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HISTORY AND SOCIETY
Philosophy
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The Philosophy of the Silver Age
RUSSIAN RUSSIAN LITERATURE, RUSSIAN PHILOSOPHY, RUSSIAN ART, also on the topic APOLLO, STRAY DOG MAGAZINE SYMBOLISM
SILVER AGE SILVER AGE 1) is a term that, according to the tradition established in Russian criticism of the 20th century, denotes art (primarily literature) 2) the period in Roman literature from 18 to 133 AD, marked by notable literary achievements (Juvenal, Martial, Petronius, Tacitus, etc.), which was preceded by the "golden age".
In Russian literature, the complex fate of this concept has determined the vagueness of its meaning both in terms of time frames and in terms of the circle of specific authors.
Usually, without any special reservations, the silver Age is called the literature of Russian modernism, or even more symbolism and acmeism (including the whole range of names from Balmont, Bryusov, Blok and Bely to Gumilev, Akhmatova, Mandelstam).
Russian Russian authors are also included here, whose work is also considered in the mainstream of modernism (see LITERATURE OF THE RUSSIAN ABROAD).
There is also another approach that seeks to consider the entire borderland era as a single whole, in a complex relationship not only of different literary trends, but also of all the phenomena of the cultural life of this period (art, philosophy, religious and political trends).
Such an idea of the "silver age" has been widespread in recent decades both in Western and domestic science.
The boundaries of the designated period are determined by different researchers in different ways.
Most scientists date the beginning of the "silver age" to the 1890s, some to the 1880s.
There are great discrepancies about its final boundary (from 1913-1915 to the middle of the 20th century).
However, the point of view is gradually being established that the "silver age" came to an end in the early 1920s.
In modern usage, the expression "silver age" either has no evaluative character, or carries a touch of poetization (silver as a noble metal, lunar silver, special spirituality).
The initial use of the term was rather negative, since the silver age, coming after the golden age, implies decline, degradation, decadence.
This idea goes back to antiquity, to Hesiod and Ovid, who built the cycles of human history in accordance with the change of generations of the gods (under the titan Cronus Saturn there was a golden age, under his son Zeus Jupiter there was a silver age).
The metaphor of the" golden age " as a happy time of humanity, when eternal spring reigned and the earth itself bore fruit, received a new development in European culture, starting with the Renaissance (primarily in pastoral literature).
Therefore, the expression "silver age" should have indicated a decrease in the quality of the phenomenon, its regression.
With this understanding, the Russian literature of the silver age (modernism) was contrasted with the" golden age "of Pushkin and his contemporaries as "classical" literature.
R. Ivanov Razumnik and V. Piast, the first to use the expression "silver age", did not oppose it to the" golden age " of Pushkin, but distinguished it in the literature of the early 20th century.
two poetic periods (the "golden age", strong and talented poets; and the "silver age", poets of lesser power and lesser importance).
For Piast, the "silver age" is primarily a chronological concept, although the sequence of periods correlates with a certain decrease in the poetic level.
On the contrary, Ivanov Razumnik uses it as an evaluative.
For him, the "silver age" is the decline of the" creative wave", the main signs of which are"self – sufficient technology, a decrease in spiritual take off with an apparent increase in the technical level, the brilliance of the form".
N. Otsup, the popularizer of the term, also used it in different senses.
In a 1933 article, he defined the Silver Age not so much chronologically as qualitatively, as a special type of creativity.
In the future, the concept of the "silver age" was poetized and lost its negative connotation.
It was reinterpreted as a figurative, poetic designation of an era marked by a special type of creativity, a special tone of poetry, with a touch of high tragedy and exquisite refinement.
The expression "silver age" replaced analytical terms and provoked disputes about the unity or contradictory nature of the processes of the early 20th century.
The phenomenon that the term "silver age" denotes was an unprecedented cultural upsurge, the tension of creative forces that came in Russia after the narodnik period, marked by positivism and a utilitarian approach to life and art.
The "disintegration of narodism" in the 1880s was accompanied by a general mood of decline, "the end of the century".
In the 1890s, the overcoming of the crisis began.
Organically accepting the influence of European modernism (primarily symbolism), Russian culture created its own versions of the" new art", which marked the birth of a different cultural consciousness.
Despite all the differences between poetics and creative attitudes, the modernist trends that emerged in the late 19th and early 20th centuries came from the same ideological root and had many common features "What united the young symbolists was not a common program... but the same determination of denial and rejection of the past," no", thrown in the face of the fathers, " A.
Bely wrote in his Memoirs.
This definition can be extended to the whole set of directions that arose at that time.
In contrast to the idea of the "usefulness of art", they asserted the inner freedom of the artist, his choice, even messianism, and the transformative role of art in relation to life.
Russian Russian Cultural Renaissance N. Berdyaev, who called this phenomenon the "Russian cultural Renaissance "(or "Russian spiritual Renaissance"), described it as follows: "Now we can definitely say that the beginning of the 20th century was marked by a renaissance of spiritual culture, a renaissance of philosophical and literary aesthetic, an aggravation of religious and mystical sensitivity.
Never before has Russian culture reached such refinement as at that time."
Unlike critics who preferred the expression "silver age", Berdyaev did not oppose the beginning of the 20th century to the Pushkin era, but brought them closer:"There was a similarity with the romantic and idealistic movement of the early 19th century."
He expressed the general feeling of a turning point, a transition that reigned at the turn of the 19th and 20th centuries: "In the part of the Russian intelligentsia, the most cultured, the most educated and gifted, there was a spiritual crisis, there was a transition to a different type of culture, perhaps closer to the first half of the 19th century than to the second.
This spiritual crisis was connected with the disintegration of the integrity of the revolutionary intellectual worldview, oriented exclusively socially, it was a break with the Russian "enlightenment", with positivism in the broad sense of the word, it was the proclamation of the rights to the "otherworldly".
It was the liberation of the human soul from the yoke of sociality, the liberation of creative forces from the yoke of utilitarianism."
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