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The complexity and originality of Russian literature of the XX century
Literary trends Realism Modernism Literary avant-garde
REALISM - (lat. - material, real) - a direction in literature and art that most fully reveals reality, striving to objectively reflect the truth of life in artistic images, their typicality and individuality, the reliability of the image of the world.
Realist artists Realist writers Ivan Alekseevich Bunin Maxim Gorky Alexander Ivanovich Kuprin Leonid Nikolaevich Andreev V. Surikov V. Polenov
Modernism Symbolism Acmeism Futurism
Symbolism
Symbolism Senior symbolists Junior symbolists Mystics-God-seekers Decadent-individualists Literary and artistic direction, which considered the goal of art to be an intuitive comprehension of world unity through symbols. Unity: Beauty, Goodness, Truth.
Senior Symbolists Valery Bryusov Konstantin Balmont Zinaida Gippius
Mystics - God-seekers D.S. Merezhkovsky Z.N. Gippius N. Minsky Decadents-individualists V.Ya. Bryusov K.D. Balmont F.K. Sologub
Junior Symbolists Alexander Blok Andrey Bely Vyacheslav Ivanov
Symbolism has enriched Russian poetic culture with many discoveries. Symbolists attached poetic word previously unknown mobility and ambiguity, taught Russian poetry to discover additional shades and facets of meaning in the word. Their searches in the field of poetic phonetics turned out to be fruitful: K. Balmont, V. Bryusov, I. Annensky, A. Blok, A. Bely were masters of expressive assonance and spectacular alliteration. The rhythmic possibilities of Russian verse expanded, and the stanza became more diverse. However main merit this literary movement not associated with formal innovations.
On the topic: methodological developments, presentations and notes
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“SLOWLY HISTORY IS LEAVING... EVERYTHING IS OLDING - THE HOMELAND DOES NOT AGE!” GENERAL CHARACTERISTICS OF THE HISTORY AND LITERATURE OF THE XX CENTURY
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"Tolstoy traditions in the literature of the XX century about the war"
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Man and war in Russian literature of the XX century. A. Serafimovich. "Iron Stream"
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Lesson on the topic "Stages in the development of world literature (repetition and generalization of what was studied in grade 9). The universal significance of Russian literature, its originality and national identity."
Publication date: 20.11.2015
Short description:
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Subject. Stages of development of world literature (repetition and generalization
learned in 9th grade). The universal significance of Russian literature,
its identity and national identity.
generalize and systematize students' knowledge about the stages of development of world literature, about the historical and literary process;
show the features of Russian literature: its universal significance, originality and national character;
introduce the concept of historiosophy;
develop logical thinking students: the ability to highlight the main thing, summarize the studied material, draw up abstracts;
improve skills in working in small groups;
Equipment: portraits of A.S. Pushkin, W. Shakespeare, Dante, Sappho,
J.-B. Molière, V.A. Zhukovsky, N.M. Karamzin;
handout - article "Global Importance
and features of Russian literature.
DURING THE CLASSES
Introductory conversation.
So you have turned another page in the book of your life. What's on it? It's up to you guys. For you comes a difficult and at the same time very interesting time: selection time life path. You will need willpower, the ability to concentrate all your forces to achieve your goal, the ability to determine personal priorities and at the same time reckon with those who are nearby. The task is not an easy one. But I think literature can help you solve it. Magic power art will be your good helper.
Let's remember why literature is called one of the art forms.
Define an artistic image. Name two sides.
What is the power of the artistic image?
A distinctive feature of literature as one of the art forms is figurativeness. An artistic image is a picture of the world created by an artist and imbued with his thoughts, feelings, experiences. Two components of the artistic image: what the author wanted to say, and how the reader (viewer, listener) understands what was said. The power of an artistic image lies in the limitless possibilities of its perception.
Stages of development of world literature. Compiling a table.
Portraits of writers are shown: N.M. Karamzin, V.A. Zhukovsky, Sappho, J-B. Molière, A.S. Pushkin, W. Shakespeare, Dante.
Before you portraits famous writers whose work you are already familiar with.
What are their names and the works of these authors known to you .
What literary eras are they associated with?
Arrange the names of these periods in the history of literature in chronological order.
Define the term "literary process".
Fill the table.
In the course of students' answers on the board and in notebooks, the following entry is made:
N.M. Karamzin - sentimentalism
V.A. Zhukovsky - romanticism
Sappho - antiquity
J-B. Molière - classicism
A.S. Pushkin - romanticism, realism
W. Shakespeare - Renaissance
Dante - Middle Ages.
The literary process is a historically and nationally conditioned change literary trends, trends, styles and genres of artistic works.
Lit. era
Time of existence
Representatives
Antiquity
VIII century BC -
Aeschylus, Sophocles, Euripides, Sappho, Anacreon, Homer
Middle Ages
5th - 13th centuries
Dante, Metropolitan Hilarion
rebirth
XIV - XVII centuries
F. Petrarch, W. Shakespeare,
M.de Cervantes
Education
Classicism
Sentimentalism
Enlightenment realism
XVII - XVIII centuries.
