Culture of the early 20th century Silver Age. Silver Age as a cultural and historical era

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At the turn of the 19th-20th centuries, an unprecedented rise in Russian culture took place. Usually, hearing the phrase "Silver Age", they recall literature, in particular the poetry of Blok, Bryusov, Gumilyov, and others. However, this period is famous not only for literature.

It is truly comparable to the "golden age" - the age of Pushkin.

Borders of the Silver Age

The boundaries of this period are also defined in different ways.

Actually, with the beginning of the "Silver Age" there is practically no discrepancy - this is 1892 (manifestos of the modernists and D. Merezhkovsky's collection "Symbols").
But some consider the coup of 1917 to be the end of this period, others - 1922 (the year after the death of Gumilyov, the death of Blok, a wave of emigration).

Distinctive features and achievements of the Silver Age

So what is so wonderful and interesting about this time?

This century in Russia was marked by a bright diversity in all areas of the cultural life of society.

Russian philosophy

Philosophy of the Silver Age

Silver Age Theater

The Silver Age of Russian culture was also reflected in the development theatrical art. First of all, this is the system of K. Stanislavsky and Nemirovich-Danchenko, but also Alexandrinsky and Chamber theater, the theater of V. Komissarzhevskaya.

Painting

Painting and sculpture of the Silver Age

New directions are also characteristic of painting and sculpture (, "Union of Russian Artists", "Blue Rose", etc., works by P. Trubetskoy, A. Golubkina).

World famous opera singers (F. Chaliapin, L. Sobinov, A. Nezhdanova), dancers ( ).

Russian music

Music of the Silver Age

Symbolism features

The main features of this literary movement:

dual world(the real world and the other world),
the special role of the symbol as something that cannot be expressed in a specific way,
the special meaning of sound writing,
mystical and religious motives and etc.

The names of V. Bryusov, A. Blok, A. Bely and others are well known.

b) Russian acmeism

(from the Greek "acme" - peak, point, flowering) - rejection and continuation of Russian symbolism.

Features of acmeism

philosophy of action
acceptance of the world
experiencing the objectivity and thingness of this world, the denial of mysticism,
picturesque image,
courageous perception of the world and life,
the weight of a particular meaning of a word and etc.

The first among equals was undoubtedly N. Gumilyov. And also S. Gorodetsky, M. Zenkevich, A. Akhmatova, O. Mandelstam.

c) Russian futurism

To some extent it was a continuation of European futurism. At its inception, it did not have a single center (it was represented by four hostile groups in Moscow and St. Petersburg)
Features of this direction:

orientation towards the future,
feeling of coming change
denial of the classical heritage,
urbanism,
search for new words, inflections, new language and etc.

V. Khlebnikov, D. Burlyuk, I. Severyanin and others.

Our presentation:

The specificity of this century lies in the fact that the work of Russian artists of this period combined not only the features of realism, but also:

romanticism (M. Gorky),
naturalism (P. Boborykin),
symbolism (L.Andreeva)

It was a glorious age! Silver age of great Russian culture!

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to acquaint students with the poetry of the Silver Age; to define the basic principles of the poetry of modernism; to uncover social entity and the artistic value of new trends in the art of the late XIX - early XX centuries; improve expressive reading skills; bring up moral ideals, awaken aesthetic experiences and emotions. equipment: a textbook, texts of poems, portraits of poets of the Silver Age, reference diagrams, photo presentation, literary (crossword) dictation (answers - on the board).

Projected

Results: students compose the abstracts of the teacher's lecture; participate in a conversation on previously studied material; define the basic principles of modernism; expressively read and comment on the poems of the poets of the Silver Age, revealing them artistic originality; interprets selected poems. lesson type: lesson learning new material.

DURING THE CLASSES

I. Organizational stage

II. Updating of basic knowledge

Reading a poem by a teacher B. a. Slutsky

THE HAPPENING CENTURY

Not cars - those cars were called motors, now easily with which - but then they were wonderful.

The pilot's aviator, the plane - an airplane, even light painting - the photo was called in that strange century,

What accidentally got stuck

Between the twentieth and nineteenth,

nine hundredth began

And ended seventeenth.

♦ What "century" does the poet mean? Why does he call less than two decades a century? With what inventions and scientific theories, besides those mentioned by B. Slutsky, is this era associated?

♦ Silver Age… What thoughts come into your mind when you hear these words? What associations does the sound of these words evoke? (Silver Age - brilliance, brightness, fragility, instantaneity, fog, mystery, magic, fragility, glare, reflection, transparency, glow, radiance, haze ...)

III. Setting goals and objectives for the lesson.

Motivation learning activities

Teacher. literature is a mirror of the world. It always reflects, to one degree or another, the processes taking place in society. At the beginning of the twentieth century. all spiritual life is imbued with comprehension and reflection of the world "in a new way", the search for new unusual forms in art ...

A century ago, the Silver Age was in full force. Its frosty dust is silver in our poetry, painting, theater, music to this day. To contemporaries, this time could seem like a time of decline and decline, but we see it from our present time as an era of violent growth, diversity and wealth, which the artists of the turn of the century generously, on credit with huge installments, endowed us with. A lot has been written about the Silver Age - and the more you read about it, the more you understand the fundamental impossibility of knowing it to the end. facets multiply, new voices are heard, unexpected colors appear.

And today in the lesson we will learn about the phenomenon of the Silver Age, reveal the artistic value of new trends in art of the late XIX - early XX centuries.

IV. Work on the topic of the lesson

1. teacher's lecture with confirmation of the main points by a photo presentation (on the blackboard)

(Students write abstracts.)

Reading by a pre-prepared student of the poem by K. Balmont “I came to this world to see the sun”

And blue vision.

I came into this world to see the sun

And the heights of the mountains.

I came into this world to see the sea

And the lush color of the valleys.

I made worlds in one glance,

I am the ruler.

