difficult struggle of “people of the Renaissance” against the “narrowing of consciousness” of the traditional intelligentsia. At the same time, it was a return to the creative heights of spiritual culture of the 19th century.
The Russian cultural Renaissance was created by a whole constellation of brilliant humanists - N.A. Berdyaev, S.N. Bulgakov, D.S. Merezhkovsky, S.N. Trubetskoy and others. A collection of articles by prominent philosophers, “Vekhi,” published in 1909, acutely raised the question of the values of the Russian intelligentsia and understanding of the ways of further development of Russia.
The foundations of the religious and philosophical Renaissance, which marked the “Silver Age” of Russian culture, were laid by V.S. Solovyov (1853-1900), who was engaged in philosophy a lot, and, also studying religious and philosophical literature, experienced a spiritual turning point. It was at this time that the foundations of his future system began to take shape.
The condition for creating an integrative style of culture and achieving cultural synthesis at the turn of the 19th-20th centuries. there was a repulsion from the differentiating trends of the previous era, a rethinking or rejection of facts that limited the freedom of creativity and creative personality. Among them, Berdyaev mentions social utilitarianism, positivism, materialism, as well as atheism and realism, which significantly schematized the philosophical, moral and aesthetic worldview of the Russian intelligentsia of the second half of the 19th century.
The following tasks began to come to the forefront of culture:
The creative self-awareness of artists and thinkers of this time;
Creative rethinking and renewal of previously established cultural traditions;
Russian democratic social thought: at the same time, the democratic heritage was opposed mainly by elitist concepts of culture, which brought to the fore creative personality and individual creativity - in the field of art, philosophy, science, morality, politics, religion, social life, everyday behavior, etc., i.e. any values and norms;
As for the very principles of Russian democratic culture, the cultural figures of the Silver Age quite consistently opposed conscious idealism to vulgarly interpreted materialism, poetic religiosity and religious philosophy to atheism, individualism and personal worldview to nationality, social utilitarianism to the desire for abstract philosophical Truth, abstract Good. ;
The official canons of Orthodoxy, which was contrasted with a “creatively understood” religion – “new religious consciousness”, sophiology, mystical-religious quests, theosophy, “God-seeking”;
Established schools in art - classical realism in literature, Peredvizhniki and academicism in painting, Kuchkism in music, traditions of social and everyday realism of Ostrovsky in the theater, etc.; traditionalism in art was contrasted with a variety of artistic modernism, including formal artistic innovation and demonstrative subjectivism.
Thus, the ground arose for a new cultural synthesis.
The Russian “renaissance” reflected the worldview of people who lived and worked at the turn of the century. The religious and philosophical thought of this period painfully searched for answers to the questions of Russian reality, trying to combine the incompatible material and spiritual, the denial of Christian dogmas and Christian ethics.
Conclusion
In conclusion, I would like to say that the work I did was fully consistent with the goals and objectives set in the introduction. In the first chapter, I reviewed and analyzed the “Silver Age” in Russian culture, namely in science, literature, theater, music, architecture, sculpture and painting. In the second chapter we became acquainted with the cultural “renaissance”,
The period from the end of the 19th century to the beginning of the World War went down in history as the “Silver Age of Russian culture.” We learned that the “Silver Age” was of great importance for the development of not only Russian, but also world culture. For the first time, its leaders expressed serious concern that the emerging relationship between civilization and culture was becoming dangerous, and that the preservation and revival of spirituality was an urgent necessity. It was at the turn of the century that processes developed in art that led to the formation of a type of mass culture with its characteristic primitivism in the depiction of human relations. were born art styles, in which the usual meaning of concepts and ideals shifted. Life-like opera and genre painting were becoming a thing of the past. Symbolist and futurist poetry, music, painting were born, new ballet, theater, architectural modern. The beginning of the twentieth century was deposited on library shelves with many high-quality examples of book art. In painting, the association “World of Art” was of great importance, which became an artistic symbol of the border of two centuries. A whole stage in the development of Russian painting is associated with it. Special place in the association were M.A. Vrubel, M.V. Nesterov and N.K. Roerich. An important feature of the development of the “Silver Age” culture is the powerful rise of the humanities.
In Russia at the beginning of the twentieth century there was a real cultural “renaissance”. Russia experienced a flourishing of poetry and philosophy, intense religious quests, and mystical and occult sentiments. Religious quests are now recognized not only as not being refuted by science, but even confirmed by it; religion comes closer to art: religion is seen to have its creative and aesthetic nature, and art appears as a symbolic language of religious and mystical revelations. Russian religious and philosophical Renaissance, marked by a whole constellation of brilliant thinkers - N.A. Berdyaev, S.N. Bulgakov, D.S. Merezhkovsky, S.N. Trubetskoy, G.P. Fedotov, P.A. Florensky, S. L. Frank and others - largely determined the direction of development of culture, philosophy, ethics not only in Russia, but also in the West. In the artistic culture of the Russian “Renaissance” there was a unique combination of realistic traditions of the outgoing 19th century and new artistic directions. The “Silver Age” ended with a mass exodus of its creators from Russia. However, this did not destroy the great Russian culture, the development of which continued to mirror the contradictory trends in the history of the twentieth century.
