The concepts of "direction", "flow", "school" refer to terms that describe the literary process - the development and functioning of literature on a historical scale. Their definitions are debatable in literary science.
In the 19th century, the direction was understood as the general nature of the content, ideas of all national literature or any period of its development. AT early XIX century, the literary trend was associated in general with the "dominant trend of minds."
So, I. V. Kireevsky in the article "The Nineteenth Century" (1832) wrote that the dominant direction of minds late XVIII of the century is destructive, and the new consists in “the striving for a soothing equation of the new spirit with the ruins of old times ...
In literature, the result of this trend was the desire to harmonize imagination with reality, the correctness of forms with freedom of content ... in a word, what is called classicism in vain, with what is even more incorrectly called romanticism.
Even earlier, in 1824, V. K. Küchelbecker declared the direction of poetry as its main content in the article “On the direction of our poetry, especially lyric poetry, in the last decade.” Ks. A. Polevoi was the first in Russian criticism to use the word "direction" to certain stages in the development of literature.
In the article “On Directions and Parties in Literature”, he called the direction “that inner striving of literature, often invisible to contemporaries, which gives character to all, or at least to very many of its works at a certain given time ... Its basis, in general sense, there is an idea of the modern era.
For " real criticism"- N. G. Chernyshevsky, N. A. Dobrolyubov - the direction was correlated with the ideological position of the writer or a group of writers. In general, the direction was understood as a variety of literary communities.
But the main feature that unites them is that in the direction the unity of the most general principles of embodiment is fixed. artistic content, the commonality of the deep foundations of the artistic worldview.
This unity is often due to the similarity of cultural and historical traditions, often associated with the type of consciousness of the literary era, some scholars believe that the unity of direction is due to the unity of the writers' creative method.
There is no set list of literary trends, since the development of literature is associated with the specifics of the historical, cultural, social life of society, national and regional characteristics of a particular literature. However, traditionally there are such areas as classicism, sentimentalism, romanticism, realism, symbolism, each of which is characterized by its own set of formal and meaningful features.
For example, within the framework of a romantic worldview, general-purpose features of romanticism can be distinguished, such as the motives for the destruction of familiar boundaries and hierarchies, the ideas of “inspiring” synthesis that replaced the rationalistic concept of “connection” and “order”, awareness of man as the center and mystery of being , personality open and creative, etc.
But the concrete expression of these general philosophical and aesthetic foundations of the world outlook in the works of writers and their very outlook is different.
So, within romanticism, the problem of embodying universal, new, non-rational ideals was embodied, on the one hand, in the idea of rebellion, a radical reorganization of the existing world order (D. G. Byron, A. Mickiewicz, P. B. Shelley, K. F. Ryleev) , and on the other hand, in the search for one’s inner “I” (V. A. Zhukovsky), the harmony of nature and spirit (W. Wordsworth), religious self-improvement (F. R. Chateaubriand).
As we can see, such a commonality of principles is international, largely of different quality, and exists in a rather blurred chronological framework, which is largely due to the national and regional specifics of the literary process.
The same sequence of changing directions in different countries usually serves as proof of their supranational character. This or that direction in each country acts as a national variety of the corresponding international (European) literary community.
According to this point of view, French, German, Russian classicism are considered varieties of the international literary trend - European classicism, which is a combination of the most common typological features inherent in all varieties of the trend.
But it must be taken into account that often national characteristics of one direction or another can manifest themselves much more clearly than the typological similarity of varieties. In the generalization, there is some schematism that can distort real historical facts literary process.
For example, classicism most clearly manifested itself in France, where it is presented as a complete system of both content and formal features of works, codified by theoretical normative poetics(“Poetic Art” by N. Boileau). In addition, it is represented by significant artistic achievements that have influenced other European literature.
In Spain and Italy, where the historical situation developed differently, classicism turned out to be a direction largely imitative. Baroque literature turned out to be the leading one in these countries.