I conquered cold oblivion

Created my dream.

Every moment I am filled with revelation,

I always sing.

My dream of suffering was defeated

But I love it.

Who is equal to me in my melodious power?

Nobody, nobody.

I came into this world to see the sun

And if the day is gone

I will sing, I will sing about the sun

At the hour of death!

So we meet the whole universe, the new richest and interesting world- The Silver Age. There are many new talented poets, many new literary trends. often referred to as modernist or decadent.

The word "modernism" in French means "newest", "modern". Different trends were represented in Russian modernism: symbolism, acmeism, futurism, and other modernists denied social values opposed realism. Their goal was to create a new poetic culture contributing to the spiritual perfection of mankind.

The name "Silver Age" was firmly entrenched in the period of development of Russian art in the late 19th - early 20th centuries. It was a time, even for Russian literature, surprising by the abundance of names of artists who opened up truly new paths in art: a. A. Akhmatova and O. E. Mandelstam, a. A. Blok and V. Ya. Bryusov, D. S. Merezhkovsky and M. Gorky, V. V. Mayakovsky and V. V. Khlebnikov. This list (of course, incomplete) can be continued with the names of painters (M. A. Vrubel, M. V. Nesterov, K. A. Korovin, V. A. Serov, K. A. Somov, etc.), composers (A. N. Skryabin, I. F. Stravinsky, S. S. Prokofiev, S. V. Rakhmaninov), philosophers (N. A. Berdyaev, V. V. Rozanov, G. P. Fedotov, P. A. Florensky, L. I. Shestov).

What artists and thinkers had in common was a sense of the beginning new era in the development of mankind and a new era in the development of culture and art. This is the reason for the intensive search for new art forms, which marked the Silver Age in the history of Russian literature, and above all the emergence of new trends (symbolism, acmeism, futurism, imaginism), which claimed to be the most complete, perfect expression of the requirements imposed on art by time. How this time was perceived and evaluated by contemporaries can already be judged by the titles of the then extremely popular books: O. Spengler's "The Decline of Europe" (1918–1922), M. Nordau's "Degeneration" (1896), a sudden outbreak of interest in the "philosophy of ", at the origins of which is the name a. Schopenhauer. But something else is also characteristic: a foreboding, literally hovering in the air, of the inevitability of changes that will ultimately turn out to be beneficial for humanity. Today, the Silver Age of Russian culture is called a historically short period at the turn of the century, marked by an extraordinary creative upsurge in poetry, the humanities, painting, music, and theater. For the first time this name was proposed by N. a. Berdyaev. This period is also called the "Russian Renaissance". The question of the chronological boundaries of this phenomenon in literary criticism has not been finally resolved.

Symbolism is the first and largest of the modernist movements that arose in Russia. The beginning of the theoretical self-determination of Russian symbolism was laid by D. S. Merezhkovsky, in whose opinion the new generation of writers had to face "a huge transitional and preparatory work." The main elements of this work D. S. Merezhkovsky called "mystical content, symbols and the expansion of artistic impressionability." The central place in this triad of concepts was given to the symbol.

To a certain extent, similar features were also inherent in the works of M. Gorky, the most popular realist writer at that time. Being a sensitive observer, he extremely expressively reproduced in his stories, short stories, essays dark sides Russian life: peasant savagery, philistine indifferent satiety, unlimited arbitrariness of power (the novel Foma Gordeev, the plays The Philistines, At the Bottom).

However, from the very beginning of its existence, symbolism turned out to be a heterogeneous trend: several independent groups took shape in its depths. According to the time of formation and according to the peculiarities of the worldview position, it is customary to distinguish two main groups of poets in Russian symbolism. Adherents of the first group, who made their debut in the 1890s, are called “senior symbolists” (V. Ya. Bryusov, K. D. Balmont, D. S. Merezhkovsky, Z. N. Gippius, F. Sologub, and others). In the 1900s new forces poured into symbolism, significantly updating the appearance of the current (A. A. Blok, Andrei Bely, V. I. Ivanov, and others). The accepted designation for the "second wave" of symbolism is "young symbolism". The “senior” and “younger” symbolists were separated not so much by age as by the difference in worldviews and the direction of creativity (Vyach. Ivanov, for example, is older than V.

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Composition

to acquaint students with the poetry of the Silver Age; to define the basic principles of the poetry of modernism; reveal the social essence and artistic value of new trends in art of the late XIX - early XX centuries; improve expressive reading skills; educate moral ideals, awaken aesthetic experiences and emotions. equipment: a textbook, texts of poems, portraits of poets of the Silver Age, reference diagrams, photo presentation, literary (crossword) dictation (answers - on the board).

Projected

Results: students compose the abstracts of the teacher's lecture; participate in a conversation on previously studied material; define the basic principles of modernism; expressively read and comment on the poems of the poets of the Silver Age, revealing their artistic originality; interprets selected poems. lesson type: lesson learning new material.

DURING THE CLASSES

I. Organizational stage

II. Updating of basic knowledge

Reading a poem by a teacher B. a. Slutsky

THE HAPPENING CENTURY

Not cars - those cars were called motors, now easily with which - but then they were wonderful.

The pilot's aviator, the plane - an airplane, even light painting - the photo was called in that strange century,

What accidentally got stuck

Between the twentieth and nineteenth,

nine hundredth began

And ended seventeenth.

♦ What "century" does the poet mean? Why does he call less than two decades a century? With what inventions and scientific theories, besides those mentioned by B. Slutsky, is this era associated?

III. Setting goals and objectives for the lesson.

Motivation for learning activities

And today in the lesson we will learn about the phenomenon of the Silver Age, reveal the artistic value of new trends in art of the late XIX - early XX centuries.

IV. Work on the topic of the lesson

1. teacher's lecture with confirmation of the main points by a photo presentation (on the blackboard)

(Students write abstracts.)

Reading by a pre-prepared student of K. Balmont's poem ""

I came into this world to see the sun

And blue vision.