The most important thing is that Russia has enriched world culture with achievements in a wide variety of fields. Russian culture is increasingly revealing itself to the world and opening the world to itself.
Bibliography
2) Balakina T.I. “History of Russian culture”, Moscow, “Az”, 1996
3) Balmont K. Elementary words about symbolic poetry // Sokolov A.G. 2000
4) Berdyaev N.A. Philosophy of creativity, culture and art.1996
5) Kravchenko A.I. Textbook on cultural studies, 2004.
6) History and cultural studies. Tutorial edited by N.V. Shishkova. – M: Logos, 1999
7) Mikhailova M.V. Russian literary criticism of the late 19th - early 20th centuries: a reader, 2001
8) Rapatskaya L.A. " Art culture Russia", Moscow, "Vlados", 1998.
9) Ronen Omri. The Silver Age as an intention is an invention // Materials and research on the history of Russian culture, - M., 2000, Issue 4
10) Yakovkina N.I. Russian history XIX culture century. St. Petersburg: Lan, 2000.
P.N. Zyryanov. History of Russia XIX - early XX centuries, 1997.
A.S. Orlov, V.A. Georgiev. History of Russia from ancient times to the present day, 2000.
E.E. Vyazemsky, L.V. Zhukov. History of Russia from ancient times to the present day, 2005.
Target: To familiarize students with the poetry of the Silver Age; define the basic principles of modernist poetry; to uncover social essence and the artistic value of new trends in art of the late XIX - early XX centuries; improve expressive reading skills; cultivate moral ideals, awaken aesthetic experiences and emotions. Equipment: Textbook, texts of poems, portraits of Silver Age poets, reference diagrams, photo presentation, literary (crossword) dictation (answers are on the board).
Projected
Results: Students compose abstracts of the teacher’s lecture; participate in a conversation based on previously studied material; define the basic principles of modernism; expressively read and comment on poems by Silver Age poets, revealing their artistic originality; interprets selected poems. Lesson type: A lesson in learning new material.
DURING THE CLASSES
I. OrganizationalStage
II. UpdateSupportingKnowledge
Reading by the teacher of a poem by B. a. Slutsky
THE PAST CENTURY
Not cars - those cars were called motors, which are easy to use now - but then they were wonderful.
A pilot was an aviator, an airplane was an airplane, even a photopainter was called a photo in that strange century,
What happened by chance
Between the twentieth and the nineteenth,
It started in nine hundred
And it ended on the seventeenth.
♦ What “century” does the poet mean? Why does he call less than two decades a century? What inventions and scientific theories, besides those mentioned by B. Slutsky, is this era associated with?
♦ Silver Age... What thoughts arise in your mind when you hear these words? What associations does the sound of these words evoke? (Silver Age - shine, brightness, fragility, instantaneity, fog, mystery, magic, fragility, glare, reflection, transparency, glow, radiance, haze...)
III. StagingGoalsANDTasksLesson.
MotivationEducationalActivities
Teacher. literature is a mirror of the world. It always reflects, to one degree or another, the processes taking place in society. At the beginning of the twentieth century. the whole spiritual life is imbued with understanding and reflecting the world “in a new way”, the search for new unusual forms in art...
A century ago, the Silver Age was at its strongest. Its frosty dust shines silver in our poetry, painting, theater, music to this day. To contemporaries this time might have seemed like a time of decline and decline, but we see it from our present time as an era of exuberant growth, diversity and wealth, which the artists of the turn of the century generously endowed us with on credit with huge installments. A lot has been written about the Silver Age - and the more you read about it, the more you understand the fundamental impossibility of knowing it completely. Facets multiply, new voices are heard, unexpected colors appear.
And today in the lesson we will learn about the phenomenon of the Silver Age, we will reveal the artistic value of new trends in the art of the late 19th - early 20th centuries.
IV. JobAboveSubjectLesson
1. lecture by the teacher with confirmation of the main points by photo presentation (on the board)
(Students write theses.)
Reading by a pre-prepared student of K. Balmont's poem ""
I came to this world to see the sun
And a blue outlook.
I came to this world to see the sun
And the heights of the mountains.
I came to this world to see the sea
And the lush color of the valleys.
I have concluded the worlds in a single gaze,
I am the ruler.
I defeated cold oblivion
Having created my dream.
