History lesson. 11th grade. "Russian culture of the late XIX - early XX centuries"

At the end of the 19th century, the conditions for the development of Russian culture changed significantly. In the 90s economic culture The industrial revolution was completed, machine-factory production with industrial technology of metallurgy and mechanical engineering was formed. New industrial areas have emerged in Baku, Donbass, and around both capitals. Railways were intensively built, including the Trans-Siberian Railway (1891-1905).

Developed quickly scientific culture. I.P. Pavlov studied the physiology of digestion, for which he was awarded the Nobel Prize in 1904. In 1908, biologist I.I. received the Nobel Prize. Mechnikov. V.V. Dokuchaev created the doctrine of natural zones. Geographers and geologists studied the territory of Russia and made difficult journeys. The research of N.M. has received worldwide recognition. Przhevalsky (he studied Central Asia). In 1892, the Siberian Road Committee was organized, which began an in-depth study of Siberia, its natural conditions and resources. At the same time, a geological map of the European part of Russia was published, and in 1913, geological surveys of Siberia and the Far East began. Mineralogist V.I. Vernadsky at the beginning of the twentieth century founded a new science - geochemistry. In 1885, the most powerful telescope at that time was installed at the Pulkovo Astronomical Observatory. Wonderful mathematical schools have emerged (P.L. Chebyshev, A.A. Markov, A.M. Lyapunov, V.A. Steklov, N.N. Luzin, etc.). Physics developed: A.G. Stoletov invented the photocell in 1888, P.N. Lebedev experimentally proved the pressure of light on solids and gases. A.S. Popov developed radio communication technology. Russian engineers created new technical designs: in 1897, according to the design of V.G. Shukhov, the largest oil pipeline at that time was built (1897); in 1899 it was built according to the design of S.O. Makarov, the world's first icebreaker "Ermak", in 1911 G.E. Kotelnikov invented a backpack parachute, in 1913 I.I. Sikorsky built the world's first multi-engine aircraft, the Russian Knight, then the Ilya Muromets.

At all the development of economic culture, technology, and scientific culture at that time was distinguished by enviable dynamism. The Stolypin reform sharply increased the demand for agricultural machinery and helped increase the export of agricultural products; the energy supply per industrial worker was higher than in Germany. By the beginning of the First World War (1914), Russia was confidently increasing its potential in all spheres of culture, not excluding political and legal.

Played a significant role in the development of Russian culture at the end of the 19th and beginning of the 20th centuries. philosophical culture. Firstly, the philosophy of populism was quite influential (Lavrov, Mikhailovsky, Bakunin, etc.); secondly, Leninism was formed and spread its ideas - the Russian version of Marxism, which turned into Bolshevism at the turn of the century and determined the fate of Russia for more than eighty years. Along with this, G. Shpet worked in line with phenomenology, N. Berdyaevi and L. Shestov - religious existentialism. V. Solovyov developed a philosophy of unity, a religious philosophical system, which largely determined the directions of S.N.’s philosophical searches. and E.N. Trubetskoy, D. Merezhkovsky, S. Bulgakov, V. Rozanov and others. Teachings of V.S. Solovyov also had a strong influence on Russian art. His ideas formed the basis of one of the most notable styles of Russian artistic culture of the late 19th and early 20th centuries. - symbolism.

The most impressive achievements of this period are associated with artistic culture. In Russian literature on the history of art, it is customary to call the end of the 19th and beginning of the 20th centuries the “silver age,” meaning that the first three quarters of the 19th century are considered the “golden age.” The realistic traditions of the “golden age” continued in literature: L.N. Tolstoy(“Resurrection”, 1889-99; “Hadji Murat”, 1896-1904; “Living Corpse”, 1900), A.P. Chekhov (1860-1904), I.A. Bunin(1870-1953), A.I. Kuprin (1870-1953).

Neo-romanticism appeared, the most prominent representative of which was A.M. Gorky (1868-1936, “Makar Chudra”, “Chelkash”, etc.)

