The literary direction is an artistic method that forms the general ideological and aesthetic principles in the work of many writers at a certain stage in the development of literature. The grounds necessary to attribute the work of various authors to one literary movement:
Following the same cultural and aesthetic traditions.
Uniform worldview attitudes (i.e. uniformity of world outlook).
General or related principles of creativity.
The conditionality of creativity by the unity of the social and cultural-historical situation.
The literary movements most significant for literature include: classicism, sentimentalism, romanticism, realism, symbolism, acmeism, futurism.
FLOW (ARTISTIC AND LITERARY) - a poetic grouping marked by a greater or lesser unity of artistic design techniques among the writers included in it. characteristic feature artistic and literary trend is its chronological limitation.
School in Literature- this is a kind of established community of writers that has realized itself, theoretically outlined its boundaries and stood out from the literary process into an independent education that has its own theoretical platform, principles, program, and publications. Schools can be formed and named after the leader - the Gogol school, the Nekrasov school, and so on.
41.Staging literary development. emergence artistic methods and literary movements: Renaissance realism, classicism, sentimentalism, romanticism, realism, symbolism, impressionism, modernism and postmodernism.
In literary criticism, the notion that there are moments of generality (repetitiveness) in the development of literatures is rooted and is not disputed by anyone. different countries and peoples, about its single "progressive" movement in a large historical time. The stages of the literary process are habitually conceived as corresponding to those stages in the history of mankind, which manifested themselves most distinctly and fully in the countries of Western Europe and especially brightly in the Romanesque. In this regard, ancient, medieval and - literature of the New Age with their own stages stand out (following the Renaissance - baroque, classicism, the Enlightenment with its sentimentalist branch, romanticism, and finally, realism, with which modernism coexists and successfully competes in the 20th century) . Scholars have best understood the stage differences between the literatures of the New Age and the literature that preceded them. method is, first of all, an ideological concept. Therefore, the above-mentioned artistic directions(baroque, classicism, romanticism) is at the same time methods of art
Realism of the Renaissance (XIV-XVI centuries)
originated in Italy. Return on a new, higher basis to the most important features of ancient art. Renaissance realism discovered individual person and approved its power and beauty, liberated the personality, delivered a person from the fetters of medieval asceticism. In emancipation, which implemented the principle of "do what you want", was not only the strength, but also the weakness of the realism of the Renaissance, since it opened up scope for the active self-fulfillment of any inclinations of the individual: both good and evil.
Realistic way of thinking.
humanist position.
Personal affirmation.
Optimism.
The striving for the ideal is combined with the affirmation of everything earthly, carnal.
Extensive use of fairy-tale elements.
Hyperbole.
Classicism Classicism is based on the ideas of rationalism, which found a vivid expression in the philosophy of Descartes. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself. Interest for classicism is only eternal, unchanging - in each phenomenon, he seeks to recognize only essential, typological features, discarding random individual signs. The aesthetics of classicism attaches great importance to the social and educational function of art. Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined features, mixing of which is not allowed.
As a certain direction, it was formed in France in the 17th century. French classicism asserted the personality of a person as the highest value of being, freeing him from religious and church influence. Productive creative method, it was based on the principle of "imitation of nature", which the classicists represented rationalistically harmonious and perfect (as an ideal creation of God).
This method affirmed the idea of the original rationality and goodness of man, whose development depends only on good or bad education.
The artistic world created on the basis of this method seems to be harmonious, clear and didactic. The aesthetic system of classicism was a set of rules according to which works of art should be created:
- "purity of genre" and style(i.e. a strict division of genres into "high" - ode, poem, tragedy, and "low" - satire, fable, comedy);
- observance of the "three unities"(place, time and action) in drama, etc.;
- poetry should be distinguished by rigor and clarity thoughts, harmony of composition, purity of speech.
Sentimentalism(French feeling) - an artistic method that arose in England in the middle of the 18th century and became widespread ch. arr. V European literature Shzh Richardson, L. Stern - in England; Rousseau, L. S. Mercier - in France; Herder, Jean Paul - in Germany; N M. Karamzin and early V. A. Zhukovsky - in Russia). Being last step In the development of the Enlightenment, S. in its ideological content and artistic features opposed classicism. The social aspirations and moods of the democratic part of the “third estate”, its protest against feudal remnants, against increasing social inequality and the leveling of the individual in the emerging bourgeois society, found their expression in S. But these progressive tendencies of S. were significantly limited by his aesthetic credo: idealization of natural life in the bosom of nature, as free from any coercion and oppression, devoid of the vices of civilization; anti-rationalism; cult of intimate feelings.