Every moment I am filled with revelation,
I always sing.
Suffering defeated my dream,
But I am loved for that.
Who is equal to me in my singing power?
Nobody, nobody.
I came to this world to see the sun,
And if the day goes out,
I will sing, I will sing about the sun
At the hour of death!
So, we meet the whole universe, the new richest and the most interesting world- Silver Age. There are many new talented poets, many new literary trends. they are often called modernist or decadent.
The word “modernism” translated from French means “newest”, “modern”. Different movements were represented in Russian modernism: acmeism, futurism, etc. modernists denied social values and opposed realism. Their goal was to create a new poetic culture that would promote the spiritual improvement of humanity.
The name Silver Age is firmly attached to the period of development of Russian art of the late 19th - early 20th centuries. This was a time, even for Russian literature, surprising for the abundance of names of artists who opened truly new paths in art: a. A. and O. E. Mandelstam, A. A. Blok and V. Ya. Bryusov, D. S. Merezhkovsky and M. Gorky, V. V. Mayakovsky and V. V. Khlebnikov. This list (of course, incomplete) can be continued with the names of painters (M. A. Vrubel, M. V. Nesterov, K. A. Korovin, V. A. Serov, K. A. Somov, etc.), composers (A. N. Scriabin, I. F. Stravinsky, S. S. Prokofiev, S. V. Rachmaninov), philosophers (N. A. Berdyaev, V. V. Rozanov, G. P. Fedotov, P. A. Florensky, l. I. Shestov).
What artists and thinkers had in common was the feeling of the beginning of a new era in the development of humanity and a new era in the development of culture and art. This determined the intense search for new artistic forms that marked the Silver Age in the history of Russian literature, and above all the emergence of new directions (symbolism, acmeism, futurism, imagism), which claimed the most complete, perfect expression of the demands placed on art by time. How this time was perceived and assessed by contemporaries can already be judged by the titles of extremely popular books at that time: O. Spengler’s “The Decline of Europe” (1918–1922), M. Nordau’s “Degeneration” (1896), the sudden outbreak of interest in the “philosophy of pessimism” ", at the origins of which is the name a. Schopenhauer. But something else is also characteristic: a premonition literally floating in the air of the inevitability of changes that will ultimately prove beneficial for humanity. Today the Silver Age of Russian culture is called
A historically short period at the turn of the century, marked by an extraordinary creative upsurge in poetry, the humanities, painting, music, and theater. This name was first proposed by N. a. Berdyaev. This period is also called the “Russian Renaissance”. The question of the chronological boundaries of this phenomenon in literary criticism has not been completely resolved.
Symbolism- the first and largest of the modernist movements that arose in Russia. The beginning of the theoretical self-determination of the Russian was laid by D. S. Merezhkovsky, in whose opinion the new generation of writers had “enormous transitional and preparatory work” ahead of them. D. S. Merezhkovsky called the main elements of this work “mystical content, symbols and the expansion of artistic impressionability.” The central place in this triad of concepts was given to the symbol.
To a certain extent, similar features were inherent in the works of M. Gorky, the most popular realist writer at that time. Being a sensitive observer, he extremely expressively reproduced in his stories, short stories, and essays the dark sides of Russian life: peasant savagery, bourgeois indifferent satiety, the unlimited arbitrariness of power ("Foma Gordeev", the plays "Phishchane", "At the Depths").
However, from the very beginning of its existence, symbolism turned out to be a heterogeneous movement: several independent groups took shape within its depths. Based on the time of formation and the characteristics of their ideological position, it is customary to distinguish two main groups of poets in Russian symbolism. Adherents of the first group, who made their debut in the 1890s, are called “senior symbolists” (V. Ya. Bryusov, K. D. Balmont, D. S. Merezhkovsky, Z. N. Gippius, F. Sologub, etc.). In the 1900s New forces poured into symbolism, significantly updating the appearance of the movement (A. A. Blok, Andrei Bely, V. I., etc.). The accepted designation for the “second wave” of symbolism is “young symbolism.” The “senior” and “younger” symbolists were separated not so much by age as by the difference in worldviews and the direction of creativity (Vyach. Ivanov, for example, is older than V. Bryusov in age, but showed himself to be a symbolist of the second generation).
Symbolism enriched Russian poetic culture with many discoveries. The symbolists gave the poetic word a previously unknown mobility and ambiguity, and taught Russian poetry to discover additional shades and facets of meaning in the word. Symbolism tried to create a new philosophy of culture,
After going through a painful period of reassessment of values, he strove to develop a new universal worldview. Having overcome the extremes of individualism and subjectivism, the symbolists at the dawn of the 20th century. they raised the question of the social role of the artist in a new way, and began to search for such forms of art, the comprehension of which could unite people again.