Russian classicism becomes a central trend in literature, also not without influence. French classicism, but acquires its own national sound, crystallizes in the struggle between the "Lomonosov" and "Sumarok" currents. There are many differences in the national varieties of classicism, and even more problems are connected with the definition of romanticism as a single pan-European trend, within which very different quality phenomena are often encountered.
Thus, the construction of pan-European and "world" models of trends as the largest units of the functioning and development of literature seems to be a very difficult task.
Gradually, along with “direction”, the term “flow” comes into circulation, often used synonymously with “direction”. So, D. S. Merezhkovsky in an extensive article “On the Causes of the Decline and New Trends in Modern Russian Literature” (1893) writes that “between writers with different, sometimes opposite temperaments, special mental currents, a special air, are established, as between opposite poles, brimming with creativity." It is he, according to the critic, that determines the similarity of "poetic phenomena", the works of different writers.
Often "direction" is recognized as a generic concept in relation to "flow". Both concepts denote the unity of the leading spiritually meaningful and aesthetic principles covering the work of many writers.
The term "direction" in literature is understood as the creative unity of writers of a certain historical era, using common ideological and aesthetic principles for depicting reality.
The direction in literature is considered as a generalizing category of the literary process, as one of the forms of artistic worldview, aesthetic views, ways of displaying life associated with a peculiar artistic style. In history national literatures European nations allocate such directions as classicism, sentimentalism, romanticism, realism, naturalism, symbolism.
Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005
Poets of the Silver Age.
Atmosphere of the Silver Age
At the end of the nineteenth and beginning of the twentieth century, Russia experienced an intense intellectual upsurge, which was especially pronounced in philosophy and poetry. Philosopher Nikolai Berdyaev called this time the Russian cultural renaissance.
“Now it is difficult to imagine the atmosphere of that time,” Nikolai Berdyaev wrote about the Silver Age in his “philosophical autobiography” “Self-Knowledge”. - Much of the creative upsurge of that time was included in the further development of Russian culture and now is the property of all Russian cultured people. But then there was an intoxication with a creative upsurge, novelty, tension, struggle, challenge. During these years, many gifts were sent to Russia. It was the era of awakening in Russia of independent philosophical thought, the flowering of poetry and the sharpening of aesthetic sensibility, religious anxiety and quest, interest in mysticism and the occult. New souls appeared, new sources of creative life were discovered, new dawns were seen, the feeling of decline and death was combined with the hope of the transformation of life. But everything happened in a rather vicious circle ... "
But the Silver Age is not only a chronological period. The concept of "Silver Age" is appropriate to apply to the way of thinking, which, being characteristic of artists who were at enmity with each other during their lifetime, ultimately merged them in the minds of their descendants into an inseparable galaxy that formed that specific atmosphere of the Silver Age that Berdyaev wrote about.
The names of the poets who made up the spiritual core of the Silver Age are known to everyone: Valery Bryusov, Fedor Sologub, Innokenty Annensky, Alexander Blok, Maximilian Voloshin, Andrei Bely, Konstantin Balmont, Anna Akhmatova, Nikolai Gumilyov, Marina Tsvetaeva, Vyacheslav Ivanov, Igor Severyanin, Boris Pasternak , Georgy Ivanov and many others.
The poets of the Silver Age also sought to overcome the attempts of the second half of XIX centuries to explain human behavior by social conditions, environment and continued the traditions of Russian poetry, for which a person was important in itself, his thoughts and feelings, his attitude to eternity, to God, to Love and Death in a philosophical, metaphysical sense are important. The poets of the Silver Age, both in their artistic work and in theoretical articles and statements, questioned the idea of progress for literature. For example, one of the brightest creators of the Silver Age, Osip Mandelstam, wrote that the idea of progress is "the most disgusting kind of school ignorance." And Alexander Blok in 1910 stated: “The sun of naive realism has set; it is impossible to comprehend anything outside of symbolism.