At the same time, the influence of modernism, which had developed in the West by that time, was felt. In Russian literature this was realized in the form of symbolism. Symbolism strived for spiritual freedom and expressed distrust of generally accepted cultural values. The symbolists set themselves the task of using art to change for the better, to bring harmony to society and to people. To achieve this, first of all, art itself had to change, merging with philosophy and religion. It was intended to express a certain reality that is hidden beyond human sensory perception - the ideal essence of the world, its “imperishable beauty” . This could be done, the symbolists thought, with the help of symbols. Konstantin Balmont (1867-1942), Dmitry Merezhkovsky (1865-1941), Zinaida Gippius (1869-1945), Fyodor Sologub (1862-1927), Andrei Bely (1886-1954), Valery Bryusov (1873-1924) considered themselves symbolists. , Innokenty Annensky (1855-1909), Alexander Blok (1880-1921). The works of Russian symbolists often featured themes of weariness, lassitude, apathy, passivity, and lack of will. Many of them accepted the Bolshevik revolution as a necessary step in the history of culture and the country as a whole.

During the same period, the creative path of poets S. Yesenin and V. Mayakovsky, M. Tsvetaeva, L. Gumilyov and A. Akhmatova, O. Mandelstam, V. Khlebnikov, B. Pasternak and others began.

In 1898, K.S. was founded in Moscow. Stanislavsky (1863-1938) and V.I. Nemirovich-Danchenko (1958-1943) Art Theater (now the Moscow Art Theater), where new principles of theatrical art were developed. Student of Stanislavsky E.B. Vakhtangov (1883-1922) created joyful, spectacular performances: “The Miracle of St. Anthony” by M. Maeterlinck, “Princess Turandot” by C. Gozzi, etc. The great dramatic actresses M. Ermolova and V. Komissarzhevskaya worked. Musical theater developed successfully: in the St. Petersburg Mariinsky and Moscow Bolshoi theaters, in the private operas of S.I. Mamontov and S.I. Zimin in Moscow was sung by representatives of the Russian vocal school, world-class soloists F.I. Chaliapin (1873-1938), L.V. Sobinov (1872-1934), N.V. Nezhdanov (1873-1950). The choreographer M.M. worked in the ballet. Fokin (1880-1942), ballerina A.P. Pavlova (1881-1931).

S.V. started creating their own music. Rachmaninov, A.N. Scriabin, I.F. Stravinsky, who declared an interest in philosophical and ethical problems.

In architecture, thanks to the beginning of the use of reinforced concrete and metal structures, buildings in the Art Nouveau style began to appear. In Moscow, the architect Fyodor Shekhtel (1859-1926) worked in this style, creating designs for the mansions of Ryabushinsky (now the A.M. Gorky Museum) and Morozov (reception room of the Russian Foreign Ministry), the building of the Moscow Art Theater (Kamergersky Lane), the building of the Theater named after. Mayakovsky, Yaroslavsky station building, etc.

The most interesting changes took place in the visual arts. Russian painters of the “Silver Age” V.V. Kandinsky (1866-1944) and K.S. Malevich (1878-1935) were among the world's founders of abstract painting. M. Larionov and N. Goncharova created their original modernist style “rayonism”. The traditions of ancient Russian icon painting were visible in the paintings of K.S. Petrova-Vodkina (“Bathing the Red Horse”, 1912).

The World of Art association, which published a magazine of the same name in 1898-1904, had a great influence on the development of Russian artistic culture. The founders and leaders of the association were the talented organizer, impresario and entrepreneur S. Diaghilev (he edited a magazine) and the artist A. Benois. The artists participating in the movement were L. S. Bakst, M. V. Dobuzhinsky, E. E. Lancere, A. P. Ostroumova-Lebedeva, M. Vrubel, K. A. Somov, K. Korovin, E. Lancere, V. Serov and others. “Mirskusniki” criticized the political and social engagement of Itinerant realism and the canonicity and narrow-mindedness of academicism. They talked about the intrinsic value of art, that art in itself is capable of transforming life. Art critics note the refined decorativeness, stylization, and graceful ornamentation of the paintings and graphics of the World of Art. The movement introduced the tradition of working on theatrical scenery, book graphics, and prints .

S. Diaghilev organizes a number of exhibitions of Russian art in Western Europe, and then the “Russian Seasons” that amazed Paris and the whole world. They hosted concerts, opera and ballet performances, and art exhibitions. It was then that the entire Western world started talking about Russian art and Russian culture.

The brilliant rise of Russian art in the “Silver Age” was first slowed down by the Bolshevik coup of October 1917, and in the Soviet years it was completely forgotten and partially banned. However, today his legacy again occupies its rightful place in Russian culture.

Self-test questions

What century in Russian history is called “rebellious” and why?

What is the significance of Peter’s reforms for the development of Russian culture?

Remember the main monuments of Russian artistic culture in the 16th-17th centuries.

What are the main features of the development of Russian culture in the era of Peter the Great?

How did the economic culture of Russia develop in the 18th-19th centuries?