I came into this world to see the sun

And the heights of the mountains.

I came into this world to see the sea

And the lush color of the valleys.

I made worlds in one glance,

I am the ruler.

I conquered cold oblivion

Created my dream.

Every moment I am filled with revelation,

I always sing.

My dream of suffering was defeated

But I love it.

Who is equal to me in my melodious power?

Nobody, nobody.

I came into this world to see the sun

And if the day is gone

I will sing, I will sing about the sun

At the hour of death!

So, we meet with the whole universe, the new richest and most interesting world - the Silver Age. There are many new talented poets, many new literary trends. often referred to as modernist or decadent.

The word "modernism" in French means "newest", "modern". Different trends were represented in Russian modernism: symbolism, acmeism, futurism, and other modernists denied social values and opposed realism. Their goal was to create a new poetic culture, contributing to the spiritual improvement of mankind.

What artists and thinkers had in common was the feeling of the beginning of a new era in the development of mankind and a new era in the development of culture and art. This is the reason for the intense search for new artistic forms that marked the Silver Age in the history of Russian literature, and above all the emergence of new trends (symbolism, acmeism, futurism, imagism), which claimed to be the most complete, perfect expression of the requirements imposed on art by time. How this time was perceived and evaluated by contemporaries can already be judged by the titles of the then extremely popular books: O. Spengler's "The Decline of Europe" (1918–1922), M. Nordau's "Degeneration" (1896), a sudden outbreak of interest in the "philosophy of ", at the origins of which is the name a. Schopenhauer. But something else is also characteristic: a foreboding, literally hovering in the air, of the inevitability of changes that will ultimately turn out to be beneficial for humanity. Today, the Silver Age of Russian culture is called a historically short period at the turn of the century, marked by an extraordinary creative upsurge in poetry, the humanities, painting, music, and theater. For the first time this name was proposed by N. a. Berdyaev. This period is also called the "Russian Renaissance". The question of the chronological boundaries of this phenomenon in literary criticism has not been finally resolved.

To a certain extent, similar features were also inherent in the works of M. Gorky, the most popular realist writer at that time. Being a sensitive observer, he extremely expressively reproduced in his stories, stories, essays the dark sides of Russian life: peasant savagery, philistine indifferent satiety, unlimited arbitrariness of power (the novel Foma Gordeev, the plays The Philistines, At the Bottom).

However, from the very beginning of its existence, symbolism turned out to be a heterogeneous trend: several independent groups took shape in its depths. According to the time of formation and according to the peculiarities of the worldview position, it is customary to distinguish two main groups of poets in Russian symbolism. Adherents of the first group, who made their debut in the 1890s, are called “senior symbolists” (V. Ya. Bryusov, K. D. Balmont, D. S. Merezhkovsky, Z. N. Gippius, F. Sologub, and others). In the 1900s new forces poured into symbolism, significantly updating the appearance of the current (A. A. Blok, Andrei Bely, V. I. Ivanov, and others). The accepted designation for the "second wave" of symbolism is "young symbolism". The “senior” and “younger” symbolists were separated not so much by age, but by the difference in attitudes and the direction of creativity (Vyach. Ivanov, for example, is older than V. Bryusov in age, but showed himself as a symbolist of the second generation).

Symbolism has enriched Russian poetic culture with many discoveries. The Symbolists gave the poetic word a previously unknown mobility and ambiguity, taught Russian poetry to discover additional shades and facets of meaning in the word. Symbolism tried to create new philosophy culture, sought, having gone through 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 20th century. raised the question of the social role of the artist in a new way, began to search for such forms of art, the comprehension of which could unite people again. The literary trend of acmeism arose in the early 1910s. and was genetically associated with symbolism. Close to symbolism at the beginning of their career, young poets visited in the 1900s. "Ivanovo environments" - meetings in the St. Petersburg apartment of Vyach. Ivanov, which received the name "tower" among them. In the bowels of the circle in 1906-1907. a group of poets gradually formed, calling itself a "circle of the young". The impetus for their rapprochement was opposition (still timid) to Symbolist poetic practice. On the one hand, the "young" sought to learn poetic technique from their older colleagues, but on the other hand, they would like to overcome the speculation and utopianism of symbolist theories.

Acmeism, according to N. S. Gumilyov, is an attempt to rediscover the value human life, abandoning the "chaste" desire of the symbolists to know the unknowable.

The acmeists included N. S. Gumilyov, a. A. Akhmatova, S. M. Gorodetsky, O. E. Mandelstam.

Futurism, like symbolism, was international literary phenomenon(lat. (uSgum - future) - the general name of the artistic avant-garde movements of the 1910s - early 1920s, primarily in Italy and Russia.

Unlike acmeism, futurism as a trend in Russian poetry did not originate in Russia at all. This phenomenon is entirely brought from the West, where it originated and was theoretically substantiated. The Futurists preached the destruction of the forms and conventions of art in order to merge it with the accelerated life process of the 20th 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. Futurists wrote manifestos, held evenings at which these manifestos were read from the stage and only then were they published. These evenings usually ended in heated arguments with the public, turning into fights. this is how the current received its scandalous, but very wide popularity. Futurist poets (V. V. Mayakovsky, V. V. Khlebnikov, V. V. Kamensky) opposed themselves to classical poetry, tried to find new poetic rhythms and images, and create the poetry of the future.

Poetic currents of the Silver Age

Symbolism (French, from Greek - sign, symbol) - European literary and artistic trend in art of 1870-1910, universal philosophy, ethics, aesthetics and lifestyle of this time.

Acmeism (Greek act - the highest degree of something, blooming power) - modernist movement in Russian poetry of the 1910s.

