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Culture of Russia beginning.
20 V.
Home - - - > Answers to questions for the exam in the discipline "Cultural Studies" - - - > Culture of Russia beginning.
20 V.
The end of the XIX - beginning of the XX century was marked by a deep crisis that engulfed the entire European culture, which was the result of disillusionment with previous ideals and a sense of approaching the death of the existing socio political system.
Russian Russian cultural renaissance of the beginning of the century, one of the most refined epochs in the history of Russian culture, was created by the same crisis.
This was the era of the creative rise of poetry and philosophy after a period of decline.
At the same time, it was an era of the emergence of new souls, a new sensitivity.
Souls were opened to all kinds of mystical trends, both positive and negative.
Never before have all kinds of seductions and confusions been so strong among us.
In the era of the cultural renaissance, there was a kind of “explosion” in all areas of culture: not only in poetry, but also in music; not only in the visual arts, but also in the theater...
Russia of that time gave the world a huge number of new names, ideas, masterpieces.
Magazines were published, various circles and societies were created, debates and discussions were held, new directions appeared in all areas of culture.
"SYMBOLISM" is a trend in European and Russian art that emerged at the turn of the XX century, focused mainly on artistic expression through the SYMBOL of “things in themselves” and ideas that are beyond the limits of sensory perception.
The culture of Russian symbolism, as well as the style of thinking of the poets and writers who formed this direction, arose and developed at the intersection and mutual complement, outwardly opposing, but in fact firmly connected and explaining one another lines of philosophical and aesthetic attitude to reality.
It was a feeling of unprecedented novelty of everything that the turn of the century brought with it, accompanied by a sense of trouble and instability.
The truths and criteria that were discovered and formulated in the XIX century were no longer satisfied.
A new concept was needed that would correspond to the new time.
We must pay tribute to the symbolists - they did not join any of the stereotypes created in the XIX century.
Nekrasov was dear to them, like Pushkin, Fet like Nekrasov.
And the point here is not in the promiscuity and omnivorousness of the symbolists.
The point is in the breadth of views, and most importantly, in the understanding that every major person in art has the right to his own view of the world and art.
Whatever the views of their creator, the value of the works of art itself does not lose anything from that.
The main thing that the artists of the symbolic direction could not accept was complacency and peace, the absence of trembling and gorenje.
Such an attitude to the artist and his creations was also associated with the understanding that now, at the moment, at the end of the 90s of the XIX century, there is an entry into a new - disturbing and unsettled world.
The artist must be imbued with both this novelty and this disorder, nourish his creativity with them, and ultimately sacrifice himself to time, to events that are not yet visible, but which are as inevitable as the movement of time.
In 1900, K. Balmont gave a lecture in Paris, which he gave a demonstrative title: "Elementary words about symbolic poetry".
Balmont believes that the empty place has already been filled, a new direction has emerged: symbolic poetry, which is a sign of the times.
From now on, there is no need to talk about any “spirit of desolation”.
Thus, poetic allegory is brought to the fore as the main method of creativity, when a word, without losing its usual meaning, acquires additional potential, meaningful meanings that reveal its true “essence”.
Symbolism, which emerged in the 90s under the sign of the search for new means of poetic depiction, at the beginning of the new century, found ground in vague expectations of the approaching historical changes.
The acquisition of this soil served as the basis for its further existence and development, but in a different direction.
The poetry of symbolism remained fundamentally and emphatically individualistic in its content, but it received a problematic that was now based on the perception of a specific epoch.
On the basis of anxious expectation, there is now an aggravation of the perception of reality, which entered the consciousness and creativity of the poets in the form of certain mysterious and disturbing “signs of time”.
Any phenomenon, any historical or purely everyday fact could become such a “sign” (”signs " of nature - dawns and sunsets; various kinds of meetings, which were given a mystical meaning; the” signs " of the state of mind are doubles; "signs” of history - Scythians, Huns, Mongols, general destruction;
The” signs " of the Bible that played a particularly important role - Christ, the new rebirth, the white color as a symbol of the purifying nature of future changes, etc.).
The cultural heritage of the past was also mastered.
Facts that could have a “prophetic” character were selected from it.
Written and oral presentations were widely equipped with these facts.
By the nature of its internal connections, the poetry of symbolism developed at that time in the direction of an ever deeper transformation of direct life impressions, their mysterious comprehension, the purpose of which was not to establish real connections and dependencies, but to comprehend the “hidden” meaning of things.
This trait was the basis of the creative method of the poets of symbolism, their poetics, if we take these categories in conditional and general features for the whole current.
The nine hundredth years are a time of flowering, renewal and deepening of symbolist lyrics.
No other direction in poetry could compete with symbolism in these years, neither in the number of collections produced, nor in the influence on the reading public.
