silver Age Russian culture lasts less than a quarter of a century: 1900 - 1922.

The significance of this period lies in the fact that Russian culture - albeit not all, but only part of it - was the first to realize the harmfulness of development, the value guidelines of which are one-sided rationalism, irreligion and lack of spirituality.

The Silver Age includes such poets as M.I. Tsvetaeva (1892 - 1941), S.A. Yesenin (1895 - 1925) and B.L. Parsnip (1890 - 1960), composer A.N. Scriabin (1871/72 - 1915) and artist M.A. Vrubel (1856 - 1910). The artistic association “World of Art” (1898 - 1924) should also be attributed to the Silver Age.

The Silver Age had great importance for the development of not only Russian, but also world culture. For the first time, its leaders expressed serious concern that the emerging relationship between civilization and culture was becoming dangerous, and that the preservation and revival of spirituality was an urgent need.

The Silver Age includes two main spiritual phenomena: Russian religious revival of the early 20th century, also known as "God-seeking"; Russian modernism, embracing symbolism and acmeism.

Russian avant-garde is a separate, independent phenomenon. Its inclusion in the Silver Age, which many authors do, is due more to chronology than to more significant motives.

Russian modernism forms part of the spiritual renaissance and embodies Russian artistic revival. Modernism set itself the task of reviving the intrinsic value and self-sufficiency of art, freeing it from a social, political or any other service role.

From the point of view of modernism, art should move away from two extremes: utilitarianism and academicism. It must be “art for art’s sake”, “pure” art. Its purpose is to solve its internal problems, to search for new forms, new techniques and means of expression. His competence includes internal spiritual world man, the sphere of feelings and passions, intimate experiences, etc. Russian modernism embraced the Europeanized part of the Russian intelligentsia. This is especially true for Russian symbolism. It had its domestic predecessors. The first and foremost among them is A.S. Pushkin - the founder of Russian classical literature. Modernism is most fully represented by the artistic association. “World of Art”, which was created in St. Petersburg A.N. Benoit (1870 - 1960) and S.P. Angelica (1872 - 1929). It included artists L.S. Bakst (1866 - 1924), M.V. Dobuzhinsky (1875 - 1957), HER. Lanceray (1875 - 1946), A.P. Ostroumova-Lebedeva (1871 - 1955), N.K. Roerich (1874 - 1947), K.A. Somov (1869 - 1939).

Symbolism included two generations of poets: first – D.S. Merezhkovsky, V.Ya. Bryusov, K.D. Balmont. They view art as an impulse towards ideal meaning eternal images. V.Ya. Bryusov was convinced that true art cannot be accessible and understandable to everyone; second generation– A.A. Blok, A. Bely, V.I. Ivanov. In their work, symbolism ceases to be purely aesthetic phenomenon, only art. It acquires a religious and philosophical dimension and is more closely associated with mysticism and the occult. Becomes more complex and multidimensional symbol. At the same time, art strengthens its connection with real life. The understanding of art as the highest way of knowledge is equally strengthened. At the same time, the previous opposition between ideal and reality, earthly and heavenly was weakened.

Symbolism as poetry and art received its most vivid and complete embodiment in the work of A. Blok. His best poems are devoted to the theme of Russia and love for it, including “Rus”, “Scythians”, “Motherland”. The theme of revolution occupies a significant place. He dedicated many philosophical and aesthetic works to her. Realizing the inevitability of the revolution, and seeing its destructive nature, A. Blok puts forward his solution to the problem in the poem “The Twelve”. He proposes to combine the revolution with Christianity, to put Christ at its head. Not to “abolish” it - this is impossible, but to combine it with Christian humanism and thereby “humanize” it.

Acmeism(from the Greek “akme” - the highest degree of flourishing) are primarily represented by three names: N.S. Gumilev (1886 - 1921), O.E. Mandelstam (1891 - 1938), A.A. Akhmatova (1889 - 1966). It arose as a poetic association “The Workshop of Poets” (1911), opposing itself to symbolism, the center of which was the “Academy of Verse”. Supporters of Acmeism rejected the ambiguity and allusions, polysemy and immensity, abstraction and abstraction of symbolism.

They rehabilitated a simple and clear perception of life, restored the value of harmony, form and composition in poetry. At the same time, they retained the high spirituality of poetry, the desire for true artistry, deep meaning and aesthetic perfection.