Romanticism is an artistic method that took shape in the early 19th century. and widely used as a trend in literature and art in most European countries, Russia, and the USA. It appeared in Western Europe after the French bourgeois revolution of 1789. Romantic writers, denying reality, dreamed of a better future and called on readers to fight for the reorganization of society, the heroes of their works are rebels, fighters for justice. Often, romantics turned to the past, looking for unusual people in it, who accomplished a feat in the name of freedom. But the surrounding reality was a contrast for romantic ideas, so defenseless heroes, confused in front of the outside world, often left the pages of writers of this direction, and we see the tragedy of their destinies.
Unlike the representatives of classicism, the Romantics demanded complete freedom of creativity, stood for the use of a variety of genres, changed old genres and created new ones. The lyrical, personal beginning prevailed. The plot was based on extraordinary events, often fantastic. The author placed the characters in acute situations, where their characteristic features were revealed with particular brightness. The action was sometimes transferred to distant countries, took place in unusual, outlandish conditions. Russian romanticism, which appeared after 1812, 1825, is original and inseparable from the influence of Western romanticism.
The heroes of romanticism are passionate, restless, indomitable natures. In Europe, these are the characters of Hugo, Byron, Heine, Scott, Dumas; in Russia - Zhukovsky, Lermontov, Pushkin and others.
Aesthetic theory defines realism as an artistic method, a truthful, historically concrete reflection of reality from the standpoint of a certain aesthetic ideal. we are talking about realism as a principle of approach to comprehending and reflecting phenomena, then it is inherent in truthfulness, historical concreteness, reflection of typical characters in typical circumstances. The aesthetic ideal in realism as an artistic method is the result of the creative efforts of the artist, and not the starting position of creativity, as based on the principle of idealization of reality (classicism, romanticism) Finally, as a historically developed community artistic means it is defined through the concept of the direction of art as a kind of structural unity figurative system and artistic means of displaying realism is a style.
Symbolism- one of the largest trends in art (in literature, music and painting), which arose in France in the 1870s and 80s. and the most developed turn of XIX and XX centuries, primarily in France itself, Belgium and Russia. The Symbolists radically changed not only different kinds art, but also the attitude towards it. Their experimental nature, desire for innovation, cosmopolitanism and a wide range of influences have become a model for most contemporary art movements. Symbolists used symbolism, understatement, hints, mystery, mystery. The main mood captured by the symbolists was pessimism, reaching to despair. Everything “natural” seemed to be only “appearance”, which had no independent artistic value.
Impressionism(from impression - impression) is an art direction that originated in France in the late 1860s. Its representatives strove to capture the real world in its mobility and variability in the most natural and unbiased way, to convey their fleeting impressions, psychological nuances, the mobility and variability of the atmosphere of the surrounding world.
As an artistic method modernism(originated at the end of the 19th - beginning of the 20th centuries) became a kind of denial of the traditional norms of creativity, it was the principle "on the contrary" according to realism. Modernism “decomposed” the traditional artistic image, the absolute of its individual elements: the content of the image (naturalism), its expressiveness (abstractionism), emotional richness (expressionism), ambiguity, supernaturalism (surrealism) and others. In general terms, we can say that in the interwar period, a culture focused "on the depths of individual psychology" was affirmed. This approach received its initial design primarily in the theory of culture of the founder of psychoanalysis, the Austrian 3. Freud.
Postmodernism is more of a mindset, an intellectual style. As a type of mentality, postmodernism is a hyper-reflection that arose in the conditions of a religious and philosophical vacuum, discrediting ideological concepts, total relativism, and overproduction of items of momentary consumption. As a creative setting, postmodernism shows a maximum of intellectual-playing, heuristic, reflective, destructive and a minimum of meaning-forming, ethical, aesthetic, constructive. postmodernism does not belong to the field of philosophy or history, is not associated with ideology, does not seek and does not assert any truths. Postmodernism is regarded as a reaction to the modernist cult of the new, as well as an elite reaction to mass culture, as a polycentric state of the ethical and aesthetic paradigm. Postmodernism is also seen as a reaction to the total commercialization of culture, as an opposition to official culture. The essence of postmodernism is coquetry.