J-B. Moliere, M.V. Lomonosov
J.-J. Rousseau, N.M. Karamzin
Voltaire, D.I. Fonvizin
Romanticism
XVIII - XIX centuries
J. Byron, V.A. Zhukovsky,
A.S. Pushkin, M.Yu. Lermontov
A.S. Pushkin, M.Yu. Lermontov, I.S. Turgenev, N.V. Gogol, L.N. Tolstoy
Small group work ( 6 groups - according to the number of lit. eras ) .
Exercise: name the most memorable episode from any work belonging to the literary era on which your group will be working, and say:
What exactly made the biggest impression on you?
what you liked and what you didn't;
what features of the corresponding literary era is in this work.
The responses of the representatives of the groups.
Analysis and synthesis of responses.
What has changed in literature during its existence, and what has remained unchanged?
What do you think: why are works written many centuries ago of interest to the modern reader?
Over time, the era depicted in literary works changes, new types of heroes, new themes and problems, new genres appear, the styles of works and their language change. But at the same time, humanity is still worried about the so-called " eternal themes”: love, the meaning of life, relationships between generations, etc. - they all remain the subject of reflection in literature, and it is precisely such works that are always relevant.
3. Acquaintance with the concept of historiosophy. Teacher's word with conversation elements.
When reading a work of art, we involuntarily “try on” those life situations, into which his characters fall, and internally agree or disagree with their choice. Some of us mistake what is written in books for honest truth, others claim that everything in them is a fiction, a lie.
As we have already said, in a literary work we see artistic image- a picture of the world - such as represents its author. It is he who puts into his creation his own idea of a person, about the relationship between people, about problems and ways to solve them. The reader is free to accept or reject author's point of view. At the same time, the knowledge of the deep meaning artwork- Not only a fun activity. The most important thing in this process is the knowledge of the surrounding world and oneself in it.
The system of views of the writer on the world, on historical process, to the place of a person in it, to the relationship between people is called historiosophy.
IV . Artistic achievements of Russian literature. Her national characteristics . Group work.
Note. Material about the features of Russian literature can be presented in different ways: in in electronic format(in a classroom equipped with a sufficient number of computers), in the form of a textbook article (although there are textbooks on new program in early September, I doubt very much), in the form of handouts - the text of the article.
Exercise: read the article, make up its thesis.
Article variant
Russian literature is one of the most important components of the world literary process. A special role in this process belongs to Russian literature of the 19th century, namely the literature of critical realism.
At the basis of the exceptional development of Russian realism in
XIX century lies the growth of the liberation movement, the center of which is late XIX century moves from the West to Russia and leads to revolutions at the beginning of the 20th century. In the second half of the 19th century, Russian realism began to exert a powerful influence on world literature.
The creative scope of Russian realism manifested itself, among other things, in a variety of genres, especially novels. This is a philosophical and historical novel by L.N. Tolstoy, a socio-political novel by I.S. Turgenev, a psychological novel by F.M.
Western literature showed the tragedy of the individualistic personality under the bourgeois system - Russian literature put forward the tragedy of the people in the first place and made the tragedy of man dependent on it. This is its historicism. The Russian writer makes his hero responsible for the entire course of history, and therefore guilty of its unsuccessful course.
Another distinguishing feature of Russian literature is nationality. Remember at least the works of N.A. Nekrasov. In them - folk life, people's perception of life, the soul of the people.
But the most amazing, bewitching thing in Russian literature is its psychological analysis. In this regard, Tolstoy and Dostoevsky had a huge impact on the entire world literature.
Russian literature of the 19th century plays essential role in the global literary process.
From the second half of XIX century, Russian realism has influenced the development of world literature.
The variety of genres of the novel is one of the manifestations of the creative scope of the Russian literature XIX century.
Historicism of Russian literature - in the depiction of the fate of an individual hero as part of the fate of the people, responsibility individual person for the course of history.
A distinctive feature of Russian literature is nationality, understood as a reflection of the people's soul.
The psychologism of the works of Tolstoy and Dostoevsky had a huge impact on world literature.
Compilation of sencanths on the topic "Literature".
Reflection. Group work.
Note.
Note. SENKANT is one of the forms of work of students in the method of critical thinking. Represents a kind of poem in prose, each subsequent line of which, with the exception of the last, is longer than the previous one by one word. Allows you to summarize the studied material in a concise form.
SENCANT SCHEME
1. Word (topic).
2. 2 words (adjectives).
3. 3 words (actions)
4. A phrase of four words.
5. Word (synonym for topic).
SENCANT EXAMPLE
1. Literature
2. Folk, realistic.
3. Criticizes, investigates, influences.
4. Russian literature is distinguished by historicism.
5.Picture of the world.
Development and protection of projects for the cover of a textbook on literature for grade 10.
In the summer, you read some of the works studied in the 10th grade, and you formed a certain opinion about this period in the history of literature. Discuss these opinions in groups and suggest a cover for a 10th grade literature textbook. Get ready to defend your project.
Writing an article "Advice to ninth-graders when studying literature."
Exercise: your younger comrades, ninth graders, are now at the beginning of the path that you have already traveled over the past year. Share your experience with them - write an article in the school wall newspaper "Tips for ninth-graders when studying literature."