Russian culture late XIX– beginning of the 20th century. received the name of the Silver Age (term by N. A. Berdyaev). During this period, there was a meeting of two different cultural streams: on the one hand, traditions coming from the 19th century prevailed, on the other, a tendency to search for non-traditional forms appeared.

Characteristic of this era was that schools that deviated from socio-political themes in art were often considered as representatives of the opposition (A. Blok and A. Bely, M. Vrubel, V. Meyerhold). Those who consciously continued the classical traditions were considered as exponents of general democratic ideas.

At the turn of the century, many artistic associations: “World of Art”, Union of Russian Artists, etc. The so-called artistic colonies appeared - Abramtsevo and Talashkino, bringing together painters, architects, and musicians under one roof. The Art Nouveau style is emerging in architecture. A characteristic feature of the culture of the early 20th century was the emergence and rapid spread of urban mass culture. Most a shining example This phenomenon was the unprecedented success of a new type of spectacle - cinema.

The growth of the industry created demand for educated people. However, the level of education changed slightly: the 1897 census recorded 21 literate people per 100 inhabitants of the empire, both in the Baltic and Central Asia, among women and in rural areas this level was lower. State appropriations for the school increased from 1902 to 1912. more than 2 times. Since the beginning of the century, the question of compulsory primary education has been raised (it was adopted at the legislative level in 1908). After the revolution of 1905–1907 a certain democratization of higher education took place: elections of deans and rectors were allowed, student organizations began to form.

The number of middle and higher educational institutions: by 1914 there were more than 200 of them. Saratov University was founded (1909). In total, by 1914 there were about 100 universities in the country with 130 thousand students.

In general, the education system did not meet the needs of the country. There was no continuity between different levels of education.

In the field humanities at the beginning of the 20th century an important turning point occurs. Scientific societies began to unite not only the scientific elite, but also amateurs, everyone who wanted to engage in research activities. The most famous were:

1) geographical;

2) historical;

3) archaeological and other societies.

The development of natural science took place in close contact with world science.

The most striking phenomenon is the emergence of Russian religious and philosophical thought, an attribute of Russian philosophy.

Russian historical school at the beginning of the 20th century. won global recognition. The research of A. A. Shakhmatov on the history of Russian chronicles and V. Klyuchevsky (pre-Petrine period of Russian history) became widely known throughout the world. Achievements in historical science are also associated with names:

1) P. N. Milyukova;

2) N. P. Pavlov-Silvansky;

3) A. S. Lappo-Danilevsky and others.

The modernization of the country also required a fresh influx of forces into the sphere of natural scientific knowledge. New technical institutes were opened in Russia. World-class scientists were physicist P. N. Lebedev, mathematicians and mechanics N. E. Zhukovsky and S. A. Chaplygin, chemists N. D. Zelinsky and I. A. Kablukov. Moscow and St. Petersburg have become recognized scientific capitals of the world.

At the beginning of the century, the geographical “discovery” of Russia was still ongoing. Vast unexplored spaces encouraged scientists and travelers to undertake risky expeditions. The travels of V. A. Obruchev, G. Ya. Sedov, A. V. Kolchak became widely known.

Among the famous scientists of this time is V. I. Vernadsky(1863–1945) - encyclopedist, one of the founders of geochemistry, the doctrine of the biosphere, which later formed the basis of his idea of ​​​​the noosphere, or the sphere of planetary intelligence. In 1903, the work of the creator of the theory of rocket propulsion was published K. E. Tsiolkovsky(1875–1935). The work was essential N. E. Zhukovsky(1847–1921) and I. I. Sikorsky(1889–1972) in aircraft manufacturing, I. P. Pavlova, I. M. Sechenova and etc.

The development of literature followed the traditions of Russian classical literature of the 19th century century, the living personification of which was L.N. Tolstoy. Russian literature of the early 20th century. represented by the names of A. P. Chekhov, M. Gorky, V. G. Korolenko, A. N. Kuprin, I. A. Bunin, etc.

Beginning of the 20th century was the heyday of Russian poetry. New movements were born: acmeism (A. A. Akhmatova, N. S. Gumilyov), symbolism (A. A. Blok, K. D. Balmont, A. Bely, V. Ya. Bryusov), futurism (V. V. Khlebnikov, V.V. Mayakovsky) and others.