As noted earlier, among literary critics there is no consensus on how to distinguish between the concepts of "artistic system", "literary direction" and " literary movement". Most often, scientists call "systems" "international literary communities" (baroque, classicism, etc.), and the terms "direction" and "flow" are used in a narrower sense.
The point of view of G.N. Pospelov, who believed that literary movement - this is the refraction in the work of writers and poets of certain social views (worldview, ideologies), and directions - These are writers' groupings that arise on the basis of a common aesthetic views and certain programs artistic activity(expressed in treatises, manifestos, slogans, etc.). Currents and directions in this meaning of the words is facts of individual national literatures(Theory of literature - M., 1978, pp. 134 - 140).
In other words, direction represents literary concept, denoting a set of fundamental spiritually meaningful and aesthetic principles, characteristic of the work of many writers, a number of groupings, as well as due to these most important principles of coincidence and correspondence of program and creative settings, themes, heats and style.
According to Pospelov, literary direction appears when a group of writers of a particular country and era unites on the basis of some specific creative program and creates their own works, focusing on its provisions. This contributes to greater creative organization and completeness of their works. But it is not the program principles proclaimed by some group of writers that determine the features of their work, but, on the contrary, the ideological and artistic commonality creativity unites writers and inspires them to realize and proclaim the corresponding program principles.
In European literatures directions appear only in modern times when artistic creativity acquires relative independence and the quality of the "art of the word", separating itself from other non-artistic genres. Literature imperiously enters the personal beginning, it becomes possible to express the point of view of the author, the choice of one or another life and creative position. Directions in the history of European literature are considered to be Renaissance realism, baroque, classicism, enlightenment realism sentimentalism, romanticism, critical realism, naturalism, symbolism, socialist realism. The existence of these major trends in a number of national literatures is more or less generally recognized. The legitimacy of singling out others - rococo, pre-romanticism, neoclassicism, neo-romanticism, etc. - causes controversy.
Directions are not closed, but open character; the transition from one to the other usually involves intermediate forms (pre-romanticism in European literature XVIII century). A new direction, replacing the old one, does not immediately eliminate it, but coexists with it for some time - a creative and theoretical debate takes place between them.
The alternation and the same sequence of directions in European literature allow us to consider them as an international phenomenon; however, this or that direction in each literature acts from this point of view as a national variant of the corresponding pan-European model. The national-historical originality of trends in individual countries is sometimes so significant that it is problematic to attribute them to a single type, and the typological commonality of classicism, romanticism, etc. – very conditional and relative. Thus, when creating a general model of a literary movement, one has to take into account the measure typological commonality of its national forms is the fact that under the flag of one direction there are often directions that are qualitatively different.
Appearance in national literatures literary movements does not mean that all writers necessarily belonged to one or another of them. There were also such writers who did not rise to the level of programming their creativity, did not create literary theories, and their creativity, therefore, cannot be assigned designations arising from any program provisions. Such writers do not belong to any movement. They also have, of course, a certain commonality of ideological worldview, created by certain circumstances. public life their country and era, which determined the corresponding commonality the ideological content of their works, and hence the form of its expression. This means that the work of these writers also had some kind of socio-historical regularity. A similar group of writers was, for example, in Russian literature - in the era of the dominance of the classicist trend in it. It was formed by M. Chulkov, A. Ablesimov, A. Izmailov and others. To such groups of writers, whose work is connected only ideological and artistic, but not a program community, the science of literature does not give any "proper names" like "classicism", "sentimentalism", etc.
According to Pospelov, the work of those groups of writers who have only ideological and artistic community, follows call literary trend.
This does not mean that the difference between literary trends and currents is only that the representatives of the former, having an ideological and artistic community of creativity, created creative program, and representatives of the latter could not create it. literary process is a more complex phenomenon. It often happens that the work of a group of writers, the definition of a country and an era that created and proclaimed a single creative program, has, however, only relative And unilateral creative community, that these writers, in essence, belong not to one, but to two (sometimes more) literary movements.
Therefore, while recognizing one creative program, they understand its provisions in different ways and apply them in different ways. There are, in other words, literary trends that combine the work of writers different currents. Sometimes writers of different, but somehow ideologically close to each other currents programmatically unite in the process of their common ideological and artistic polemics with writers of other currents that are sharply hostile to them.