3.1. Students of the first group, who have the skills to create such works, write them on their own.
The teacher works with the students of the second group, who find it difficult to write such an article on their own.
Stages of work.
Literature as a school of life.
Thoughtful reading of the text is the basis for understanding the author's intention.
The influence of the ideas of the era on the image of the world and man in a literary work.
The ability to see the universal meaning of the images created by the writer.
Studying the foundations of literary theory - necessary condition deep understanding of a literary work.
Knowledge of literature is one of distinguishing features cultural, educated person.
Determining the range of ideas for a future article: individually, then collective discussion;
systematization of ideas;
step-by-step writing of an article according to a rough plan:
3.3. The students of the third group, who are at the initial level of learning to write such works, (not to be confused with entry level knowledge!) get the "skeleton" of the future article.
Dear friends!
You have already seen in the lesson schedule a subject that is well known to you - literature. For some, studying it is... (boring duty), for others, communication with literary works, their ... (authors) And … (heroes) has long been... (an integral part of life). Using the right of a senior comrade, I want to say: “Literature is not a part of our life, it is ... (life itself), and in books you can find... (answers to your questions)» . What is needed for this?
First of all - … (read the text carefully). Any attempts to quickly read "through the line", with difficulty capturing only the general course of the plot, is an absolutely useless exercise that gives nothing to either the mind or the heart. It's best if you read... (with pencil in hand), noting those thoughts that ... (sounded interesting to you). Then reading will become for you not a boring necessity, but ... (a fascinating observation of the movement of the author's thoughts and feelings).
Reading some lines, you will find confirmation ... (to the thoughts that have been worrying you for a long time), while reading others - ... (fundamentally disagree with the author). This is how it should be: any writer is a person ... (of his era), and you are separated by centuries. But still… .
And yet the heroes of Aeschylus, W. Shakespeare, J. Molière, A. Pushkin, M. Lermontov, A. Griboyedov are still alive! We admire their power... (spirit, feelings) their bright... (individuality), we grieve, we rejoice, we laugh with them. Look at each of them as... (person, person) try... (understand it)- it will enrich your... (personal life experience).
And let me give you one more piece of advice. Let questions of literary theory not seem to you... (something completely unnecessary)- They … ( the key to understanding the author's intent).
By following these tips, you will... (think critically, express your point of view competently and convincingly). Reading literary works will enrich ... (is yours spiritual world ). And all this will become a pledge ... (your life success).
Discussion of student work.
Whole class:
compose abstracts for the article "Stages in the development of world literature";
House. exercise.
Individual tasks - messages
"Main Features of the Renaissance"
"The Life and Works of Dante".
If the material does not suit you, use the search
Russian identity
On the question of the place of "culture" in the Russian soul
Varava V. V.
… the fear of national and cultural identity is a sure symptom of the coming neo-totalitarianism, no matter from which part of Europe and the world it comes.
HE. Trubachev
...and our people are precisely the "Christ-bearer", Christopher.
Vyacheslav Ivanov
Identity and peace
When a person is absorbed in the contemplation of some object or phenomenon (and it doesn’t matter whether natural or cultural), then he perceives the contemplated holistically, distracting from the details and nuances, that is, from the whole mechanics of structuring the object, which is what science does. When he tries to comprehend the impression received, then, recalling the integral image of what he saw, he nevertheless revives in memory the most important and essential, trying to isolate the root and core of the subject. And if you manage to grab this root, then integrity is restored. This root is the originality of the object, that is, the maximum-dense condensation of its uniquely original properties in minimal features and characteristics.
The dictionary of Vladimir Dahl gives the most concentrated understanding of the word "original" that does not contain unnecessary semantic overtones: "being by itself or from itself, by its own forces. Strictly speaking, God alone is original, but this is what they call an independent person and his properties in a person, in contrast to everything imitative, especially creative talents his genius. To be self-existent, to live an original, self-existing life.
This Dalevian "speaking strictly" is the essence of originality, in which the absolute ontology of the created world is revealed. Since the created being is not independent, but is the essence of a borrowed being, the originality of the created, and hence its independence and originality, is revealed only in imitation of the Creator-God - the true root of originality. Imitation within the created world means the loss of originality and independence, which means doomed to a secondary existence.
Based on Dahl's interpretations, we can say that the self-existing world of Plato's ideas is self-existent, which is the imperishable image of the "transitory" existence of the mortal world. And the world does not fall apart just because it contains grains of originality - elements of eternity that hold together the chaos of non-united being. The harmony of the Greek cosmos is the harmony of ideal (that is, original) geometric quantities that form the aesthetic splendor of the universe.
Old Testament groaning is a yearning for the original Yahweh leaving the Jewish people. "Why, Lord, are you standing afar off, hiding yourself in times of trouble?" - desperate questions of the psalmist, whose soul is constantly covered by the darkness of God-forsakenness, that is, non-original existence.
In Christianity, the created world, of course, is not original, but it receives the power of being through energetic participation in the original God. And only due to the manifested originality of God in the world in the images of God created existence receives the necessary measure, harmony and order. Just gets a chance to be.