Poets of the Silver Age believed in art, in the power of the word. Therefore, for their creativity, immersion in the element of the word, the search for new means of expression is indicative. They cared not only about the meaning, but also about the style - sound, music, words and full immersion into the element. This immersion led to the cult of life creation (the inseparability of the creator's personality and his art). And almost always in connection with this, the poets of the Silver Age were unhappy in their personal lives, and many of them ended badly.
LITERARY SCHOOLS AND TRENDS
SYMBOLISM- the first and most important of modernist movements in Russia. The philosophy and aesthetics of symbolism took shape under the influence of various teachings - from the views ancient philosopher Plato to the contemporary symbolist philosophical systems of V. Solovyov, F. Nietzsche, A. Bergson. The traditional idea of knowing the world in art was opposed by the Symbolists to the idea of constructing the world in the process of creativity. Creativity in the understanding of the Symbolists is a subconscious-intuitive contemplation of secret meanings, accessible only to the artist-creator. Moreover, it is impossible to rationally convey the contemplated "secrets". According to Vyacheslav Ivanov, the largest theorist among the Symbolists, poetry is "the secret writing of the inexpressible." The artist needs not only super-rational sensitivity, but the finest mastery of the art of allusion: the value of poetic speech lies in “understatement”, “concealment of meaning”. The main means to convey contemplated secret meanings was the symbol.
Symbolism tried to create a new philosophy of culture, sought, after a painful period of reassessment of values, to develop a new universal worldview. Having overcome the extremes of individualism and subjectivism, the symbolists at the dawn of the new century raised the question of public role artist, began to move towards the creation of such forms of art, the experience of which could unite people again.
Symbolist poets
Alexander Blok
Bryusov Valery
Gippius Zinaida
Ivanov Vyacheslav
Acmeism(from Greek akme - highest degree something, flourishing, maturity, pinnacle, tip) is one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.
Acmeists strove for sensual plastic-material clarity of the image and accuracy, chasing poetic word. Their "earthly" poetry is prone to intimacy, aestheticism and poeticization of the feelings of primitive man. Acmeism was characterized by extreme apoliticality, complete indifference to the topical problems of our time.
If in the poetry of symbolism the determining factor was a certain mystery, covered with a halo of mysticism, then as cornerstone in the poetry of acmeism a realistic view of things was put. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. The word, according to the acmeists, should have acquired its original meaning.
Acmeists often refer to mythological subjects and images. A distinctive feature of the acmeist circle of poets was their "organizational cohesion". In essence, the acmeists were not so much an organized movement with a common theoretical platform, but a group of talented and very different poets who were united by personal friendship. They gave their union the significant name of the “Workshop of Poets”.
The main ideas of acmeism were outlined in the program articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Trends in Modern Russian Poetry”. S. Gorodetsky believed that “symbolism… having filled the world with ‘correspondences’, turned it into a phantom, important only insofar as it… shines through other worlds, and belittled its high inherent value. Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else.
Basic principles of acmeism:
The liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;
- rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;
- the desire to give the word a specific, precise meaning;
- objectivity and clarity of images, sharpness of details;
- an appeal to a person, to the "authenticity" of his feelings;
- poetization of the world of primordial emotions, primitive biological nature;
- a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
Acmeist poets
Akhmatova Anna
Gumilyov Nikolay
Mandelstam Osip
Sergei Gorodetsky
Mikhail Zenkevich
Vladimir Narbut
Futurism(from Latin futurum - future) - the general name of the artistic avant-garde movements of the 1910s - early 1920s. XX century., First of all, in Italy and Russia.
This trend claimed to build a new art - "the art of the future", speaking under the slogan of a nihilistic denial of all previous artistic experience.
The Futurists preached the destruction of the forms and conventions of art in order to merge it with accelerated life process XX century. They are characterized by admiration for action, movement, speed, strength and aggression; self-exaltation and contempt for the weak; the priority of force, the rapture of war and destruction were affirmed. In this regard, futurism in its ideology was very close to both right and left radicals: anarchists, fascists, communists, focused on the revolutionary overthrow of the past.