This period was characterized by such features as:

1) modernist thinking of cultural creators;

2) strong influence of abstractionism;

3) patronage.

Great value in life Russian society purchased periodicals. The liberation (1905) of the press from preliminary censorship contributed to an increase in the number of newspapers (end of the 19th century - 105 daily newspapers, 1912 - 1131 newspapers in 24 languages) and an increase in their circulation. The largest publishing houses - I. D. Sytina, A. S. Suvorin, "Znanie" - published cheap publications. Each political movement had its own press organs.

It was also intense theatrical life, where the leading positions were occupied by the Bolshoi (Moscow) and Mariinsky (St. Petersburg) theaters. In 1898, K. S. Stanislavsky and V. N. Nemirovich-Danchenko founded the Moscow Art Theater (originally the Moscow Art Theater), on the stage of which plays by Chekhov, Gorky and others were staged.

At the beginning of the 20th century. The attention of the musical community was drawn to the work of such talented Russian composers as:

1) A. N. Scriabin;

2) N. A. Rimsky-Korsakov;

3) S. V. Rachmaninov;

4) I. F. Stravinsky.

Particularly popular among various segments of the urban population was the one that appeared at the turn of the 19th and 20th centuries. cinema; in 1908 the first Russian fiction film “Stenka Razin” was released. By 1914, over 300 paintings had been produced in the country.

In the fine arts there was a realistic direction - I. E. Repin, the Association of Traveling Exhibitions - and avant-garde directions. One of the trends was an appeal to the search for national original beauty - the works of M. V. Nesterov, N. K. Roerich and others. Russian impressionism is represented by the works of V. A. Serov, I. E. Grabar (Union of Russian Artists), K. A Korovina, P.V. Kuznetsova (“Blue Rose”), etc.

In the first decades of the 20th century. artists united to organize joint exhibitions: 1910 - exhibition “Jack of Diamonds” - P. P. Konchalovsky, I. I. Mashkov, R. R. Falk, A. V. Lentulov, D. D. Burliuk and others. famous artists this period - K. S. Malevich, M. Z. Chagall, V. E. Tatlin. Contacts with Western art, a kind of “pilgrimage to Paris.”

Played a significant role in the development of Russian art artistic direction“World of Art”, which arose at the end of the 19th century. In Petersburg. In 1897–1898 S. Diaghilev organized and held three exhibitions in Moscow and, having provided financial support, created the magazine “World of Art” in December 1899, which gave the name to the movement.

“World of Art” opened Finnish and Scandinavian painting and English artists to the Russian public. As an integral literary and artistic association, the World of Art existed until 1904. The resumption of the group in 1910 could no longer return to its former role. Artists A. N. Benois, K. A. Somov, E. E. Lanceray, M. V. Dobuzhinsky, L. S. Bakst and others united around the magazine. Important feature“MirIskusnikov” had universalism - they acted as critics, art critics, theater directors and decorators, writers.

Early works M. V. Nesterova(1862–1942), who considered himself a student of V. G. Perov and V. E. Makovsky, were made on historical subjects in a realistic manner. Central piece Nesterov - “Vision to the Youth Bartholomew” (1889–1890).

K. A. Korovina(1861–1939) is often called the "Russian Impressionist". Indeed, of all the Russian artists of the turn of the 19th–20th centuries. he most fully assimilated some of the principles of this direction - a joyful perception of life, the desire to convey fleeting sensations, the subtle play of light and color. Great place Korovin's work was dominated by landscape. The artist painted Parisian boulevards (“Paris. Boulevard des Capucines”, 1906), and spectacular sea views, and Central Russian nature. Korovin worked a lot for the theater and designed performances.

Art V. A. Serova(1865–1911) is difficult to attribute to a specific direction. In his work there is a place for both realism and impressionism. Serov became most famous as a portrait painter, but he was also an excellent landscape painter. Since 1899, Serov took part in exhibitions of the World of Art association. Under their influence, Serov became interested historical theme(the era of Peter I). In 1907, he went on a trip to Greece (the paintings “Odysseus and Nausicaa”, “The Rape of Europa”, both 1910).