Thus, the direction captures the commonality of deep spiritual and aesthetic foundations artistic content, due to the unity of cultural and artistic tradition, the uniformity of the worldview of writers and those facing them life problems and, ultimately, the similarity of the epochal socio-cultural-historical situation. But the world outlook itself, that is, the attitude to the problems posed, the idea of ways and means of resolving them, ideological and artistic concepts, the ideals of writers belonging to the same direction may be different.
Proceeding from such positions to the concepts of a literary trend and trend, Pospelov raises the question of their existence in national literatures at various stages of their development. historical development. According to the researcher, at all stages of development fiction(starting from literature Ancient Greece) its source has always been the ideological worldview of writers, who represent various social forces with their work and hence often create their works on the principle of antithesis. Therefore, if there were no distinct trends in national literatures before the 17th century, then there were always different trends in them.
Currents existed, for example, in ancient Greek literature classical era its development. Attic democracy created in the 5th century BC. brilliant dramaturgy, anti-aristocratic in ideological orientation, authoritarian-mythological in ideals. It was one of the main currents of ancient literature of that era. But even earlier, from the VI century BC. in those ancient Greek policies where the slave-owning aristocracy dominated, lyric poetry was actively developing - both civic in content (the works of Theognis from Megara, the odic choral lyrics of Tirteus in Sparta, Pindar in Thebes), and purely personal, in particular love (Alcaeus and Sappho in Lesbos, Anacreon). It was a different mainstream or even currents in ancient literature of that era. The appeal of the writers of the militant Attic democracy to drama, and the aristocratic poets of other policies to the lyrics, followed from the peculiarities of the work of both.
Roman classical literature, created in completely different conditions of public life - in early period the existence of imperial power, in the "age of Augustus", was characterized by some duality of its tendencies. The poets of that time responded to the ideological and political demands of the new government and created literature to some extent official, referring to the genre of civil or philosophical poem("Aeneid" by Virgil, "Metamorphoses" by Ovid) They were completely dominated by mythological-authoritarian mindsets. But along with this, the same poets, as well as others, gravitated in their worldview towards an ideological “withdrawal” from the hustle and bustle of the life of Imperial Rome. They contrasted the heavy atmosphere of the capital with the imaginary joys of shepherd life (Virgil’s Bucolics), the simplicity of rural labor (his Georgics), the solitary enjoyment of the blessings of being (Horace’s Satires), the worries love experiences(“Love poems” by Ovid) or they idealized the good old morals (“Odes” by Horace, “Elegies” by Tibullus). Here, despite the mythological authoritarian worldview, the spontaneous humanistic aspirations of these poets were manifested.
Different currents can also be identified throughout the subsequent development of the literature. So, for example, in English romanticism, researchers distinguish three currents: revolutionary (Byron, Shelley), conservative (Wordsworth, Coleridge. Southey) and London (Keats, Lee Hunt) romantics. In relation to Russian romanticism, they speak of "philosophical", "psychological", "civil" currents. In Russian realism, some researchers distinguish between "psychological" and "sociological" trends.
Thus, if literary currents existed in national literatures from the very beginning of their historical life, then literary trends took shape in them only at relatively late stages of development and always at basis ideological and artistic content literature of one kind or another. Therefore, it is not literary trends that give life to literary movements and contain them, as some researchers believe, but vice versa - currents can form a single direction at some stage of their development, and before that or later exist outside of its limits. Thus, the literary trend of Russian noble revolutionism began with the work of A.N. Radishchev, who was not a romantic. Later, motives of civil romance arose in it (Pushkin, Ryleev and others), and it entered the direction of romanticism, along with poets and another, religious-romantic movement (Zhukovsky, Kozlov and others) (Pospelov G.N. Theory of Literature - M., 1987, pp. 140 - 160).
Along with the terms "direction" and "flow" to characterize the associations of writers, the concept " school' and 'grouping'. Literary groupings and school implies a direct ideological and artistic affinity and programmatic and aesthetic unity of its participants (“lake school” in English romanticism, the Parnassus group in France, “ natural school» in Russia, etc.).
Literature lesson in grade 9 No. 1. Introduction. Literary directions, schools, movements.
Goals :
to introduce students to the textbook, program and objectives of the literature course in grade 9;
generalize knowledge, expand understanding of the stages of development domestic literature;
start repeating literary types and genres, generalize and systematize what was studied in grade 8.