The idea of the exhaustion of the cultural tradition of previous centuries was the starting point of the aesthetic platform of the Cubo-Futurists. Their manifesto, which was deliberately worn scandalous title"A slap in the face of public taste." It declared the rejection of the art of the past, calls were made to “throw off Pushkin, Dostoevsky, Tolstoy, and so on and so forth. from the steamer of modern times.
However, despite the rather harsh tone and polemical style of the manifesto, many ideas were expressed in the almanac about ways further development art, the convergence of poetry and painting. Behind the external bravado of its authors was serious attitude to creativity. And the famous shocking phrase about Pushkin, which, it would seem, does not allow for other interpretations, was explained by Khlebnikov, to whom, in fact, he belonged, in a completely different way: “Budetlyanin is Pushkin in his coverage of the World War, in the cloak of the new century, teaching the right of the century to laugh over Pushkin of the 19th century” and did not sound shocking at all. Russian futurism did not result in an integral artistic system; this term denoted a variety of trends in the Russian avant-garde. The avant-garde itself was the system. And it was dubbed futurism in Russia by analogy with Italian. And this trend turned out to be much more heterogeneous than the symbolism and acmeism that preceded it.
One of the founders of the movement, V. Khlebnikov was actively involved in revolutionary changes in the field of the Russian language. In an effort to expand the boundaries of the language and its possibilities, he worked hard on the creation of new words. According to his theory, the word loses its semantic meaning, acquiring a subjective coloring: “We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell.”
Very soon, the words "futurist" and "hooligan" for the modern moderate public became synonymous. The press enthusiastically followed the "exploits" of the creators of the new art. This contributed to their fame in the general population, aroused increased interest, attracted more and more attention.
The main features of futurism:
Rebelliousness, anarchism, expression of the mass mood of the crowd;
- denial cultural traditions, an attempt to create art looking to the future;
- rebellion against the usual norms of poetic speech, experimentation in the field of rhythm, rhyme, orientation to the spoken verse;
- experiments on the creation of "abstruse" language;
- the cult of technology, industrial cities;
- the pathos of shocking.
Futurist Poets:
Burliuk David
Vvedensky Alexander
Kamensky Vasily
Mayakovsky Vladimir
Severyanin Igor
Khlebnikov Velimir
Imagism(from French and English image - image) - a literary and artistic movement that arose in Russia in the first post-revolutionary years on the basis of the literary practice of futurism.
Imagism was the last sensational school in Russian poetry of the 20th century. This direction was created two years after the revolution, but in all its content orientation had nothing in common with the revolution.
The theory of Imagism proclaimed the primacy of the “image as such” as the basic principle of poetry. Not a word-symbol with an infinite number of meanings (symbolism), not a word-sound (cubo-futurism), not a word-name of a thing (acmeism), but a word-metaphor with one specific meaning is the basis of Imagism. In their Declaration, the Imagists argued that “the only law of art, the only and incomparable method is to reveal life through the image and rhythm of images ... The image, and only the image, is the tool for the production of the master of art ... Only the image, like naphthalene, pouring the work, saves this latter from pray for time. The image is the armor of the line." The theoretical substantiation of this principle was reduced by the Imagists to the assimilation of poetic creativity to the process of language development through metaphor.
In essence, there was nothing particularly new in their methods, as well as in their "imagery". "Imagism" as one of the techniques artistic creativity was widely used not only by futurism, but also by symbolism. What was new was only the stubbornness with which the Imagists brought the image to the fore and reduced everything in poetry to it - both content and form.
characteristic feature The development of Russian poetry in the first decades of the 20th century was that each literary movement was born under the sign of an irreconcilable struggle, rivalry with its predecessors. And if the beginning of the 1910s passed under the sign of “overcoming symbolism” by acmeists and futurists, then Imagism, which arose at the end of the decade, designated the ultimate goal of its struggle as “overcoming futurism”, with which it was essentially related: “The baby, the loud-mouthed guy, died ten years old (born 1909 - died 1919) - Futurism is dead. Let's strike amicably: death to futurism and futurism!