So without identity there is no existence in the world. The subject of our interest is the cultural identity of the people, the Russian people, first of all. How to comprehend it, how to discover and cash it, how to make it a life-giving source of national existence?
holy orthodox man
The intelligent eye penetrates through the chaos of the endless facets of the object to its hidden, inexpressible essence, which, withdrawn from the dark depths of the object, appears as obvious, transparent and accessible. Once upon a time, in this way, V. Rozanov got into the very core of Russian identity, saying in the article "L.N. Tolstoy and the Russian Church" that "the Temple completely replaces for our people a gymnasium, school, university, books and science." With all the shocking power of these words (which shocks, first of all, the secular-liberal "enlightened" consciousness), Rozanov nevertheless discerned the most original and even essential feature of Russian national life.
How does this temple replace the university, replace the book, and even science itself? What an absurdity! Isn't the temple a source of books, enlightenment, culture? - Conservative zealots of piety will ask in bewilderment. And the anti-church intelligentsia will maliciously exclaim at these words of Rozanov that, they say, it’s right, the church has always been an obstacle on the way to knowledge, reason, enlightenment, which is why the Russian people are so dark and uneducated.
Of course, the conservatives are right, for historically (and genetically) the Christian Church is the basis book culture, education and enlightenment (in the Orthodox East) and is also the basis of science as an institution of culture (in the Catholic West). And do not count all the most authoritative works showing and proving this.
But after all, Rozanov is also right, having caught the root of Russian originality, what is in the language of dry scientific knowledge received the name - "the dichotomy of culture and faith" with unequivocal conclusions about the civilized backwardness of Russia. The ominous stigma of "secondary", "borrow", "non-independence" national culture, ingrown into the flesh and soul of a Russian (primarily, of course, an intellectual mindset) person.
Rozanov wrote against Tolstoy, reproaching his great, but still personal genius for smallness, one-sidedness, and most importantly, for not understanding the phenomenon of the "holy man", which concentrates in itself the most fundamental characteristics of the Russian soul (in the language cultural theory- mentality). The holy man, as the invisible presence of the Spirit, is infinitely poured and dissolved in all the pores of the Russian soul; he is its "archetype" and "symbol" and a living creative principle that induces a person to well-being and doing good. The holy man appeals to the Sacrifice, the Feat, the Self-denial - all that constitutes the "strangeness" and illogicality of the Russian soul. A holy person in this sense is the antithesis of a “cultured person”, who is not characterized by the “holy madness” of self-denial, but who painstakingly, step by step, with a measured Catholic-Protestant step, builds for himself a cozy and comfortable world of civilization, about which the psalmist exclaimed pathetically: “Those who do lawlessness bloom to disappear forever."
The important thing is that this "saint Orthodox person"developed exclusively by the Church, its spirit and history. And therefore the" holy man ", as Rozanov believes," ... completely unknown Western Europe and not worked out by any Church - neither Catholicism nor Protestantism", then we can assume that he is the true face of Russian culture, its core, root, its spirit-bearing seed. It is here that the watershed separating the cultural type of the Russian from the Western European. And distinguishing it by an infinitely incommensurable amount.
What is a "holy man" in the understanding of Rozanov, of course, is important and essential. But, nevertheless, this is not the main thing. The main thing is that, firstly, the philosopher saw this type as truly national; secondly, he revealed his deep connection with the Church (“Without knowing the church service, it is absolutely impossible to understand what the Russian people are and how it came about”), and, thirdly, showed that Tolstoy did not catch this property of Russian nature. This means that in the face of Tolstoy the whole camp of rationalists does not understand him: from anti-autocratic socialists to anti-socialist liberals up to anti-imperial postmodernists.
The Russian “holy man” is both impossibility and madness, for in him the sacrament of the transformation of culture into faith took place, in which secular utopian claims for a happy and reasonable life in a mortal, sinfully untransformed world suffered a pious collapse, becoming the virtue of humility and hope. And that is why the Russian man lives exclusively by faith alone, and this absolute faith is his own "culture." Therefore, a Russian person is not uncultured, but super-cultured, because by the feat of holiness he overcame the mortal routine of this worldly existence, destroying forever the illusions of an arrogant mind to settle down in a civilized world of evil and vice. This is the Russian identity - to break away from the cultural darkness that legitimizes evil and death and strive for the authentic and eternal.
And it is not worth it to grieve that the Russian soul did not accept the culture sown in the life-giving depths of the ancient Christian world, but then died out in the scholastic wilderness of Western civilization. Vyach. Ivanov, back in 1907, defined modern culture in this way: "... even the very name "culture" is rather dry and schooly and practical and tasteless in German, because it denies everything spontaneous and God-given and affirms only planted, sown, groomed, trimmed , grown and grafted - because it does not include the concept of creativity. But the absence of just such a culture, which denies creativity and God-givenness, is imputed to Russia as its eternal vice.
Whatever one sees as the content of originality, it is not possible to deny it if one does not go against it. historical truth. And no serious thinker has ever denied it. But today it is denied, denied in fact high level, in the highest instances, because it is identity that is a serious obstacle to "integrative projects" to create a global culture.