Type of lesson: Lecture with elements of conversation.
Teaching methods : Frontal survey, work with the textbook, abstract notes.
Theoretical and literary concepts: literary situation, historical and literary process, literary direction.
Repetition: literary genera and genres.
During the classes:
Repetition of the past:
What is literature?
Define the concept of "literature" (the art of the word).
What is classical literature? Give examples of the classics of the 18th -19th centuries.
To which literary genre and the genre includes the works of A.S. Pushkin: “ Winter morning”, “Song of prophetic Oleg”,“ The Tale of Tsar Saltan ”,“ Dubrovsky ”,“ Stationmaster»?
Work with the textbook (part 1, pp. 3-5); write down the theses.
The word of the teacher about the features of the teaching materials of S.A. Zimin.
What's new in the content of the textbook?
On what basis is it located educational material? (chronology)
What writers and genres are you interested in?
Lecture. Recording of abstracts and definitions.
4.1.Historical and literary process
***Historical and literary process - a set of generally significant changes in the literature. Literature is constantly evolving. Each era enriches art with some new artistic discoveries.
The development of the literary process is determined by the following artistic systems: creative method, style, genre, literary trends and currents.
The continuous change of literature is an obvious fact, but significant changes do not occur every year, not even every decade. As a rule, they are associated with serious historical shifts (change historical eras and periods, wars, revolutions associated with the entry into the historical arena of new social forces etc.).
*** Can be distinguished main stages development of European art, which determined the specifics of the historical and literary process: antiquity, the Middle Ages, the Renaissance, the Enlightenment, the nineteenth and twentieth centuries.
*** The development of the historical and literary process is due to a number of factors, among which, first of all, it should be noted historical situation (socio-political system, ideology, etc.), influence of previous literary traditions And artistic experience other nations . For example, Pushkin's work was seriously influenced by the work of his predecessors not only in Russian literature (Derzhavin, Batyushkov, Zhukovsky and others), but also in European literature (Voltaire, Rousseau, Byron and others).
literary process - it's a complex system literary interactions. It represents the formation, functioning and change of various literary trends and trends.
*** Literary direction- a stable and recurring in a given period of the historical development of literature, the circle of the main features of creativity, expressed in the nature of the selection of phenomena of reality and in the principles of choice of means corresponding to it artistic image by a number of writers.
4.2. Literary movements: classicism, sentimentalism, romanticism, realism, modernism (symbolism, acmeism, futurism), postmodernism
Classicism (from lat. classicus - exemplary) - an artistic direction in European art turn of XVII-XVIII - early XIX century, formed in France in late XVII century. Classicism asserted the primacy of state interests over personal interests, the predominance of civil, patriotic motives, the cult of moral duty. The aesthetics of classicism is characterized by rigor art forms: compositional unity, normative style and plots. Representatives of Russian classicism: Kantemir, Trediakovsky, Lomonosov, Sumarokov, D.I. Fonvizin and others.
Main conflict classic works is the struggle of the hero between reason and feeling. At the same time, the positive hero must always make a choice in favor of the mind (for example, choosing between love and the need to completely surrender to the service of the state, he must choose the latter), and the negative one - in favor of feelings.
The same can be said about genre system. All genres were divided into high (ode, epic poem, tragedy) and low (comedy, fable, epigram, satire).
Special rules existed for dramatic works. They had to observe three "unities" - places, times and actions. the purity of the genre high genres funny or everyday situations and heroes could not be depicted, and in low ones - tragic and sublime);
purity of the language (in high genres - high vocabulary, in low genres - vernacular);
Strict division of heroes into positive and negative, while goodies, choosing between feeling and reason, give preference to the latter;
Compliance with the rule of "three unities";
· affirmation of positive values and state ideal.
Sentimentalism (from English sentimental - sensitive, from French sentiment - feeling) - the literary movement of the second half of the 18th century, which replaced classicism. Sentimentalists proclaimed the primacy of feeling, not reason. Unlike the classicists, sentimentalists believe supreme value not a state, but a person. Heroes in their works are clearly divided into positive and negative. The positive ones are endowed with natural sensitivity (sympathetic, kind, compassionate, capable of self-sacrifice). Negative - prudent, selfish, arrogant, cruel. In Russia, sentimentalism originated in the 1760s ( the best representatives- Radishchev and Karamzin). As a rule, in the works of Russian sentimentalism, the conflict develops between a serf and a serf landowner, and the moral superiority of the former is persistently emphasized.