The great Russian artist is widely known M. A. Vrubel(1856–1910). The originality of his painting style lay in the endless fragmentation of the form on the edge. M.A. Vrubel is the author of tiled fireplaces with Russian heroes, benches with mermaids, sculptures (“Sadko”, “Snow Maiden”, “Berendey”, etc.).

Native of Saratov V. E. Borisov-Musatov(1870–1905) worked a lot in the open air (in nature). In his sketches he tried to capture the play of air and color. In 1897 he painted the sketch “Agave”, a year later “Self-Portrait with Sister” appeared. His characters are not specific people, the author himself invented them and dressed them in camisoles, white wigs, and dresses with crinolines. The paintings reveal a poetic, idealized world of old quiet “noble nests”, far from the general confusion of the modern turning point.

Has become widespread in architecture a new style- modernism with its characteristic desire to emphasize the purpose of residential and public buildings. He widely used:

1) frescoes;

2) mosaic;

3) stained glass;

4) ceramics;

5) sculpture;

6) new designs and materials.

Architect F. O. Shekhtel(1859–1926) became a singer of the Art Nouveau style, and the flowering of architecture of this style in Russia is associated with his name. For my creative life he built an extraordinary amount: city mansions and dachas, multi-storey residential buildings, commercial and industrial buildings, banks, printing houses and even baths. In addition, the master designed theater performances, illustrated books, painted icons, designed furniture, created church utensils. In 1902–1904 F. O. Shekhtel rebuilt the Yaroslavl station in Moscow. The facade was decorated with ceramic panels made in the Bramtsevo workshop, the interior was decorated with paintings by Konstantin Korovin.

In the 1st decade of the 20th century, during the heyday of Art Nouveau, interest in the classics began to revive in architecture. Many masters used elements of the classical order and decoration. This is how a special stylistic direction emerged - neoclassicism.

At the turn of the 19th–20th centuries. a new generation of sculptors was formed who opposed realistic direction. Now preference was given not to careful detailing of the form, but to artistic generalization. Even the attitude towards the surface of the sculpture, on which fingerprints or marks of the master were preserved, has changed. Having an interest in the characteristics of the material, they often preferred wood, natural stone, clay and even plasticine. Especially stand out here A. S. Golubkina(1864–1927) and S. T. Konenkov, who became world famous sculptors.

Late XIX – early XX centuries. - a period that went down in history as the Silver Age of Russian culture. This was most clearly manifested in Russian poetry, literature and art. N.A. Berdyaev called this rapid rise in all areas of culture the “Russian cultural renaissance.”

The state of society in the last years of the Russian Empire

At the end of the 19th – beginning of the 20th centuries. Russia's development was extremely uneven. Enormous successes in the development of science, technology, and industry were intertwined with backwardness and illiteracy of the vast majority of the population.

The 20th century drew a sharp line between “old” and “new” culture. The First World War further complicated the situation.

Silver Age culture

At the beginning of the 20th century, the leading direction in literature remained critical realism. At the same time, the search for new forms leads to the emergence of completely new trends.

Rice. 1. Black square. K. Malevich. 1915.

The creative elite saw the First World War as an omen of the imminent end of the world. Themes of world cataclysms, sadness, melancholy, and the futility of life are becoming popular.

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Many poets and writers, indeed, very plausibly predicted the future Civil War and the victory of the Bolsheviks.

The following table briefly describes the Silver Age of Russian culture:

Table “Silver Age of Russian Culture”

Rice. 2. Bogatyrskiy skok. V. M. Vasnetsov. 1914.

During the Silver Age, Russian theater and ballet achieved great success:

• In 1898, the Moscow Art Theater led by K. S. Stanislavsky and V. I. Nemirovich-Danchenko.
• “Russian Seasons” abroad with the participation of A. P. Pavlova, M. F. Kshesinskaya, M. I. Fokin became a real triumph of Russian ballet.

Rice. 3. A. P. Pavlova. 1912

Silver Age in world history

The Silver Age was of great importance for the development of world culture. Russia has proven to the whole world that it still claims to be a great cultural power.

Nevertheless, the era of the “cultural renaissance” became the last conquest of the collapsing Russian Empire. October Revolution brought an end to the Silver Age.

What have we learned?