What is the cultural significance of the reforms carried out in Russia in the 19th century?

What are the main features of the development of the political culture of the Russian Empire?

What are the features of the value system of Russian society that developed in the 17th-19th centuries?

How did the artistic culture of Russia develop in the 18th-19th centuries?

Which figures most clearly represent the development of artistic culture in Russia in the 18th-19th centuries? Why is the 19th century called the “golden age” of Russian culture?

What period is called the “Silver Age” of Russian culture? Why?

What is decadence, symbolism, acmeism, futurism?

What are the main directions of avant-garde movements in Russian painting of the “Silver Age”, who represented them?

What are “Russian seasons in Paris”, who organized them?

In order to well understand the features of Russian culture at the turn of the 19th-20th centuries, you need to have an idea of ​​the nature of domestic law, economics and politics of this period. This is key. The role of Russian culture cannot be overestimated. Thanks to Peter's reforms, an absolute monarchy was established in the empire, as well as the legislative design of the bureaucracy. This was especially reflected in the “golden age” of Catherine II.

Events of the early 19th century

The century was marked by the ministerial reform of Alexander I. In practice, it was carried out in order to strengthen the feudal-absolutist order. At the same time, it is necessary to take into account the influence of the new “spirit of the times”. First of all, the reflection of the Great French Revolution on the entire Russian culture can be traced. The love of freedom is one of its archetypes. It is glorified by all Russian poetry, starting from Tsvetaeva and ending with Pushkin. After the ministries were established, further bureaucratization of administration took place. In addition, the central apparatus of the Russian Empire was improved. The establishment of the State Council is an essential element of Europeanization and modernization of the entire system. Its main functions are: ensuring the uniformity of legal norms and centralizing legislative affairs.

Golden period

Russian culture of the late 19th and early 20th centuries developed very intensively. This process was strongly influenced by advanced Western European thoughts and world revolutionary progress. The close relationship between Russian culture and others also had an impact. This was the period when French utopian socialism and German classical philosophy developed. These ideas have become very popular throughout the state. Russian culture of the early 19th century was strongly influenced by the legacy left over from previous generations. New shoots of creativity in literature sprouted precisely thanks to him. This also applies to the fields of culture, painting and poetry. The works of F. Dostoevsky, P. Melnikov-Pechersky, N. Leskov and N. Gogol are permeated with the traditions of ancient Russian religious culture. It is also impossible not to note the work of other literary geniuses, whose attitude towards Orthodox movements was more controversial. We are talking about A. Blok, L. Tolstoy, A. Pushkin and so on. An indelible stamp can be traced in their work, which testifies to their Orthodox roots. Also, we must not forget the skeptical I. Turgenev. His work “Living Relics” presents an image of popular holiness. Also of great interest is the Russian artistic culture of that time. We are talking about paintings by K. Petrov-Vodkin, M. Vrubel, M. Nesterov. The origins of their creativity lie in Orthodox icon painting. Ancient church singing became a striking phenomenon in the history of musical culture. This also includes the later experiments of S. Rachmaninov, P. Tchaikovsky and D. Bortnyansky.

Main contributions

Russian culture of the late 19th and early 20th centuries absorbed the best achievements of other peoples and countries. At the same time, she did not lose her originality. In addition, it had a significant influence on the development of other cultures. As for the history of European peoples, it has left a considerable mark. First of all, we are talking about religious Russian thought. It was formed under the influence of the West. In turn, Western European culture was influenced by theology and philosophy. This is especially evident in the first half of the 20th century. A significant contribution to the development of Russian culture was made by the works of M. Bakunin, N. Berdyaev, P. Florensky, S. Bulgakov, V. Solovyov, as well as many others. We must not forget about the “thunderstorm of the twelfth year.” We are talking about a strong impetus for the development of Russian culture. The Patriotic War is inextricably linked with the growth of national self-awareness and the formation of “Decemberism”. It also influenced the traditions of Russian culture. V. Belinsky wrote that that year shocked the whole country, and at the same time aroused people's pride and consciousness.