Romanticism - - artistic direction in European and American culture late XVIII-- first half of XIX century. Romanticism arose in the 1790s, first in Germany, and then spread throughout Western Europe.
All romantics reject the world, hence their romantic escape from existing life and the search for an ideal outside of it. This gave rise to the emergence of a romantic dual world.
Rejection, denial of reality determined the specifics of the romantic hero. He is in hostile relations with the surrounding society, opposed to it. This is an unusual person, restless, most often lonely and with tragic fate. romantic hero- the embodiment of a romantic rebellion against reality.
Realism (from the Latin realis - real, real) - a literary movement that embodied the principles of a life-truthful attitude to reality, striving for artistic knowledge man and the world.
Realist writers showed a direct dependence of social, moral, religious beliefs heroes from social conditions, great attention devoted to the social aspect. Central problem realism -- the ratio of plausibility and artistic truth.
Realist writers create new types of heroes: the type " little man"(Vyrin, Bashmachkin, Marmeladov, Devushkin), type" extra person"(Chatsky, Onegin, Pechorin, Oblomov), the type of a "new" hero (nihilist Bazarov in Turgenev, "new people" Chernyshevsky).
Modernism (from the French modern - the latest, modern) philosophical and aesthetic movement in literature and art that arose on turn of the XIX--XX centuries.
Symbolism, acmeism and futurism became the most striking and significant trends in Russian modernism.
Symbolism - - a non-realistic trend in art and literature of the 1870s-1920s, focused mainly on artistic expression with the help of a symbol of intuitively comprehended essences and ideas. Symbolism made itself known in France in the 1860s-1870s.
Symbolism was the first to put forward the idea of creating art free from the task of depicting reality. Symbolists argued that the purpose of art is not in the image real world, which they considered secondary, but in the transmission of "higher reality". They intended to achieve this with the help of a symbol. A symbol is an expression of the poet's supersensible intuition, to whom, in moments of insight, true essence of things. Symbolists developed a new poetic language, not directly naming the subject, but hinting at its content through allegory, musicality, colors, free verse.
The image-symbol is fundamentally polysemantic and contains the prospect of an unlimited deployment of meanings.
Acmeism (from Greek akme -- highest degree something, blooming power, peak) is a modernist literary trend in Russian poetry of the 1910s. Representatives: S. Gorodetsky, early A. Akhmatova, L. Gumilyov, O. Mandelstam. The term "acmeism" belongs to Gumilyov.
Acmeists proclaimed the liberation of poetry from symbolist impulses to the ideal, from the ambiguity and fluidity of images, complicated metaphor; talked about the need to return to material world, subject, exact value words.
Futurism - one of the main avant-garde trends (avant-garde - extreme manifestation modernism) in European art of the early 20th century, which received greatest development in Italy and Russia.
The Futurists wrote in the name of the man of the crowd. At the heart of this movement was the feeling of "the inevitability of the collapse of the old" (Mayakovsky), the awareness of the birth of a "new humanity". Artistic creativity, according to the futurists, should not be an imitation, but a continuation of nature, which creates through the creative will of man " new world, today, iron ... "(Malevich). This is the reason for the desire to destroy the "old" form, the desire for contrasts, the attraction to colloquial speech. Relying on living colloquial, futurists were engaged in "word-creation" (created neologisms). Their works were distinguished by complex semantic and compositional shifts - a contrast between the comic and the tragic, fantasy and lyrics.
POSTMODERNISM - a literary movement that replaced modernity and differs from it not so much in originality as in the variety of elements, quotation, immersion in culture, reflecting complexity, randomness, modern world; the "spirit of literature" of the late 20th century; world war literature scientific and technological revolution and information explosion.
5. The results of the lesson. What is the strength and potential of literature? Why is reading books so rare these days? Try to evaluate this situation.
6. Homework :
1.p.6-9 (to write out theses. The specifics of Old Russian literature);
The literary direction is an artistic method that forms the general ideological and aesthetic principles in the work of many writers at a certain stage in the development of literature. The grounds necessary to attribute the work of various authors to one literary movement:
- Following the same cultural and aesthetic traditions.