The Golden Age of Russian culture at the end of the 19th century was replaced by the Silver Age. This era, which lasted until October 1917, was marked by the emergence of a huge number of brilliant cultural and artistic figures. The cultural achievements of the Silver Age are highly respected throughout the world.

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Silver Age – Renaissance of Russian culture

N.A. called “one of the most refined eras in the history of Russian culture”, the era of “the creative rise of poetry and philosophy after a period of decline”. Berdyaev period of the beginning of the century. Cultural renaissance, the rise of poetry and philosophy, the coming dawns, the premonition of catastrophes - these key words (symbols) capture the characteristic features of the spiritual life of Russia at the end of the 19th and beginning of the 20th centuries. The birth of a new century was perceived by many as an exceptional phenomenon, marking the end of a historical cycle and the beginning of a completely different era.

Increased and aggravated “ideologism”, which carries within it a justified historical experience, or, on the contrary, a mystified idea of ​​​​the world (from Nietzschean ideas to a renewed religious “messianicism”) is one of the important distinctive properties of Russian culture of the 90s. After the timelessness and depression of the 80s, a surge of creative energy began in all spheres of life. 90s of the XIX century. important in terms of not so much the results as the beginnings.

The eighties poets (S. Nadson, K. Sluchevsky and others) prepared the ground for the decadents of the 90s (or the older generation of symbolists). In the 90s, new artistic movements, the mechanisms of their development are determined.

One of the movements of this period was the avant-garde. The shadow of lack of demand, unfulfillment, often accompanying avant-garde artists, enhances their inherent drama, the initial disharmony with the world that they carry within themselves: loneliness - internal and external, tragedy as a genre of life and its ending.

In the accepted chronology, the beginning of the avant-garde is attributed to the 1900s, more often to the 1910s, as a result of which symbolism, which in Russia and the West was, if not the first word, then the forerunner of the avant-garde, appears outside its sphere.

The main trend characteristic of the turn of the century was the synthesis of all arts. In literature, which continued to play an extremely important role in cultural life country, this trend was expressed in the transition from realism to symbolism.

According to D. Merezhkovsky, the three main elements of new art are mystical content, symbols and the expansion of artistic impressionability. “In the life of a symbolist, everything is a symbol. There are no symbols,” wrote M. Tsvetaeva.

In 1900, the younger Symbolists - A. Blok, A. Bely, Vyach. Ivanov and others began to seek healing from the ills of decadence in spiritual, religious, moral, aesthetic and universal ideals, trying to combine public interests with personal ones. Already in the first decade of the 20th century. There were so many poets in Russia that the 19th century. Compared to the 20th century, it seems deserted. I. Annensky in the article “On Modern Lyricism” names 45 names - from Balmont, Bryusov, Sologub to Dm. The censor and Polyxena Solovyova.

This was a stormy and difficult time. Various currents and trends coexisted in literature and art. Some of them were extremely ephemeral, transitory. Either the cult of Dionysus and orgiastic spontaneous Dionysianism, the triumph of the Bacchic principle were proclaimed (Vyach. Ivanov, S. Gorodetsky), then “mystical anarchism” raged and prayers were sung to “free will” and “liberated flesh” (G. Chulkov, M. Artsybashev, L Andreev, A. Kamensky).

By the beginning of the second decade of the 20th century. new major Russian and future Soviet poets and prose writers began to enter literature: V. Mayakovsky, B. Pasternak, S. Yesenin, A. Akhmatova, M. Tsvetaeva, A. Tolstoy and others. Symbolism was replaced by other literary movements. The features of symbolism are noticeable in such different, competing directions as futurism, acmeism, and new peasant poetry.

A special type of worldview renaissance man XX century manifested itself not only in literature, but also in art. The artists of the World of Art circle found themselves especially close to symbolism. In the decorative and applied field, the search for the “World of Art” was expressed in two trends. One of them came from Abramtsevo, the estate of S. Mamontov, where in the 80s many artists worked on the revival of Russian antiquity. Similar work was carried out on the estate of Princess M. Tenisheva Talashkino (Smolensk province). Another trend was the search modern style- Art Nouveau style. Constructivism was born within the framework of this style.

In 1906, a circle of friends rallied to implement one of their old ideas: to glorify Russian art in the West. Diaghilev finds use for his talent as an organizer. He organizes the exhibition “Two Centuries of Russian Painting and Sculpture” in Paris, where, along with artists XVIII century The most significant masters of the late 19th and early 20th centuries were also widely represented.