Futurism (Latin - future) is one of the main avant-garde trends in European art early 20th century

2. Checking the level of perception of what was heard:

Literary (crossword) dictation

A comment. Unlike working with a real crossword puzzle, a crossword dictation does not require the preparation of special stencils. Conducted at the end of any topic. The teacher dictates the interpretation of the word, and the students write down only the word itself under the serial number. thus, the level of assimilation of literary terms is checked.

1) This word means "modern", the latest. This is a new phenomenon in literature and art in comparison with the art of the past, its goal was to create a poetic culture that contributes to the spiritual rebirth of mankind. (Modernism)

2) This term is called the turn of the XIX-XX centuries. in Russian literature. (Silver Age)

3) A direction that considered the goal of art to be an intuitive comprehension of world unity. Art was seen as the unifying principle of such unity. Characterized by "secret writing of the inexpressible", understatement, replacement of the image. (Symbolism)

4) This direction proclaimed the cult of art as a skill; rejection of the mystical nebula; creating a visible, concrete image. (Acmeism)

5) This direction, which denied the artistic and moral heritage, preached the destruction of the forms and conventions of art for the sake of merging it with an accelerated life process. (Futurism)

6) This word means "decline", doom. (Decade)

Checking the spelling of words (checking with the writing on the board)

3. Creation and decision problem situation(in groups)

Task for the 1st group. Remember and comprehend the chronicle of the key events of the Silver Age.

Task for the 2nd group. List the main program works, literary manifestos, almanacs of Russian symbolists, acmeists and futurists. What is the meaning of their controversy with realistic literature?

Task for the 3rd group. “When the world splits in two, the crack goes through the heart of the poet…” (G. Heine). Prove this statement of the poet.

4. students reading poems by poets of the Silver Age (Acmeists, Symbolists, Futurists) with brief comments from the teacher

The goal is to get a general idea of the poetry of the Silver Age.

1) N. S. Gumilyov "Captains"

A comment. Modernist poets denied social values and tried to create poetry designed to promote the spiritual development of man. One of the most famous trends in modernist literature was acmeism. Acmeists proclaimed the liberation of poetry from symbolist impulses to the "ideal" and called for a return from the ambiguity of images to the material world, object, "nature". But even their poetry was characterized by a tendency to aestheticism, to the poeticization of feelings. This is clearly seen in the work of a prominent representative of acmeism, one of the best Russian poets of the early 20th century. N. S. Gumilyov, whose poems amaze us with the beauty of the word, the sublimity of the created images.

N. S. Gumilyov himself called his poetry "the muse of distant wanderings", the poet was faithful to her until the end of his days. The famous ballad “Captains” from the collection of poems “Pearls”, which brought N. S. Gumilyov wide popularity, is a hymn to people who challenge fate and the elements. The poet appears before us as a singer of the romance of distant wanderings, courage, risk, courage:

The swift-winged ones are led by captains - Discoverers of new lands, For whom hurricanes are not terrible, Who have known maelstroms and stranded. Whose not with the dust of lost charters - The chest is saturated with the salt of the sea, Who with a needle on a torn map Marks his impudent path.

2) V. Ya. Bryusov "Dagger"

The first decade of the 20th century entered the history of Russian culture under the name "Silver Age". It was a time of unprecedented flourishing of all types of creative activity, the birth of new trends in art, the appearance of a galaxy of brilliant names that became the pride of not only Russian, but also world culture.

The artistic culture of the turn of the century is an important page in cultural heritage Russia. Ideological inconsistency and ambiguity were inherent not only in artistic trends and trends, but also in the work of individual writers, artists, and composers. It was a period of renewal of various types and genres. artistic creativity, rethinking, "general reassessment of values", in the words of M. V. Nesterov. Ambiguous attitude towards heritage revolutionary democrats even among progressively thinking cultural figures. The primacy of sociality in the Wanderers was seriously criticized by many realist artists.

In Russian artistic culture of the late XIX - early XX century. spread « decadence» , denoting such phenomena in art as the rejection of civic ideals and faith in reason, immersion in the sphere of individualistic experiences. These ideas were an expression of the social position of a part of the artistic intelligentsia, which tried to "get away" from the complexities of life into the world of dreams, irreality, and sometimes mysticism. But even in this way, she reflected in her work the crisis phenomena of the then social life.

Decadent moods captured the figures of various artistic movements, including the realistic one. However, more often these ideas were inherent in modernist movements.

concept "modernism"(French temerpe - modern) included many phenomena of literature and art of the twentieth century, born at the beginning of this century, new in comparison with the realism of the previous century. However, new artistic and aesthetic qualities also appeared in the realism of this time: the “framework” of a realistic vision of life was expanding, and the search for ways of self-expression of the individual in literature and art was underway. The characteristic features of art are synthesis, a mediated reflection of life, in contrast to critical realism nineteenth century with its inherent concrete reflection of reality. This feature of art is associated with the wide spread of neo-romanticism in literature, painting, music, the birth of a new stage realism.

At the beginning of the XX century. there were many literary movements. This is symbolism, and futurism, and even the ego-futurism of Igor Severyanin. All these directions are very different, have different ideals, pursue different goals, but they converge on one thing: to work on rhythm, in a word, to bring the game to perfection with sounds.

At the same time, the voice of a new generation of realism began to sound, protesting against the main principle realistic art- a direct image of the surrounding world. According to the ideologists of this generation, art, being a synthesis of two opposite principles - matter and spirit, is capable of not only "displaying", but also "transforming" the existing world, creating a new reality.

Chapter 1.Education

The modernization process included not only fundamental changes in the socio-economic and political spheres, but also a significant increase in literacy and the educational level of the population. To the credit of the government, this need was taken into account. Government spending on public education since 1900 to 1915 increased by more than 5 times.

The focus was on elementary school. The government intended to introduce universal elementary education. However, school reform was carried out inconsistently. Several types survive elementary school, the most common were parochial (in 1905 there were about 43 thousand of them). The number of zemstvo elementary schools increased (in 1904 there were 20.7 thousand, and in 1914 - 28.2 thousand). more than 2.5 million students studied in the elementary schools of the Ministry of Public Education, and in 1914. - about 6 million.