For five years vigorous activity the Imagists were able to win a loud, although notoriety. There were constant poetic disputes, where the masters of the new trend very successfully proved to others the superiority of the newly invented poetic system over all previous ones.
The actions of the Imagists sometimes went beyond the generally accepted norms of behavior. These include the painting of the walls of the Strastnoy Monastery with blasphemous inscriptions, and the “renaming” of Moscow streets (the sign “Tverskaya” was changed to “Yeseninskaya”), etc. In 1919, the Imagists demanded nothing less than “separation of the state from art” .
The relations of the Imagists with the authorities - due to the peculiarities of their creative position, non-literary connections and historical moment- require special attention. The Imagists, due to their scandalous, bohemian lifestyle, often fell into the hands of the police and Cheka workers. They were rescued only by numerous connections with the same Chekists.
The main features of Imagism:
Imagist poets
Yesenin Sergey
Ivnev Rurik
Mariengof Anatoly
Shershenevich Vadim
The pearls of the Silver Age were poets, not belonging to any of the literary schools and trends.
Bunin Ivan
Pasternak Boris
Tsvetaeva Marina
Literary direction - often identified with artistic method. Designates a set of fundamental spiritual and aesthetic principles of many writers, as well as a number of groups and schools, their programmatic and aesthetic principles, and the means used. In the struggle and change of direction, the laws of the literary process are most clearly expressed. It is customary to single out the following literary directions:
Classicism
Sentimentalism
Naturalism
Romanticism (to which some include Baroque literature)
Symbolism
Realism (in which Renaissance realism is distinguished, i.e. the realism of the Renaissance, enlightenment realism, i.e. Enlightenment Realism, critical realism and socialist realism).
There is no consensus on the legitimacy of highlighting other areas - such as mannerism, pre-romanticism, neoclassicism, neo-romanticism, impressionism, expressionism, modernism, and so on. The fact is that literary trends, changing, give rise to many intermediate forms that do not exist for a long time and are not of a global nature. There have been attempts to offer more universal systems division into literary trends - for example. "classic" and "romance"; or "realist" and "irrealist" literature.
Literary current
2. Literary trend - often identified with a literary group and school. Denotes a set of creative personalities, which are characterized by ideological and artistic proximity and programmatic and aesthetic unity. Otherwise, a literary movement is a kind of literary movement.
For example, in relation to Russian romanticism, one speaks of a "philosophical", "psychological" and "civil" trend. In Russian realism, some distinguish between "psychological" and "sociological" currents.
Speech as a means of individualization of the image.
In dramatic literature, the character of the hero is revealed, mainly, by means of language, by means of stage speech. Therefore, such a large role in solving the problem of creating a typical character was played in creative practice by the widely and brilliantly developed method speech characteristics acting person.
Psychological analysis in literature
Paradoxically, "psychological analysis" is a concept that is not often found in the psychological literature.
Psychological analysis began its starting point long before the appearance of Freud's works, but it was in his works that it acquired a special sound, like a new birth, and entered scientific practice.
PSYCHOLOGICAL ANALYSIS - a kind of scientific analysis, similar to philosophical, mathematical, etc. A characteristic feature of psychological analysis is that the object of its study is mental reality, mental processes, states, and properties of a person. As well as various socio-psychological phenomena that arise in groups, collectives: opinions, communication, relationships, conflicts, leadership, etc. The methodological basis of psychological analysis can be philosophical systems, general scientific principles knowledge, as well as general psychological provisions about the subject, the connection between internal and external, the specificity of psychological patterns to which this or that type of activity is subject. For example, the psychological analysis of self-education involves the study of goals, motives, ways independent work on the acquisition, deepening, expansion and improvement of knowledge, skills, abilities, as well as its features in the conditions of general and special education.
Psychological analysis is an example psychological image in literature.