Thus began the conquest of Paris, the heart of the cultural life of Europe, by Russian art. In 1907, Parisians were introduced to Russian music. The success of the program of five concerts of contemporary Russian music is greatly facilitated by the participation of the composers themselves: S. Rachmaninoff, N. Rimsky-Korsakov and others.

Seasons 1909–1911 become events in world artistic life. Russian art influences the formation of the world artistic culture. In the second decade of the 20th century. Many artistic groups appeared.

In 1910, in Moscow, in the premises of the literary and artistic circle on B. Dmitrovka, the exhibition “Jack of Diamonds” was opened, in which P. Konchalovsky, M. Larionov, N. Goncharova, A. Lentulov, R. Falk took part - representatives visual arts. Futurists and Cubists joined them.

M. Larionov organized special exhibitions - “Donkey’s Tail”, “Target”. In 1913 he published the book “Rayism” - a manifesto abstract art. During these same years, the pioneers of abstract art worked: V. Kandinsky, K. Malevich, V. Tatlin. They created trends that became widespread in the history of foreign art of the 20-30s: abstractionism (Kandinsky), Suprematism (Malevich), constructivism (Tatlin).

The end of the 19th – the beginning of the 20th centuries. marked by the emergence of new architectural styles: modern, new Russian style, neoclassicism. Architects saw architectural truth in the organic connection between building material, structure and form. The tendency towards a synthesis of arts is also reflected here: elements of painting and sculpture are introduced into architecture (V.M. Vasnetsov, M.A. Vrubel, A.N. Benois, I.E. Grabar, S.V. Milyutin, A. S. Golubkina and others).

Although in general the Russian avant-garde, like the Western one, gravitated towards asociality, towards the absolutization of the creative “I”, the Russian socio-cultural soil of the Silver Age affected the work of the avant-garde artists. This is the tragedy of “muteness” (“Black Square” by K. Malevich), and the metaphysical search for a new religious consciousness.

The tasks of the avant-garde are to express spiritual absolutes in forms that correspond to the depths of the psyche. Hence the desire for a synthesis of the arts of the future, for their new coexistence. It was precisely this idea that served the entire symbolic system of artistic culture of the Silver Age.

Russian cultural history of this period is the result of a complex and enormous journey. In the development of social consciousness, art and literature of that era, many directions, trends, circles arose and existed, most of of which turned out to be very unstable. This, in particular, confirmed thoughts about the collapse of culture, its end.

The feeling of the need for a fundamentally new scientific and artistic interpretation of reality has become universal in the public consciousness. Here are religious and philosophical quests, and new type man, and the formation of a liberal-state tradition of attitudes towards evolution and reform, and the beginning of the philosophy of non-violence, and the creation of a new type of cultural aura.

The unsurpassed, brilliant intellectualism of the generalizations of Renaissance philosophy was not adequately appreciated either by contemporaries or the general Western public of that period, although it gave a new direction to the culture, philosophy, and ethics of Russia and the West, anticipating existentialism, philosophy of history, and modern theology.

The Silver Age is an era outstanding artists, writers, poets, painters, composers, actors, philosophers. This is a time of creating new directions and discoveries. Not in any country, not in any national culture world, the 20th century did not give it such a rise as in Russia. It was a synthesis, a fusion of realism and romanticism, science and flights of fancy, reality and dreams, what is and what should be, the past and the present, illuminated by the future.

The Silver Age in Russian culture is a unique time, which is perceived differently by different cultural figures. This is the time of rejection of the “social” person, the era of total individualism, interest in the secrets of the subconscious, in the primacy of the irrational, the time of the dominance of the mystical in culture. This is the time of the creation of a new mentality, the liberation of thinking from politics and sociality, the time that gave birth to the religious and philosophical Renaissance. The era of the Silver Age is a cult of creativity as an integrating element in the rift of “time and the personality of the artist.”

Richest cultural heritage This period constitutes the golden fund of not only our domestic, but also world culture.