The restructuring of the secondary education system began. The number of gymnasiums and real schools grew. In gymnasiums, the number of hours devoted to the study of subjects of the natural and mathematical cycle increased. Graduates of real schools were given the right to enter higher technical educational institutions, and after passing the exam in Latin to the physics and mathematics departments of universities.

On the initiative of entrepreneurs, commercial (7-8-year) schools were created, which provided general education and special training. In them, unlike gymnasiums and real schools, joint education of boys and girls was introduced. In 1913 in 250 commercial schools, which were under the patronage of commercial and industrial capital, 55 thousand people studied, including 10 thousand girls. The number of secondary specialized educational institutions: industrial, technical, railway, mining, surveying, agricultural, etc.

The network of higher education institutions has expanded: new technical universities appeared in St. Petersburg, Novocherkassk, Tomsk. A university was opened in Saratov, new technical universities appeared in St. Petersburg, Novocherkassk, and Tomsk. To ensure the reform of primary schools in Moscow and St. Petersburg, pedagogical institutes, as well as over 30 higher courses for women, which marked the beginning of mass access for women to higher education. By 1914 there were about 100 higher educational institutions, in which approximately 130 thousand people studied. At the same time, over 60% of students did not belong to the nobility. Higher State Officials were trained in privileged educational institutions-lyceums.

However, despite advances in education, 3/4 of the country's population remained illiterate. Due to high tuition fees, secondary and higher schools were inaccessible to a significant part of the population. 43 kopecks were spent on education. per capita, while in England and Germany - about 4 rubles, in the USA - 7 rubles. (in terms of our money).

Chapter 2The science

Russia's entry into the era of industrialization was marked by success in the development of science. At the beginning of the XX century. the country made a significant contribution to world scientific and technological progress, which was called the "revolution in natural science", since the discoveries made during this period led to a revision of established ideas about the world around.

Physicist P. N. Lebedev for the first time in the world established the general patterns inherent in wave processes different nature(sonic, electromagnetic, hydraulic, etc.), made other discoveries in the field of wave physics. He created the first physics school in Russia.

N. E. Zhukovsky made a number of outstanding discoveries in the theory and practice of aircraft construction. The outstanding mechanic and mathematician S. A. Chaplygin was Zhukovsky’s student and colleague.

At the origins of modern astronautics was a nugget, a teacher of the Kaluga gymnasium Tsiolkovsky K.E. In 1903. he published a number of brilliant works that substantiated the possibility of space flights and determined the ways to achieve this goal.

The outstanding scientist V. I. Vernadsky gained worldwide fame thanks to his encyclopedic works, which served as the basis for the emergence of new scientific directions in geochemistry, biochemistry, and radiology. His teachings on the biosphere and noosphere laid the foundation for modern ecology. The innovation of the ideas expressed by him is fully realized only now, when the world is on the verge of an ecological catastrophe.

An unprecedented surge was characterized by research in the field of biology, psychology, and human physiology. Pavlov IP created the doctrine of higher nervous activity, of conditioned reflexes. In 1904 he was awarded Nobel Prize for research in the physiology of digestion. In 1908 The biologist II Mechnikov received the Nobel Prize for his work on immunology and infectious diseases.

The beginning of the 20th century is the heyday of the Russian historical science. The largest specialists in the field of national history were Klyuchevsky V.O., Kornilov A.A., Pavlov-Silvansky N.P., Platonov S.F. world history Vinogradov P.G., Vipper R.Yu., Tarle E.V. were engaged in. The Russian school of oriental studies gained world fame.

The beginning of the century was marked by the appearance of the works of representatives of the original Russian religious and philosophical thought (N. A. Berdyaev, N. I. Bulgakov, V. S. Solovyov, P. A. Florensky, etc.). great place in the works of philosophers, the so-called Russian idea was occupied - the problem of the originality of the historical path of Russia, the originality of its spiritual life, the special purpose of Russia in the world.

At the beginning of the 20th century, scientific and technical societies were popular. They united scientists, practitioners, amateur enthusiasts and existed on the contributions of their members, private donations. Some received small government subsidies. The most famous were: the Free Economic Society (it was founded back in 1765), the Society of History and Antiquities (1804), the Society of Lovers of Russian Literature (1811), Geographical, Technical, Physical and Chemical, Botanical, Metallurgical, several medical, agricultural, etc. These societies were not only the centers of research work, but also widely promoted scientific and technical knowledge among the population. characteristic feature scientific life At that time there were congresses of natural scientists, doctors, engineers, lawyers, archaeologists, etc.

Chapter 3Literature

The most revealing image "silver age" appeared in the literature. On the one hand, in the works of writers, stable traditions of critical realism were preserved. Tolstoy in his last works of art raised the problem of personal resistance to the rigid norms of life (“The Living Corpse”, “Father Sergius”, “After the Ball”). His letters of appeal to Nicholas II, journalistic articles are imbued with pain and anxiety for the fate of the country, the desire to influence the authorities, block the path to evil and protect all the oppressed. The main idea of Tolstoy's journalism is the impossibility of eliminating evil by violence. Anton Pavlovich Chekhov during these years created the plays "Three Sisters" and " The Cherry Orchard”, which reflected the important changes taking place in society. Socially pointed plots were also in honor among young writers. Ivan Alekseevich Bunin explored not only the external side of the processes that took place in the countryside (the stratification of the peasantry, the gradual withering away of the nobility), but also the psychological consequences of these phenomena, how they influenced the souls of Russian people (“Village”, “Sukhodol”, cycle “ peasant stories). Kuprin A. I. showed the unsightly side of army life: the disenfranchisement of soldiers, the emptiness and lack of spirituality of the “gentlemen of the officers” (“Duel”). One of the new phenomena in literature was the reflection in it of the life and struggle of the proletariat. The initiator of this theme was Maxim Gorky ("Enemies", "Mother").