Eclipse of originality
The beginning of the last century in Russia was in many ways similar to the current situation. The cultural over-ripeness of the country, manifested in the unimaginable plurality of "creative" processes, has given rise to a surprisingly dull and monotonous culture. Apocalyptic Silver Age, seething with eschatological outbursts of unprecedented power, turned into the construction of a culture devoid of any metaphysical perspective. Too diverse and diverse culture is a sure path to the extinction of true cultural creativity, the path to the disappearance of the living soul from culture and its transformation into an endless play of spiritually restless and painful forms.
Many felt something was wrong in the life of Russia. In particular, A. Bely wrote in the article "Stamped Culture": "Interest" in everything cultural "generates eclecticism; instead of deep penetration into one nation (this nation is not native), a superficial interest in all nations is born; this is how an international art bazaar arises (something in between of the arts of all nations), and from here, of course, completely commercial interests are introduced.
"International Bazaar of Art" - it is also an international market of culture that has lost all possible ties with its native, national, root - this is the essence of the current situation in our " cultural sphere". A. Bely anxiously spoke about the deplorable state of the word "originality", which is denied by "cosmopolitanism". This happens in a culture dominated by "international art", accessible and understandable, according to Bely's apt word - "an intelligent plebiscite of the whole world" , torn off both from the "healthy land of the people, and from the tops of the intellectual aristocracy."
Internationalism, cosmopolitanism, intelligent plebiscite today are clothed in the cultural pluralism of postmodernism, which is even further divorced from the absolute origins of the motherland. The cultural mob rampages in the spaces of the national language, nature, history, and spirit.
What is the most acute manifestation of the eclipse of originality today, what is the most terrible thing in the current Russian situation?
Spiritual and moral indifference. This is the most disastrous state of the modern spirit. The moral worldview gives a metaphysical orientation in Being. The search for the meaning of life through the disclosure of the meaning of death will make it possible to understand the highest, tragic significance human being, thereby to justify one's always incomprehensible and imperfect existence before others (first of all those who have left), before God. All this is supplanted today mainly by the "cultural elite". Andrey Platonov's secret confession: "I am ashamed to live without truth" is indulged in reproach and ridicule. The search for meaning is declared a neurosis. As a result, there is a focus on information content and entertainment, the elimination of the teaching function in art (Gogol), the promotion of new didactics - enjoyment as the highest goal existence.
Oblivion of the Absolutes. Spiritual and moral insensitivity underestimates and grounds human existence. Man remains within the bounds of his untransformed self, being guided solely by the needs of the world of the flesh. The Light of the Absolute disappears from the horizon of being, which leads a person out of the dark abode of evil and mortal empiricism. Culture itself ceases to be a guide to the Absolute.
Lack of aristocracy. The loss of the Absolutes leads to blurring of the boundaries between mass and elite culture. Loss of concept big style, which has always been a delimiting criterion for "high" and "low". The aristocrat of the spirit (V.P. Fetisov's term) is eliminated as a human type, which itself is a spiritual and aesthetic censor that does not allow mixing different values, styles, concepts.
Cultural omnivorous. A consequence of the lack of aristocracy. This is the spiritual promiscuity of the "educated rabble" (Nietzsche), which seeks to absorb as much of modernity as possible in its most absurd and absurd and base forms.
The evil infinity of forms of culture. Demand creates supply: cultural omnivorousness must find its satisfaction. The army of new creators is ready to endlessly serve the lowest demands of society. Since the value hierarchy is destroyed, this leads to the creative unbridledness of the author, who is guided solely by one motive - the motive of self-expression, multiplied by commercial gain, not associated with any higher goals. The disease of modern "culture" is that it suffers from an overabundance of texts, in the absence of main texts.
The many-faced impersonality of culture. Only the metaphysical tension of the spirit is capable of giving rise to a true diversity of creativity. Non-aristocratic, non-moral, non-spiritual culture, with all its "diversity" (creative pluralism), suffocates in the monstrous monotony of its "creations".
Cultural deception. The intellectual and cultural establishment is strenuously striving to create the appearance of freedom, creativity, well-being, trying to convince people of the progress of culture, which can justify their lives. But there is no growth of being: a person remains in the dead center of his egoism, which has not been touched by the spirit. The change of scenery of culture, in the end, will not satisfy even the layman, whose life becomes more empty and terrible, requiring far from cultural narcotization.
The loss of a nation. The true creation of man can be considered as such only if it links the personal fate of the author with the existential fate of the people. This gives the criteria for true creativity - to teach and inspire. The true creation of culture is always "charged" with spiritual values, which are transmitted during the perception of creation. This is the function of teaching - to reveal the highest values of human existence, thereby revealing to a person his true spiritual status, which is not obvious in the hustle and bustle of everyday life. Even if creation does not teach directly (this goal is deep and requires special decoding), then it should at least inspire: creative people- on creativity, uncreative people on life, which, as insight into its true meaning, becomes creativity. The creation of culture can both teach and inspire when it is rooted in the conciliar experience of a people who have learned conciliar reverence, conciliar experience of grief and anguish, and conciliar overcoming of evil and death.