INTRODUCTION

I. LITERATURE IN RUSSIA AT THE BEGINNING OF THE XX CENTURY

1.1 Poetry

1.3 Journalism

II. ART IN RUSSIA AT THE BEGINNING OF THE XX CENTURY

2.2 Painting

2.3 Music

2.4 Architecture

III. SCIENCE IN RUSSIA AT THE BEGINNING OF THE XX CENTURY

3.1 Achievements and discoveries

3.2 Education

CONCLUSION

LIST OF REFERENCES USED

INTRODUCTION

The word “culture” comes from the Latin word cult ü ra, which means “to cultivate, or cultivate the soil.” In the Middle Ages, this word came to mean a progressive method of cultivating grains, thus the term agriculture or the art of farming arose. But in the 18th and 19th centuries. they began to use it in relation to people. In other words, if a person was distinguished by elegance of manners and erudition, he was considered “cultured.” At that time, the term was applied mainly to aristocrats in order to separate them from the “uncultured” common people. The German word Kultur also meant a high level of civilization.

In our life today, the word “culture” is associated with the opera theater, excellent literature, and good education. Modern scientific definition culture discarded the aristocratic shades of this concept. It symbolizes beliefs, values ​​and means of expression, used in literature and art, science and education.

The culture of such a great state as Russia reflects the unique identity of the Russian people, the peculiarities of the national character, and a specific worldview.

On the path of its development from paganism Eastern Slavs Before modern Orthodox Russia, the culture of the Russian state suffered numerous changes, interpretations, decline and revival.

In this test work an attempt was made to reflect such shining moment Russian culture as "Silver Age". This period followed the “golden” age, when there was an extraordinary rise in literature, science and art in Russia. The “silver” age continued what it started, but breathed into it something new, its own, modern.

A huge shock lay ahead - the era of socialism. Much was strangled, ruined, destroyed, anathematized. Some were saved, some had to be restored with great difficulty, and some were lost forever.

I . LITERATURE IN RUSSIA AT THE BEGINNING OF THE XX CENTURY

1.1 Poetry

The beginning of the twentieth century was the heyday of Russian poetry, the time of the appearance of bright creative individuals such as K. Balmont, A. Blok, S. Yesenin, I. Severyanin, N. Gumilev, A. Akhmatova, M. Voloshin, A. Bely and other poets who professed various ethical and aesthetic views belonging to different directions.

The most important and largest movement not only in poetry, but also in literature and art in general at the beginning of the twentieth century was symbolism, the recognized ideological leader of which can be called the poet and philosopher V. Solovyov.

In addition to poetic works, Solovyov created a philosophy of unity, continuing the teachings of the Slavophiles (Khomyakov and Samarin). He tried to create a holistic ideological system that would connect religion and social life person, i.e. public According to V. Solovyov’s plans, Christianity was to be the basis of such unity.

The symbolists contrasted the scientific knowledge of the world with the construction of the world in the process of creativity. Symbolists believed that the higher spheres of life cannot be known in traditional ways and are accessible only through knowledge secret meanings characters. Symbolist poets did not strive to be understood by everyone. In their poems they addressed selected readers, making them their co-authors.

One of the symbolist poets F. Sologub wrote that symbolism as literary movement“can be characterized in an effort to depict life as a whole, not only from its external side, not from the side of its particular phenomena, but figuratively through symbols, to depict in essence that which, hidden behind random, isolated phenomena, forms a connection with Eternity, with the universal , the world process."

Symbolism contributed to the emergence of new movements, one of which was Acmeism (from the Greek akme - flowering power).

Acmeists proclaimed a return from the polysemy of images, metaphorical objective world and the exact meaning of the word. The recognized head of the direction was N. S. Gumilyov.

Acmeists used a wide variety of cultural traditions. Members of the Acmeist circle were A. Akhmatova, O. Mandelstam, and S. Gorodetsky, M. Voloshin, G. Ivanov and others largely shared their views wonderful poets. According to N. Gumilyov, Acmeism was supposed to discover the value human life. The world must be accepted in all its diversity.

Like Acmeism, Futurism was a peculiar offshoot of Symbolism, but it took the most extreme aesthetic form. For the first time, Russian futurism declared itself in 1910 with the release of the collection “Tank of Judges” (its authors were D. Burliuk, V. Khlebnikov and V. Kamensky). Soon the authors of the collection, together with V. Mayakovsky and A. Kruchenykh, formed a group of cubo-futurists.