Symbolism was a heterogeneous phenomenon, uniting in its ranks poets who held the most contradictory views.
Some of them very soon realized the futility of poetic subjectivism, while others took time to do so.
Some of the symbolists, such as Nikolai Minsky, Dmitry Merezhkovsky, began their creative career as representatives of civic poetry, and then began to focus on the ideas of” god building “and”religious community".
Others - for example, Valery Bryusov, Konstantin Balmont (they were also sometimes called “senior symbolists”) - considered symbolism as a new stage in the progressive development of art, which replaced realism, and largely proceeded from the concept of “art for art” .
V.
Bryusov's poetry is characterized by historical and cultural problems, rationalism, completeness of images, declamatory system.
In the poems of K. Balmont - the cult of the Self, the play of fleeting moments, the opposition to the” iron age "of the primordial integral "solar" principle; musicality.
And, finally, the third - the so - called “junior” symbolists (Alexander Blok, Andrey Bely, Vyacheslav Ivanov) - were adherents of a philosophical and religious understanding of the world in the spirit of the teachings of the philosopher Vl.
Solovyov.
At the beginning of the second decade of the XX century, two new poetic trends appeared acmeism and futurism.
The Acmeists (from the Greek word “acme” - the blooming time, the highest degree of anything) called for purifying poetry from philosophy and all kinds of” methodological " hobbies, from the use of vague hints and symbols, proclaiming a return to the material world and accepting it as it is.
with its joys, vices, evil and injustice, defiantly refusing to solve social problems and asserting the principle of “art for art”.
However, the work of such talented acmeist poets as N. Gumilev, S. Gorodetsky, A. Akhmatova, M. Kuzmin, O. Mandelstam went beyond the theoretical principles they proclaimed.
Each of them brought his own motives and moods, his own poetic images, peculiar to him, into poetry.
Futurists came up with different views on art in general and on poetry in particular.
They declared themselves opponents of modern bourgeois society, which disfigures the individual, and defenders of the “natural” man, his right to free, individual development.
But these statements were often reduced to an abstract declaration of individualism, freedom from moral and cultural traditions.
Futurism united different groups, among which the most famous were: cubofuturists (V. Mayakovsky, V. Kamensky, D. Burlyuk, V. Khlebnikov), egofuturists (I. Severyanin), the group " Centrifuge” (N. Aseev, B. Pasternak, etc.).
In the conditions of the revolutionary upsurge and the crisis of the autocracy, acmeism and futurism proved to be unviable and by the end of the 1910s ceased to exist.
Among the new trends that emerged in Russian poetry during this period, a group of so - called “peasant” poets began to occupy a prominent place N. Klyuev, A. Shiryaevets, S. Klychkov, P. Oreshin.
For some time, S. was close to them.
Yesenin, who later went on an independent and broad creative path.
Contemporaries saw them as nuggets that reflected the worries and troubles of the Russian peasantry.
They were also united by the commonality of some poetic techniques, the widespread use of religious symbols and folklore motifs.
Among the poets of the late XIX early XX century, there were also those whose work did not fit into the currents and groups that existed at that time.
Such, for example, are I. Bunin, who sought to continue the traditions of Russian classical poetry; I. Annensky, in some ways close to the symbolists and at the same time far from them, who was looking for his way in a huge poetic sea; Sasha Cherny, who called himself a "chronic" satirist, brilliantly possessed “anti aesthetic " means of exposing philistinism and philistinism; M. Tsvetaeva with her " poetic responsiveness to the new sound of the air”.
The Russian literary trends of the beginning of the XX century are characterized by the turn of the Renaissance towards religion and Christianity.
Russian poets could not hold on to aestheticism, they tried to overcome individualism in different ways.
Merezhkovsky was the first in this direction, then the leading representatives of Russian symbolism began to contrast sobornost with individualism, mysticism with aestheticism.
Viach.
Ivanov and A. Bely were theorists of mystically colored symbolism.
There was a rapprochement with the current that emerged from Marxism and idealism.
Russian Russian history's split, the split that grew throughout the XIX century, the abyss that unfolded between the upper refined cultural layer and the broad circles, popular and intellectual, led to the fact that the Russian cultural renaissance fell into this opened abyss.
The revolution began to destroy this cultural renaissance and persecute the creators of culture...
The figures of Russian spiritual culture were largely forced to move abroad.
In part, this was a payback for the social indifference of the creators of spiritual culture” " Previous materials: Russian culture in the XVIII XIX centuries.
The culture of Ancient Russia.
Modernism and postmodernism as a cultural phenomenon of the 20th century.
Features of the development of culture of the XX century.
European culture of the XIX century.
The following materials: Soviet culture: the main features and trends.
Culture and global problems of modernity The concept of culture.
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