In a word, today we have a situation of cultural totalitarianism, when culture, breaking away from the metaphysical center of Being, has turned into an endless performance of petty creativity of insignificant creators, of which there are no number. This petty creativity is no longer connected in any way with the theurgic function of transfiguration, the illumination of the present horror of a bad reality, and, ultimately, the salvation of the world and man from evil and death, from absurdity and nonsense. Modern culture, preoccupied only with the self-expression of small creators, as if deliberately adds absurdity to an already absurd reality by creating an infinite number of unnecessary artifacts that fill the market of life. A heap of cultural phenomena (books, magazines, exhibitions, films, presentations, conferences, meetings, trips, exchanges, etc.) does not teach anything, does not call for anything, does not lead to anything. The total result of cultural doing is equal to zero. Man is accustomed to live in a morally empty universe, since the present life is not raised to the level of Eternity.
What A. Bely wrote about today has reached terrifying proportions. And so the principle of originality is now in dire need of protection and justification. First of all, it is necessary to restore the golden fund of classical patriarchal-conservative (patristic and Slavophile) thought. The Russophile paradigm of being must become the substance of the spiritual and social life nation.
Here are some milestones in the movement of Russophile thought, in which the domestic cultural identity has been worked out with enough a high degree spiritual and historical authenticity. At the heart of the historiosophical tradition, of course, is the "Word on Law and Grace" of the Kiev Metropolitan Hilarion, in which cultural-philosophical wisdom, prophetic pathos and bright faith in the good future of the Russian land are interspersed with philosophical and historical analytics of the universal equality of peoples before "grace". The legalistic "paradigm of Hagar" is replaced by the fertile "paradigm of Sarah", thereby revealing the universal prospect of existence for all peoples, led by the Light of Christ from the narrow pagan darkness of tribal nationalism into the endless expanse of absolute spiritual kinship. Each nation has its own "metaphysical share" in the common existential destiny of mankind. This is the cultural difference different peoples because their cultural assignments are different. Since the "Word" in content is an Easter sermon, we can say that it sets out the Easter meaning and the Easter task of Russia - to be the savior of the world from the yoke of evil and death.
Then the soul-saving work of medieval learned monks, the incredible Feat of Metropolitan Evgeny (Bolkhovitinov), Pushkin's historiosophy, the terrible insights-prophecies of Dostoevsky,
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World significance and national originality of Russian literature of the 19th century. What is your opinion about the works you know about this issue. When studying what school topics Is it possible to use the methodology for solving the above problem?
In 19th-century Russia, an unprecedented take-off of literature takes place and is included on an equal footing in cultural process. This era is usually characterized as the "golden age", the heyday of creativity and the birth of philosophical thought, the formation of the Russian literary language, which took shape largely thanks to A.S. Pushkin. Literary centrism - important feature. On the works of writers of that time, we learn humanity, patriotism, we study our history. More than one generation of people - Humans - has grown up on this "classic". Romanticism takes the lead artistic method, although at the end of the 30s of the XIX century leading place realism will take over in literature.
Russian literature is distinguished by its humaneness, purposefulness and humanity, which seeks to express its opinion. In Russia, philosophy is individual. One of the main problems is the problem of morality; each author has his own solutions to this problem. Moral issues became the main one and almost all Russian writings converged in the 1st formation of high ideals. High in Russia is the overcoming of egoism and individualism. And the high active heroic those for Russian writers are the most demanding attitude. In Russia it has never been possible to live a separate destiny. Russian society is always collective. Russ liter is characterized by the choice of morals for oneself and for the whole world. Russ the author showed life in communion with the whole world. This is connected with the epic thinking of Russian heroes, the heroes of Gogol Tolstoy always communicate with the nation. This soil was favorable for the development of novels. Russ novels have had a major impact on the west. The heroes were colossal, they were not familiar to the reader, the Russians knew how to deal with the question of being. But the essence and the reverse moment when the authors penetrated into the national. In order to consider this issue in more detail, one can refer to the work of Kasyanova “Russian national character” in the book, she says that a Russian person is characterized by a value orientation, for example, the ability to achieve a goal. Russia and the West have different goals in life. The idea of cultivating high feelings and ideals is high, and high is selfishness.
The world significance of literature is closely connected with national identity: romantics turn to national events, since the 19th century is the century of epoch-making events on a global scale (the war of 1812), these are changes public consciousness, expressed the spirit of patriotism. The reforms of 1861 lead to a polarization of social consciousness and a sense of personality finds its expression in the images of literature. For example, the era of Decembrism gives rise to the ideal of a free person, thus the theme of a free person becomes central. The activities of writers were not limited to their subjective spiritual world: they actively showed interest in public life, folklore works and interacted with foreign writers. Therefore, the literature of the 19th century carries a global coverage of the entire socio-political life of that time and reflects the worldview of its era. national identity is reflected in the typology of portraits of people, the generalization of their vices and pronounced personality traits: 1) In the center of the liter. 19 in the problem of growing a sense of personality: the image young man does not satisfy the modern way of life 2). A.S. Pushkin and N.V. Gogol identified the main artistic types that would be developed by writers throughout the 19th century. This artistic type « extra person”, an example of which is Eugene Onegin in the novel by A.S. Pushkin, and the so-called type " little man", which is shown by N.V. Gogol in his story "The Overcoat", as well as A.S. Pushkin in the story "The Stationmaster".