Unlike the Symbolists and Acmeists, brilliant intellectuals and people with excellent literary taste, the Futurists were poets of the street - they were supported by radical students and the lumpen proletariat.

Most of the futurists, in addition to poetry, also engaged in painting (the Burliuk brothers, A. Kruchenykh, V. Mayakovsky). In turn, futurist artists K. Malevich and V. Kandinsky participated in almanacs and as poets.

Futurism became the poetry of protest, seeking to destroy the existing order. At the same time, the Futurists, like the Symbolists, dreamed of creating art that could transform the entire world. Most of all, they feared society's indifference to them and therefore took advantage of any occasion for a public scandal.

1.2 Prose

The development of literature in Russia at the beginning of the twentieth century was largely determined and followed the traditions of Russian classical literature XIX century., the living personification of which was L.N. Tolstoy. Last period L. Tolstoy's life is associated with the further development of his socio-philosophical and ethical principles.

Russian literature includes many names who have gained European fame. Among them are I. Bunin, A. Chekhov, V. Korolenko, A. Kuprin and M. Gorky and others.

Bunin continued traditions and preached the ideals of Russian culture XIX century. This, however, did not prevent him from maintaining a very special position in literature. For a long time, Bunin's prose was rated much lower than his poetry. And only “Village” (1910) and “Sukhodol” (1911), one of the themes of which is social conflict in the village, they forced people to talk about him as a great writer. Bunin's stories and stories, such as “ Antonov apples", "The Life of Arsenyev", brought to him world fame, confirmed by the awarding of the Nobel Prize to him.

If Bunin’s prose was distinguished by rigor, precision and perfection of form, and the author’s external dispassion, then Kuprin’s prose showed spontaneity and passion, characteristic personality writer. His favorite heroes were people who were spiritually pure, dreamy, and at the same time weak-willed and impractical. Often love in Kuprin’s works ends in the death of the hero himself (“ Garnet bracelet", "Duel").

The work of Gorky was different, who forever linked his fate with the proletariat and went down in history as the “petrel of the revolution.” Gorky had the powerful temperament of a fighter. New, revolutionary themes and new, previously unknown themes appeared in his works. literary heroes, the events described often had epoch-making significance (“Mother”, “Foma Gordeev”, “The Artamonov Case”). In early collections (“Makar Chudra”) he acted as a romantic.

The works of A. T. Averchenko (1881 – 1925), a Russian humorist writer, playwright and theater critic, became famous. In 1903, Averchenko’s first story, “How I Had to Insure My Life,” was published in the Kharkov newspaper “Yuzhny Krai,” in which one could already feel his literary style. In 1906, Averchenko became the editor of the satirical magazine "Bayonet", almost entirely represented by his materials. After the closure of this magazine, he headed the next one - "Sword", which was also closed soon. In 1907, Averchenko moved to St. Petersburg and collaborated in the satirical magazine "Dragonfly", later transformed into "Satyricon". Then he becomes the permanent editor of this popular publication. In 1910, three books by Averchenko were published, making him famous throughout reading Russia: “Funny Oysters”, “Stories (humorous)”, “Bunnies on the Wall”. “...Their author is destined to become a Russian Twain...”, V. Polonsky insightfully noted. The books “Circles on the Water” and “Stories for Convalescents”, published in 1912, confirmed the author’s title of “king of laughter.”

1.3 Journalism

Soon after the revolution of 1905-1907. Several famous Russian publicists (N.A. Berdyaev, S.N. Bulgakov, P.B. Struve, A.S. Izgoev, S.L. Frank, B.A. Kistyakovsky, M.O. Gershenzon) published the book “ Milestones. Collection of articles about the Russian intelligentsia." It raised the most pressing issues of Russian life, affecting the interests of wide circles of the Russian intelligentsia. Many writers and religious figures took part in the controversy surrounding Vekhi.

One of the main issues addressed in “Vekhi” was the assessment of the revolution. The authors of Vekhi believed that the revolution should have ended after the publication of the Manifesto on October 17, as a result of which the intelligentsia received the political freedoms they had always dreamed of. The intelligentsia was accused of ignoring the national and religious interests of Russia, suppressing dissent, disrespecting the law, and inciting the darkest instincts among the masses. The Vekhi people argued that the Russian intelligentsia was alien to its people, who hated it and would never understand it.