Features of the historical process

His pace was noticeably faster. This is due to the factors described above. The differentiation of different areas of cultural activity was in full swing. This is especially true in science. The cultural process itself also became more complicated. There was greater mutual influence of various spheres. In particular, this applies to music, literature, philosophy, and so on. It should also be noted that the processes of interaction between the constituent elements of national culture have intensified. This is the official part of it, which was sponsored by the state, and the area of ​​​​the masses (that is, the folklore layer). The latter comes from the depths of East Slavic tribal unions. This layer was formed in Ancient Rus'. It fully existed throughout Russian history. As for the depths of official state culture, the presence of an “elite” layer can be traced here. She served the ruling class. First of all, this applies to the royal court and aristocracy. This layer was quite susceptible to foreign innovations. In this case, it is advisable to mention the romantic painting of A. Ivanov, K. Bryullov, V. Tropinin, O. Kiprensky and other famous artists of the 19th century.

18th century influence

In the first half of it, commoner intellectuals appeared. By the end of the century, a special social group had emerged. We are talking about the serf intelligentsia. It included poets, musicians, architects and painters. If at the beginning of the century the leading roles belonged to the noble intelligentsia, then at the end - to the commoners. People from peasant backgrounds began to join this layer. This was especially felt after the abolition of serfdom. The commoners could include educated representatives of the democratic and liberal bourgeoisie. It was impossible to say that they belonged to the nobility. Rather, they can be attributed to the peasantry, merchants, petty bourgeoisie and bureaucrats. This confirms such important features of Russian culture as the beginning of its democratization processes. Their essence lies in the fact that not only members of the privileged classes became educated figures. However, the leading place still belonged to them. The number of scientists, composers, artists, poets, and writers from unprivileged classes increased. In particular, this applies to the serf peasantry, mainly from the circle of commoners.

Fruits of the 19th century

The art of Russian culture continues to actively develop. Literature becomes its leading field. First of all, the influence of progressive liberation ideology can be seen here. In fact, many works of that period are filled with revolutionary, militant appeals, as well as political pamphlets. This is the most important meaning of Russian culture. She was a great inspiration to progressive youth. The reign of the spirit of struggle and opposition was felt. It permeated the works of progressive writers. Thus, literature became one of the most active forces in society. You can take, for example, the richest world classics and compare Russian culture. Even against this background, the literature of the last century appears as an exceptional phenomenon. Tolstoy's prose and Pushkin's poetry can be called a real miracle. It is no coincidence that Yasnaya Polyana became an intellectual capital.

Contribution of A. Pushkin

It is difficult to say what Russian culture would be like without him. A. Pushkin is the founder of domestic realism. Suffice it to recall "Eugene Onegin". This novel in verse was called by the famous critic an encyclopedia of Russian life. This is the highest expression of realism in the works of genius. Also, outstanding examples of this direction of literature include the stories “Dubrovsky”, “The Captain’s Daughter”, and the drama “Boris Godunov”. As for Pushkin’s global significance, it is inextricably linked with an understanding of the universal significance of the tradition that he himself created. He paved the literary path for A. Chekhov, L. Tolstoy, F. Dostoevsky, I. Turgenev, N. Gogol, M. Lermontov. It has become a full-fledged fact of Russian culture. In addition, this road represents the most important moment in the spiritual development of humanity.

Lermontov's contribution

He can be called Pushkin's successor and younger contemporary. First of all, it is worth highlighting “Hero of Our Time”. It is impossible not to note its consonance with the novel "Eugene Onegin". Meanwhile, "Hero of Our Time" is the pinnacle of Lermontov's realism. His work represents the highest point in the evolution of poetry in the post-Pushkin era. Thanks to this, new paths were opened for the development of Russian prose. Byron's work is the main aesthetic reference point. Russian romantic individualism implies the presence of a cult of titanic passions. This also includes lyrical expression and extreme situations, which are combined with philosophical self-absorption. Thus, Lermontov’s attraction to lyric epic poem, romance and ballad becomes clear. Love occupies a special place in them. Also, do not forget about the “dialectics of feelings” - Lermontov’s method of psychological analysis, which made a significant contribution to subsequent literature.

Gogol's research

His work developed in the direction from romantic forms to realism. Gogol's works contributed a lot to the development of Russian literature. As an example, we can take “Evenings on a Farm near Dikanka.” The concept of Little Russia is embodied here - a sort of Slavic Ancient Rome. It’s like a whole continent on the map of the universe. Dikanka is its unique center, the focus of national destiny and spiritual specificity. In addition, Gogol founded a “natural school”. We are talking about critical realism. Russian culture of the 20th century was marked by worldwide recognition of Gogol. From that very moment he became an active and growing element of world literary progress. His work has a deep philosophical potential, which is gradually emerging.