The lyrics of the "Silver Age" are diverse and musical. The epithet "silver" itself sounds like a bell. The Silver Age is a whole constellation of poets. Poets - musicians. Poems of the Silver Age are the music of words. In these verses there was not a single superfluous sound, not a single unnecessary comma, out of place put a full stop. Everything is thoughtfully, clearly and musically.

In the first decade of the 20th century, a whole galaxy of talented "peasant" poets came to Russian poetry - Sergei Yesenin, Nikolai Klyuev, Sergei Klychkov.

The initiators of a new trend in art were symbolist poets who declared war on the materialistic worldview, arguing that faith and religion are the cornerstone of human existence and art. They believed that poets were endowed with the ability to join the beyond world through artistic symbols. Symbolism initially took the form of decadence. This term implied a mood of decadence, melancholy and hopelessness, a pronounced individualism. These features were characteristic of the early poetry of Balmont K.D., Alexander Blok, Bryusov V. Ya.

After 1909 comes new stage in the development of symbolism. It is painted in Slavophile tones, demonstrates contempt for the "rationalist" West, portends the death of Western civilization, represented, among other things, by official Russia. At the same time, he turns to natural popular forces, to Slavic paganism, tries to penetrate into the depths of the Russian soul and sees in the Russian folk life the roots of the "second birth" of the country. These motifs sounded especially bright in the work of Blok ( poetic cycles“On the Kulikovo Field”, “Motherland”) and A. Bely (“Silver Dove”, “Petersburg”). Russian symbolism has become a global phenomenon. It is with him that, first of all, the concept of the “Silver Age” is connected.

The opponents of the symbolists were the acmeists (from the Greek "acme" - the highest degree of something, blooming power). They denied the mystical aspirations of the Symbolists, proclaimed the intrinsic value real life, urged to return to the words their original meaning, freeing them from symbolic interpretations. The main criterion for evaluating the work of acmeists (Gumilyov N. S., Anna Akhmatova, O. E. Mandelstam)

impeccable aesthetic taste, beauty and refinement of the artistic word.

Russian art culture the beginning of the 20th century was influenced by the avant-garde that originated in the West and embraced all types of art. This trend absorbed various artistic movements that announced their break with traditional cultural property and proclaimed the idea of creating a "new art". The prominent representatives of the Russian avant-garde were the futurists (from the Latin "futurum" - the future). Their poetry was distinguished by increased attention not to the content, but to the form of poetic construction. The Futurists' software installations were oriented towards defiant anti-aestheticism. In their works, they used vulgar vocabulary, professional jargon, the language of documents, posters and posters. Collections of poems by the Futurists had characteristic titles: "A Slap in the Face of Public Taste", "Dead Moon" and others. Russian Futurism was represented by several poetic groups. The brightest names were collected by the St. Petersburg group "Gilea" - V. Khlebnikov, D. D. Burliuk, Vladimir Mayakovsky, A. E. Kruchenykh, V. V. Kamensky. Collections of poems and public performance I. Severyanina

Especially, the futurists succeeded in this. Futurism has completely abandoned the old literary traditions, "old language", "old words", proclaimed new form words, independent of content, i.e. literally invented a new language. Work on the word, sounds became an end in itself, while the meaning of the verses was completely forgotten. Take, for example, V. Khlebnikov's poem "The Turnover":

Horses, trampling, monk.

But not speech, but he is black.

We go young, down with copper.

Chin is called the sword backwards.

Hunger than the sword is long?

Fell a temper thin and the spirit of a crow's paws ...

There is no meaning in this poem, but it is remarkable in that each line is read both from left to right and from right to left.

New words appeared, invented, composed. From the word "laughter" alone, a whole poem "The Spell of Laughter" was born:

Oh, laugh out loud!

Oh, laugh laughers!

That they laugh with laughter, that they laugh with laughter,

Oh, laugh wickedly!

Oh, mocking laughter - the laughter of clever laughers!

Oh, laugh with laughter at these mocking laughers!

Smeivo, smeivo,

Laugh, laugh, chuckle, chuckle,

Laughs, laughs.

Oh, laugh, laughers!

Oh, laugh, laughers.

Glava 4.Painting

Similar processes took place in Russian painting. Strong positions were held by representatives of the realistic school, the Society of Wanderers was active. Repin I.E. graduated in 1906. grandiose canvas "Meeting of the State Council". In revealing the events of the past, Surikov V.I. was primarily interested in the people as historical strength, creativity in a person. The realistic foundations of creativity were also preserved by Nesterov M.V.

However, the trendsetter was the style, called "modern". Modernist searches affected the work of such major realist artists as Korovin K. A., Serov V. A.. Supporters of this trend united in the World of Art society. They took a critical stance against the Wanderers, believing that the latter, performing a function not inherent in art, harmed painting. Art, in their opinion, is an independent field of activity, and it should not depend on social influences. Over a long period (from 1898 to 1924), the World of Art included almost all major artists-- Benois A. N., Bakst L. S., Kustodiev B. M., Lansere E. E., Malyavin F. A., Roerich N. K., Somov K. A. trace in the development of not only painting, but also opera, ballet, decorative art, art criticism, and exhibition business. In 1907 in Moscow, an exhibition called "Blue Rose" was opened, in which 16 artists took part (Kuznetsov P.V., Sapunov N.N., Saryan M.S., etc.). It was a searching youth, striving to find their individuality in the synthesis of Western experience and national traditions. Representatives of the "Blue Rose" were associated with symbolist poets, whose performance was a modern attribute of the opening days. But symbolism in Russian painting has never been a single trend. It included, for example, such different artists as Vrubel M.A., Petrov-Vodkin K.S. and others.

A number of the largest masters - Kandinsky V.V., Lentulov A.V., Chagall M. 3., Filonov P.N. and others - entered the history of world culture as a representative of unique styles that combined avant-garde trends with Russian national traditions.