- 3).National atmosphere in literature, the development of the Russian national character
- 4). Condemnation by the writers of the isolation of the intelligentsia from the people, as isolation from their roots. 5). the ideal of personality - the ratio of one personality to the existence of the whole people (lack of egocentrism, self-will)
- 6) the writer's attention to psychological and social analysis. You can also refer to the work of Belinsky's view of the Russian liter. At school, this question can be used in introductory Russian lessons of the 19th century. For example, maybe such a topic as thin liters as an art form
Russian literatureXIXcentury
The 19th century is the heyday of Russian literature, which develops at a feverish pace; directions, currents, schools and fashions change with dizzying speed; Each decade has its own poetics, its own ideology, its own artistic style. The sentimentalism of the 10s gives way to the romanticism of the twenties and thirties; the forties see the birth of Russian idealistic “philosophy” and Slavophile teachings; the fifties - the appearance of the first novels by Turgenev, Goncharov, Tolstoy; the nihilism of the sixties is replaced by the populism of the seventies, the eighties are filled with the glory of Tolstoy, the artist and preacher; begins in the nineties new bloom poetry: the era of Russian symbolism.
By the beginning of the 19th century, Russian literature, having experienced the beneficial effects of classicism and sentimentalism, was enriched with new themes, genres, artistic images and creative techniques. She entered her new century on the wave of the pre-romantic movement aimed at creating a national literature, original in its forms and content, and meeting the needs of the artistic development of our people and society. It was a time when, along with literary ideas, all kinds of philosophical, political, and historical concepts that had formed in Europe at the turn of the 19th century began to penetrate into Russia.
In Russia romanticism as an ideological and artistic trend in the literature of the early 19th century, was generated by the deep dissatisfaction of the advanced part of Russians with Russian reality. The formation of romanticism
Associated with the poetry of V.A. Zhukovsky. His ballads are imbued with the ideas of friendship, love for the Fatherland.
Realism It was established in the 30s and 40s along with romanticism, but by the middle of the 19th century it became the dominant trend in culture. In its ideological orientation, it becomes critical realism. At the same time, the work of the great realists is permeated with the ideas of humanism and social justice.
For some time now it has become customary to talk about nationalities, to demand nationality, to complain about the absence of nationality in works of literature - but no one thought to determine what he meant by this word. “Nationhood in writers is a virtue that may well be appreciated by some compatriots - for others, whether it does not exist or may even seem like a vice” - this is how A.S. Pushkin
Living literature must be the fruit of a people fed, but not suppressed, by sociability. Literature is and is literary life, but its development is hampered by the one-sided imitative trend that kills the people, without which there can be no complete literary life.
In the mid-1930s, critical realism was established in Russian classical literature, opening up enormous opportunities for writers to express Russian life and the Russian national character.
The special active force of Russian critical realism lies in the fact that, pushing aside progressive romanticism as the predominant trend, he mastered, preserved and continued its best traditions:
Dissatisfaction with the present, dreams of the future. Russian critical realism is notable for its bright national identity in the form of its expression. The truth of life, which was the basis of the works of Russian progressive writers, often did not fit into the traditional genre-species forms. Therefore, Russian literature is characterized by frequent violations of genre-specific forms.
The most resolutely condemned the fallacies of conservative and reactionary criticism was V. G. Belinsky, who saw in Pushkin’s poetry a transition to realism, considering Boris Godunov and Eugene Onegin to be the peaks, and who abandoned the primitive identification of the people with the common people. Belinsky underestimated Pushkin's prose and his fairy tales; on the whole, he rightly outlined the scale of the writer's work as the focus of literary achievements and innovative undertakings that determined the further development of Russian literature in the 19th century.
In Pushkin's poem "Ruslan and Lyudmila" one can feel the desire for nationality, which early manifests itself in Pushkin's poetry, and in the poems "The Fountain of Bakhchisaray", "Prisoner of the Caucasus" Pushkin moves to the positions of romanticism.
Pushkin's work completes the development of Russian literature at the beginning of the 19th century. At the same time, Pushkin stands at the origins of Russian literature, he is the founder of Russian realism, the creator of the Russian literary language.
The brilliant work of Tolstoy had a huge impact on world literature.
In the novels Crime and Punishment and The Idiot, Dostoevsky realistically portrayed the clash of bright, original Russian characters.
The work of M.E. Saltykov-Shchedrin is directed against the autocratic-feudal system.
One of the writers of the 30s is N.V. Gogol. In the work “Evenings on a Farm near Dikanka”, the bureaucratic world is disgusting to him and he, like A.S. Pushkin, plunged into fairy world romance. Maturing as an artist, Gogol abandoned the romantic genre and moved on to realism.
The activity of M.Yu. Lermontov also belongs to this time. The pathos of his poetry lies in moral issues about the fate and rights of the human person. The origins of Lermontov's work are connected with the culture of European and Russian romanticism. IN early years he wrote three dramas marked by the stamp of romanticism.
The novel "Heroes of Our Time" is one of the main works of literature of psychological realism of the 19th century.
The 1st stage of the critical activity of VG Belinsky belongs to the same time. He had a huge impact on the development of literature, social thought, reader tastes in Russia. He was a fighter for realism, demanded simplicity and truth from literature. The highest authorities for him were Pushkin and Gogol, to whose work he devoted a number of articles.