It consists in the fact that complex states of mind characters are decomposed into their components and thus explained, become clear to the reader. In psychological analysis, third-person narration has its advantages. This art form allows the author to lead the reader into inner world character and show it in the most detailed and deep way.
Literature lesson in grade 9 No. 1. Introduction. Literary trends, schools, movements.
to introduce students to the textbook, program and objectives of the literature course in grade 9;
generalize knowledge, expand ideas about the stages of development of 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 classic literature? Give examples of the classics of the 18th -19th centuries.
What literary type and genre do the works of A.S. Pushkin belong to: “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 steps 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.), the influence of previous literary traditions and the artistic experience of other peoples . 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 is a complex system of literary interactions. It represents the formation, functioning and change of various literary trends and trends.
*** Literary direction- stable and recurring in a given period historical development literature, the range of the main features of creativity, expressed in the nature of the selection of phenomena of reality and in the corresponding principles for the choice of means of artistic representation by a number of writers.
4.2. Literary movements: classicism, sentimentalism, romanticism, realism, modernism (symbolism, acmeism, futurism), postmodernism
Classicism (from lat. classicus - exemplary) - artistic direction in European art turn of the XVII-XVIII - the beginning of the XIX century, was formed in France at the end of the 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 the severity of artistic 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) - literary direction of the second half of XVIII century, which replaced classicism. Sentimentalists proclaimed the primacy of feeling, not reason. Unlike the classicists, sentimentalists consider not the state, but the individual, to be the highest value. 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 are 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 18th - early 19th century. Romanticism arose in the 1790s, first in Germany and then spread throughout Western Europe.
All romantics reject the outside 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. The romantic hero is 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 the social, moral, religious ideas of the characters on 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 at the turn of the 19th-20th 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. The symbolists argued that the purpose of art is not to depict the real world, which they considered secondary, but to convey a "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 the Greek akme - the highest degree of something, flowering power, peak) - 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 the material world, the subject, exact value the 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);
literary school is the professional affinity of a group of writers. The authors of the Dictionary literary terms" V. Lesin and A. Pulinets understand the school as "trends, ideological and artistic features", the manner of writing, "inherent in writers who are under the significant influence of the great writer, his contemporary or predecessor. So they say about the Pushkin and Nekrasov schools in Russian classical poetry, about the Shevchenko and Frankovsk schools in ... Ukrainian literature". In the "Brief literary encyclopedia" (M., 1962-1978), in the "literary dictionary-reference book" (K., 1997) there are no separate articles devoted to the concept of "literary school".
Using the expression of P. Sakulin, the concept of "literary school" can be attributed to "wandering" terms. "Insufficient attention to the semantic content of the term literary school, - notes A. Savenets, - ... leads to confusion of concepts, in particular those that denote writing communities of different degrees of organization, attributing them to one paradigm."
F. Schlegel identified the literary school with style. According to him, the school is "natural uniformity of style."
A school is understood as a set of principles for recognizing and reproducing the world. By the way, this is how the method is defined.
A literary school is identified with a direction, a literary trend. The "literary dictionary-reference book" characterizes the "lake school", "natural school" as a direction. D. Nalivaiko, highlighting the currents within romanticism, calls the "Byronic", "Hoffmann" schools. In the textbook "Theory of Literature in Connection with Problems of Aesthetics" we read: "Under certain circumstances, within the framework of one literary movement, groups of writers are often formed who are related both in aesthetic and in socio-political views. Such an ideological and aesthetic community is usually called a literary trend.. . literary current, which includes the closest followers of some outstanding writer commonly referred to as the literary school. its representatives are like-minded in all essential issues of artistic creativity.
The literary school is identified with a circle, a literary group, a grouping. The framework of the school is wider than them, but they are narrower from the concepts of "method" and "direction".
So what is a literary school? Does she have any signs? What are its relations with other writing communities? M. Sulima notes: “It is believed that one can speak of a literary school when the unity of the program-creative setting, themes, genre and style is obvious to a certain group of artists. collective publication.