Chapter 5Sculpture

Sculpture also experienced a creative upsurge. Her awakening was largely due to the trends of Impressionism. P. P. Trubetskoy achieved significant success on the path of renewal. His sculptural portraits of Tolstoy, Witte, Chaliapin and others were widely known. An important milestone in the history of Russian monumental sculpture became a monument to Alexander III, opened in St. Petersburg in October 1909. It was conceived as a kind of antipode to another great monument - " Bronze Horseman» E. Falcone.

The combination of the tendencies of impressionism and modernity characterizes the work of A. S. Golubkina. At the same time, the main feature of her works is not the display of a specific image, but the creation of a generalized phenomenon: "Old Age" (1898), "Walking Man" (1903), "Soldier" (1907 ) "Sleepers" (1912), etc.

Konenkov S.T. left a significant mark in Russian art. His sculpture became the embodiment of the continuity of the traditions of realism in new directions. He went through a passion for the work of Michelangelo ("Samson"), Russian folk wooden sculpture(“Lesovik”), itinerant traditions (“Stonefighter”), traditional realistic portrait (“A.P. Chekhov”). And with all this, Konenkov remained a master of bright creative individuality. On the whole, the Russian sculptural school was little affected by avant-garde tendencies, and did not develop such a complex range of innovative aspirations, characteristic of painting.

Chapter 6Architecture

In the second half of the 19th century, new opportunities opened up for architecture. This was due to technological progress. The rapid growth of cities, their industrial equipment, the development of transport, changes in public life required new architectural solutions. Stations, restaurants, shops, markets, theaters and bank buildings were built not only in the capitals, but also in provincial cities. At the same time, the traditional construction of palaces, mansions, and estates continued. The main problem architecture began to search for a new style. And just like in painting, a new direction in architecture was called "modern". One of the features of this trend was the stylization of Russian architectural motifs - the so-called neo-Russian style.

Most famous architect, whose work largely determined the development of Russian, especially Moscow Art Nouveau, was F. O. Shekhtel. At the beginning of his work, he relied not on Russian, but on medieval Gothic patterns. The mansion of the manufacturer S.P. Ryabushinsky (1900-1902) was built in this style. In the future, Shekhtel repeatedly turned to the traditions of Russian wooden architecture. In this regard, the building of the Yaroslavsky railway station in Moscow (1902-1904) is very indicative. Subsequently, the architect is increasingly approaching the direction called "rationalist modern", which is characterized by a significant simplification of architectural forms and structures. The most significant buildings reflecting this trend were the Ryabushinsky Bank (1903), the printing house for the Morning of Russia newspaper (1907).

However, along with the architects new wave» Significant positions were held by admirers of neoclassicism (I. V. Zholtovsky), as well as masters using the technique of mixing different sculptural styles (eclecticism). The most indicative of this was the architectural design of the building of the Metropol Hotel in Moscow (1900), built according to the project of V. F. Valkot.

Chapter 7Music, ballet, theater, cinema

The beginning of the 20th century is the time of the creative rise of the great Russian innovative composers A. N. Scriabin. I. F. Stravinsky, S. I. Taneyev, S. V. Rachmaninov. In their work, they tried to go beyond traditional classical music, to create new musical forms and images. The musical performing culture also flourished significantly. Russian vocal school was represented by the names of outstanding opera singers F. I. Chaliapin, A. V. Nezhdanova, L. V. Sobinov,3. Ershov.

By the beginning of the XX century. Russian ballet has taken a leading position in the world choreographic art. The Russian school of ballet relied on the academic traditions of the late 19th century, on stage productions by the outstanding choreographer M. I. Petipa that had become classics. At the same time, Russian ballet has not escaped new trends. The young directors A. A. Gorsky and M. I. Fokin, in opposition to the aesthetics of academism, put forward the principle of picturesqueness, according to which not only the choreographer, composer, but also the artist became full-fledged authors of the performance. The ballets by Gorsky and Fokine were staged in walkie-talkies by K. A. Korovin, A. N. Benois, L. S. Bakst, N. K. Roerich.

The Russian ballet school of the "Silver Age" gave the world a galaxy of brilliant dancers - Anna Pavlova, T. Karsavin, V. Nijinsky and others.

A notable feature of the culture of the early XX century. were the work of outstanding theater directors. K. S. Stanislavsky, the founder of the psychological acting school, believed that the future of the theater was in deep psychological realism, in solving the most important tasks of acting transformation. V. E. Meyerhold searched in the field of theatrical conventionality, generalization, the use of elements of a folk show and

mask theater.

E. B. Vakhtangov preferred expressive, spectacular, joyful performances.

At the beginning of the 20th century, the tendency to combine different types of creative activity became more and more pronounced. At the head of this process was the "World of Art", uniting in its ranks not only artists, but also poets, philosophers, musicians. In 1908-1913. S. P. Diaghilev organized in Paris, London, Rome and other capitals of Western Europe "Russian Seasons", presented by ballet and opera performances, theater painting, music, etc.

In the first decade of the 20th century in Russia, following France, appeared the new kind art - cinema. In 1903 the first "electrotheatres" and "illusions" arose, and by 1914 about 4,000 cinemas had already been built. In 1908 the first Russian feature film "Stenka Razin and the Princess" was shot, and in 1911 the first full-length film "The Defense of Sevastopol" was shot. Cinematography developed rapidly and became very popular. In 1914 In Russia, there were about 30 domestic film companies. And although the bulk of film production was made up of films with primitive melodramatic plots, world-famous cinema figures appeared: director Ya. A. Protazanov, actors I. I. Mozzhukhin, V. V. Kholodnaya, A. G. Koonen. The undoubted merit of cinema was its accessibility to all segments of the population. Russian films, created mainly as screen adaptations classical works, became the first signs in the formation of " mass culture"- an indispensable attribute of bourgeois society.