Having studied the letter of V. G. Belinsky to N. V. Gogol, we see that it is directed not only against Gogol's anti-social, political and moral sermons, but in many respects also against his literary judgments and assessments.
Under the conditions of post-reform life, social thought in Russia, which found its predominant expression in literature and criticism, turned more and more insistently from the present to the past and future in order to reveal the laws and trends of historical development.
Russian realism of the 1860-1870s acquired noticeable differences from Western European. In the works of many realist writers of that time, motifs appeared that foreshadowed and prepared for the shift towards revolutionary romance and socialist realism that would occur at the beginning of the 20th century. With the greatest brightness and scope, the flowering of Russian realism manifested itself in the novel and story in the second half of the 19th century. It was the novels and stories of the largest Russian artists of that time that acquired the greatest public resonance in Russia and abroad. The novels and many short stories by Turgenev, L.N. Tolstoy, Dostoevsky almost immediately after their publication received a response in Germany, France, and the USA. Foreign writers and critics felt in the Russian novel of those years the connection between specific phenomena of Russian reality and the development of all mankind.
The heyday of the Russian novel, the desire to penetrate into the depths human soul and at the same time to comprehend the social nature of society and those laws in accordance with which its development takes place, became the main distinguishing quality of Russian realism of the 1860s-1870s.
The heroes of Dostoevsky, L. Tolstoy, Saltykov-Shchedrin, Chekhov, Nekrasov thought about the meaning of life, about conscience, about justice. In the structure of the new realistic novel and the story, their hypotheses were confirmed or rejected, their concepts and ideas about the world, when confronted with reality, were too often dispelled like smoke. Their novels should be regarded as a real feat of the artist. For the development of Russian realism, I.S. Turgenev did a lot with his novels. The greatest popularity was acquired by the novel "Fathers and Sons". It depicts a picture of Russian life at a new stage in the liberation movement. Turgenev's last novel, Nov, was received by Russian critics. In those years, populism was the most significant phenomenon in public life.
The flowering of critical realism also manifested itself in Russian poetry in the 1860s and 1870s. One of the pinnacles of Russian critical realism of the 60-80s is the work of Saltykov-Shchedrin. The brilliant satirist, using allegories, personifications, skillfully posed and conducted the most acute questions modern life. Accusatory pathos is inherent in the work of this writer. The stranglers of democracy had a sworn enemy in him.
A significant role in the literature of the 80s was played by such works as “ Little nothings of life”, ”Poshekhonskaya satire”. With great skill, he reproduced in them the terrible consequences of serf life and no less terrible pictures of the moral decline of post-reform Russia. “The Tale of How a Man Feeded 2 Generals” or “The Wild Landowner” are devoted to the most important problems of Russian life, they went into print with great censorship difficulties.
The greatest realist writers not only reflected life in their works, but also looked for ways to transform it.
The literature of post-reform Russia, worthily continuing the traditions of critical realism, was the most philosophical and social in Europe.
Bibliography.
History of Russian literature of the XI-XX centuries
Russian Literature Textbook
(Yu.M. Lotman)
3. Great Russian writers of the 19th century
(K.V. Mochulsky)
4. Russian literature of the 19th century
(M.G. Zeldovich)
5. The history of Russian literature of the first
half of the 19th century
(A.I. Revyakin)
6. History of Russian literature of the 19th century
(S.M. Petrova)
7. From the history of the Russian novel of the 19th century
(E.G. Babaev)
Test
N.V. Gogol (1809-1852)
a) the story "Overcoat"
b) the story "Viy"
c) the poem "Hanz Küchulgarten"
2. F.M. Dostoevsky (1821-1881)
a) the novel "Demons"
b) the novel “Notes from the House of the Dead”
c) the novel "Player"
d) the novel "Teenager"
3. V.A. Zhukovsky (1783-1852)
a) the ballad "Lyudmila"
b) the ballad “Svetlana”
4. A.S. Pushkin (1799-1837)
a) the poem "Ruslan and Lyudmila"
b) the drama "Boris Godunov"
c) the poem "House in Kolomna"
d) the poem "Gavriliad"
e) the story "Kirdzhali"
f) the fairy tale "Groom"
5. M.E. Saltykov-Shchedrin (1826-1889)
a) the fairy tale "Sheep-not remembering"
b) fairy tale “Konyaga”
c) the fairy tale “Worker Emelya and an empty drum”
d) fairy tale “Self-sacrificing hare”
e) the novel “Gentlemen Golovlevs”
6. M.Yu. Lermantov (1814-1841)
a) the poem "Mtsyri"
b) the drama “Masquerade”
7. L.N. Tolstoy (1828-1910)
a) Anna Karenina
b) the story "Polikushka"
c) the novel "Resurrection"
Plan
1. The assertion of humanism, citizenship and nationality in the literature of the first half of the 19th century
2. Development of realistic traditions in literature
post-reform Russia.
Test
by culturologists
Subject: Russian literatureXIXcentury
Student: Golubova Elena Alexandrovna
Teacher: Slesarev Yury Vasilievich
Faculty: accounting and statistical
Speciality: accounting, analysis and audit