The most accurate definition of a school is given by Yu. Kuznetsov: "A specific education in literature, a group of writers united by common style preferences, genre practice, thematic interests, issues, before aesthetic program which, projected into a new creative space, relies on a certain tradition, argues with it, rethinks it "2. The literary school is formed on the basis of stylistic similarity. It can have different time frames. "Ionian school" in Greek literature 19th century operated from the 1930s to the 1990s. The school almost always exists within one literary kind("Kyiv school" of poetry), but may go beyond its scope ("Zhytomyr prose school").
The school may not have known (notable) students.
Literary school sometimes focuses on creativity famous writer(T. Shevchenko, I. Franko), in this case we are talking about "Shevchenko", "Frankivsk" schools. A school can develop into a stylistic trend (Byronism), a trend (French symbolism), acquire features of a method ("natural school"), groupings ("Parnassians", "neoclassics").
A noticeable trace in Ukrainian literature was left by the "Prague school" of poets. This name belongs to the literary critic V. Derzhavin. "Prague school" he called Ukrainian poets interwar twenty years, which worked mainly in Podebrady and Prague. The Prague School is represented by E. Malanyuk, Y. Daragan, L. Mosendz, A. Stefanovich, Yuri Klen, Natalia Levitskaya-Kholodnaya, Oksana Lyaturinskaya, Y. Lipa, Elena Teliga, Oleg Olzhych, Galya Mazurenko, I. Irlyavsky, and . Ear. This school had neither a program nor a charter. The creativity of the poets of the "Prague school" is characterized by vivid "historiosophism", national pathos, strong-willed intonations, and tragic optimism. All the poets of the "Prague School" were united by the idea of a national liberation struggle for the freedom and independence of Ukraine.
In recent years, the first steps have been taken towards understanding the features of the "Kyiv school" of poetry. This is the opposition wing of the sixties. The debuts of the "Kyiv school" took place in the mid-1960s, when the Khrushchev thaw ended and the creative and scientific intelligentsia began to be arrested. The "Kyiv school" of poetry is represented by V. Goloborodko, M. Vorobyov, V. Kordun, V. Ruban, M. Grigoriev, I. Semenenko, M. Rachuk, Marina Lesnaya, Alla Pavlenko, P. Marusik, M. Moskalenko. The poets of the "Kyiv school" - unlike the sixties, who sometimes flirted with the regime, wrote pro-communist poems - did not cooperate with the authorities, avoided socio-political vocabulary, ideological blindness, political engagement, tried to revive the mythopoetic consciousness, transform the ancient mythological thinking , relied on a new philosophy and psychology, activated folk poetic ideas, focused on man, nature, the universe, turned to the ancient poetic traditions, used free verse, avoided declarativeness and topicality.
Galina Karplyuk in the article " Summary posts of the Kyiv school" notes: "The" Kyiv school "of poetry can be spoken of in several aspects: as a purely poetic phenomenon, the main feature of which was the freedom of creation; as a group of young nonconformists whose life vector was the freedom of freedom in all its manifestations: as an experimental attempt to live differently from other generations, to live as if everything is happening in a free independent country; as about the brotherhood of creators, whose main and extraordinary task was poetry itself "".
In the 90s of the XX century, the "Galician (Lviv-Stanislav)" and "Kyiv-Zhytomyr" schools were declared. "Galician school" (Yu. Andrukhovych, Y. Vinnichuk, V. Eshkilev, Y. Izdryk, T. Prokhazko), according to V. Danilenko, absolutizes formalistic searches, stylization on existing literary samples, and "Zhytomyr" - on the study of existential the depths of man, the observation of love, horror, death. "N. Belotserkovets points to the cultivation of various types of heroes by these schools." The heroes of the Galician-Stanislav school are refined intellectuals, prone to contemplation. The heroes of the Kiev-Zhytomyr school are burdened with a pathological consciousness." These schools represent the modern Ukrainian poet-modern - method, direction and style. Yu. , disappear from the space of literature." Yu. Kuznetsov's opinion deserves attention.