- Uniform worldview attitudes (i.e. uniformity of world outlook).
- General or related principles of creativity.
- The conditionality of creativity by the unity of the social and cultural-historical situation.
The literary movements most significant for literature include: classicism, sentimentalism, romanticism, realism, symbolism, acmeism, futurism.
FLOW (ARTISTIC AND LITERARY) - a poetic grouping marked by a greater or lesser unity of artistic design techniques among the writers included in it. A characteristic feature of the artistic and literary movement is its chronological limitation.
School in Literature- this is a kind of established community of writers that has realized itself, theoretically outlined its boundaries and stood out from the literary process into an independent education that has its own theoretical platform, principles, program, and publications. Schools can be formed and named after the leader - the Gogol school, the Nekrasov school, and so on.
41. Stages of literary development. The emergence of artistic methods and literary movements: Renaissance realism, classicism, sentimentalism, romanticism, realism, symbolism, impressionism, modernism and postmodernism.
In literary criticism, the notion of the presence of moments of commonality (recurrence) in the development of the literatures of different countries and peoples, of its single “progressive” movement in great historical time, is rooted and no one disputes. The stages of the literary process are habitually conceived as corresponding to those stages in the history of mankind, which manifested themselves most distinctly and fully in the countries of Western Europe and especially brightly in the Romanesque. In this regard, ancient, medieval and - literature of the New Age with their own stages stand out (following the Renaissance - baroque, classicism, the Enlightenment with its sentimentalist branch, romanticism, and finally, realism, with which modernism coexists and successfully competes in the 20th century) . Scholars have best understood the stage differences between the literatures of the New Age and the literature that preceded them. method is, first of all, an ideological concept. Therefore, the above-mentioned artistic movements (baroque, classicism, romanticism) are at the same time methods of art
The 19th century began with the heyday of sentimentalism and the formation of romanticism. These literary trends found expression, first of all, in the poetry of E. A. Baratynsky, K. N. Batyushkov, V. A. Zhukovsky, A. A. Fet, D. V. Davydov, N. M. Yazykov. The work of F. I. Tyutchev completed the “Golden Age” of Russian poetry. Nevertheless, central figure of this time was Alexander Sergeevich Pushkin.
Along with poetry, prose began to develop.
A. S. Pushkin and N. V. Gogol outlined the main artistic types that would be developed by writers throughout the 19th century. This artistic type"superfluous man", the model of which is Eugene Onegin in the novel by A. S. Pushkin, and the so-called type of "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".
Literature inherited its publicism and satirical character from the 18th century.
The trend of depicting vices and shortcomings Russian society – characteristic all Russian classical literature. It can be traced in the works of almost all writers of the 19th century.
From the middle of the 19th century, the formation of Russian realistic literature, which is created against the backdrop of a tense socio-political situation that developed in Russia during the reign of Nicholas I. A crisis in the serf system is brewing, contradictions between the government and common people. There is a need to create a realistic literature that sharply reacts to the socio-political situation in the country. literary critic V. G. Belinsky denotes a new realistic trend in literature. His position is developed by N. A. Dobrolyubov, N. G. Chernyshevsky. A dispute arises between Westernizers and Slavophiles about the paths of Russia's historical development.
Writers turn to the socio-political problems of Russian reality. Genre develops realistic novel. I. S. Turgenev, F. M. Dostoevsky, L. N. Tolstoy, I. A. Goncharov create their own works. The socio-political prevails philosophical problems. Literature is distinguished by a special psychologism.
The development of poetry somewhat subsides. It is worth noting poetic works Nekrasov, who was the first to introduce into poetry social issues. Known for his poem "Who in Rus' to live well?" , as well as many poems, where the difficult and hopeless life of the people is comprehended.
The literary process of the late 19th century discovered the names of N. S. Leskov, A. N. Ostrovsky, A. P. Chekhov. The latter proved to be a master of the small literary genre- a story, and also an excellent playwright. A.P. Chekhov's competitor was Maxim Gorky.
The end of the 19th century was marked by the formation of pre-revolutionary sentiments. The realist tradition was beginning to fade. It was replaced by the so-called decadent literature, hallmarks which were mysticism, religiosity, as well as a premonition of changes in the socio-political life of the country. Subsequently, decadence grew into symbolism. From this opens new page in the history of Russian literature. It's kind of like this, isn't it?