Conclusion

How much new the "silver age" of poetry brought to the music of the word, what a huge amount of work has been done, how many new words and rhythms have been created, it seems that music and poetry have united. This is true, because many poems of the Silver Age poets have been set to music, and we listen and sing them, laugh and cry over them. . .

Much of the creative upsurge of that time entered the further development of Russian culture and is now the property of all Russians. cultured people. But then there was intoxication with creativity, novelty, tension, struggle, challenge.

In conclusion, with the words of N. Berdyaev, I would like to describe all the horror, all the tragedy of the situation in which the creators of spiritual culture, the color of the nation, the best minds not only in Russia, but also in the world, found themselves.

“The misfortune of the cultural renaissance of the beginning of the 20th century was that in it the cultural elite was isolated in a small circle and cut off from the broad social currents of that time. This had fatal consequences in the character that the Russian revolution assumed... The Russian people of that time lived on different floors and even in different centuries. The cultural renaissance did not have any wide social radiation .... Many supporters and spokesmen of the cultural renaissance remained leftist, sympathized with the revolution, but there was a cooling in social issues, there was an absorption in new problems of a philosophical, aesthetic, religious, mystical nature, which remained alien to people who actively participated in the social movement ... The intelligentsia committed an act of suicide. In Russia, before the revolution, two races were formed, as it were. And the fault was on both sides, that is, on the figures of the Renaissance, on their social and moral indifference ...

The schism characteristic of Russian history, the schism that grew throughout the 19th century, the abyss that unfolded between the upper refined cultural layer and in wide 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 to persecute the creators of culture... Figures of Russian spiritual culture in large part were forced to move abroad. In part, this was a retribution for the social indifference of the creators of spiritual culture.

Bibliography

1. Berdyaev N. Self-knowledge, M., 1990,

2. Danilov A.A., Kosulina L.G., National history, history of the state and peoples of Russia, M, 2003.

3. Zaichkin I. A., Pochkov I. N., Russian history from Catherine the Great to Alexander II,

4. Kondakov I.V., Culture of Russia, KDU, 2007.

5. Sakharov A. N., History of Russia

LECTURE #6

Silver age of Russian culture

The concept of the Silver Age.

A turning point in the life of Russia in late XIX- the beginning of the 20th century, associated with the transition to an industrial society, led to the destruction of many values and centuries-old foundations of people's lives. It seemed to change not only the world, but also ideas about good and evil, beautiful and ugly, etc.

Understanding these problems has affected the sphere of culture. The flowering of culture during this period was unprecedented. He embraced all kinds of creative activity, gave rise to a galaxy of brilliant names. This phenomenon is called the Silver Age of Russian culture (the Golden Age is considered the first third of XIX V.). The Silver Age is characterized greatest achievements in culture, but the culture itself has become more complex, and the results of creative activity - more controversial.

Science and technology.

At the beginning of the XX century. The main headquarters of national science remained the Academy of Sciences with a developed system of institutes. Universities with their scientific societies, as well as all-Russian congresses of scientists, played a significant role in the training of scientific personnel and the development of science.

Great advances were made in mechanics and mathematics, which made it possible to develop new areas of science - aeronautics and electrical engineering. Of great importance for this were the research, the creator of hydro - and aerodynamics, the author of works on the theory of aviation, which served as the basis for aviation science.

In 1913, in St. Petersburg, at the Russian-Baltic Plant, the first domestic aircraft "Russian Knight * to" Ilya Muromets * designs were built. In 1911 he created the world's first backpack parachute.

A teacher from Tsiolkovsky in 1903 published an article entitled "Investigation of the World Spaces with Reactive Devices", which outlined the theory of rocket motion. This laid the foundation for future space flights.

The works became an impetus for the development of biochemistry, biogeochemistry and radiogeology. The scientist was distinguished by the breadth of interests, he raised deep problems and foresaw discoveries in various fields.

The great Russian physiologist created the doctrine of conditioned reflexes, in which he gave a materialistic explanation of the higher nervous activity of man and animals.

In 1904, for research in the field of physiology of digestion, the first Russian scientist was awarded the Nobel Prize. Four years later (1908) he was awarded this prize for his work in the field of immunology and infectious diseases.

"Milestones".

Soon after the revolution of 1905-1907. several well-known liberal philosophers and publicists (,) published the book Milestones. Collection of articles about the Russian intelligentsia" (1908).

The authors of Vekhi believed that the revolution should have ended after the adoption of the October 17 Manifesto, as a result of which the intelligentsia received those political freedoms that they had always dreamed of. The intelligentsia was accused of ignoring the national and religious interests of Russia, suppressing dissidents, disrespecting the law, inciting the darkest instincts among the masses. The Vekhi people claimed that the Russian intelligentsia was alien to their people, who hated it and would never understand it.

Many publicists, primarily supporters of the Cadets, came out against the Vekhi people. Their articles were published by the popular newspaper Novoye Vremya.

Vodkin gave the national traditions of painting special form. His "Bathing of the Red Horse" resembles the image of St. George the Victorious, and in "Girls on the Volga" there is a clear connection with realistic painting.

XIX century.

Music.

The largest Russian composers of the early XX century. There were also those whose creative work, agitated and tense in character, was especially close to wide social circles during the period of anticipation of the revolution of 1919. Scriabin evolved from romanticism to symbolism, foreseeing many of the innovative trends of the revolutionary era. The structure of Rachmaninov's music was more traditional, it felt a connection with the musical heritage of the past century. In his works, the state of mind was usually combined with pictures of the outside world, the poetry of Russian nature, or images of the past.

QUESTIONS AND TASKS

1. What is the Silver Age of Russian culture?

2. Tell us about the development of science and technology at the beginning of the 20th century.

4. What trends in literature existed at the beginning of the 20th century?

5. What was new in painting and music at the beginning of the 20th century?