Tolstoy's contribution

His brilliant creativity deserves special attention. It became a new stage in the development of world and Russian realism. First of all, it is worth highlighting the power and novelty of Tolstoy’s creativity. Here a lot depended on the democratic roots of his activities, moral searches and worldview. Tolstoy's realism is distinguished by a special truthfulness. It is also impossible not to highlight the directness and frankness of the tone. The consequence of this is a sharp revelation of social contradictions and crushing force. "War and Peace" is a special phenomenon in world and Russian literature. This is a unique phenomenon of Tolstoy's art. We are talking about a brilliant combination of a multi-figure epic “fresco” and a psychological novel on a grand scale. The first part of the work was published a very long time ago. During this time, several generations of readers have changed. Nevertheless, "War and Peace" continues to be a relevant work for all ages. Yu. Nagibin, a modern writer, called this work an eternal companion of man. It is dedicated to the disastrous war of the 19th century. It affirms the moral idea of ​​the triumph of life over death. Russian culture of the 20th century attached enormous importance to this.

Dostoevsky's research

One can only marvel at their titanic character. Dostoevsky is a great Russian writer. His moral researches are somewhat different from Tolstoy's. First of all, this is manifested in the lack of analysis of epic proportions. That is, there is no description of what is happening. We have to “go underground.” This is the only way to see what is really happening. Thanks to this, it is possible to look at ourselves. Dostoevsky had an amazing ability, which was to penetrate into the very essence of the human soul. As a result, they were given a description of modern nihilism. This attitude of mind was indelibly characterized by him. Readers are still fascinated by the inexplicable accuracy and depth. As for ancient nihilism, it was inextricably linked with Epicureanism and skepticism. His ideal is noble serenity. This also refers to achieving peace of mind in the face of the vicissitudes of fortune.

Alexander the Great was once deeply impressed by the nihilism of Ancient India. Those around him felt the same. If we take into account the philosophical attitude, then this is somewhat similar to the position of Pyrrho from Elis. The result is contemplation of emptiness. As for Nagarjuna, for him and his followers nihilism represented the threshold of religion.

The modern trend is somewhat different from the past. Its basis continues to be intellectual conviction. This is not a blessed state of equanimity or philosophical dispassion. Rather, it is about the inability to create and affirm. This is not a philosophy, but a spiritual flaw.

The main stages of the flowering of musical art

The 19th century was distinguished by the intensive development of literature. Along with this, the musical culture of Russia shone brightly. At the same time, she was in close interaction with literature. Thus, Russian artistic culture was intensively enriched. Completely new images appeared. Rimsky-Korsakov's aesthetic ideal lies at the heart of his musical work. The beautiful in art is an absolute value for him. His operas are filled with images of a highly poetic world. This clearly shows that art has a dual power. It transforms and conquers a person. In Rimsky-Korsakov, this function of art is combined with his idea of ​​​​the quality of a means for moral improvement. This cult is inextricably linked with the romantic affirmation of Man the Creator. He is involved in a confrontation with the alienating tendencies of the past. This music elevates everything human. Its goal is to bring salvation from the “terrible seductions” that are inherent in the bourgeois age. This is another meaning of Russian culture. It brings benefit to society and achieves a great civic purpose. The work of P. Tchaikovsky made a huge contribution to the flourishing of Russian musical culture. He wrote many wonderful works. The opera "Eugene Onegin" was experimental in nature. In addition, the author himself interprets it as “lyrical scenes.” The innovative essence of the opera lies in reflecting new advanced literature.

The period of the second half of the XIX - early XX centuries. is rightfully considered the Silver Age of Russian culture (a detailed table is presented below). The spiritual life of society is rich and diverse.

The political changes that occurred after the reforms of Alexander II were not as significant as the social and psychological changes. Given greater freedom and food for thought, scientists, writers, philosophers, musicians and artists seem to be eager to make up for lost time. According to N.A. Berdyaev, having entered the 20th century. Russia has experienced an era comparable in significance to the Renaissance; in fact, this is the time of the Renaissance of Russian culture.

Main reasons for rapid cultural growth

A significant leap in all spheres of the country’s cultural life was facilitated by:

• new schools opened in large numbers;
• an increase in the percentage of literate, and therefore reading, people to 54% by 1913 among men and 26% among women;
• an increase in the number of people wishing to enroll in university.

Government spending on education is gradually increasing. In the second half of the 19th century. The state treasury allocates 40 million rubles a year for education, and in 1914 no less than 300 million. The number of voluntary educational societies, which could be attended by a wide variety of segments of the population, and the number of public universities are increasing. All this contributes to the popularization of culture in such areas as literature, painting, sculpture, architecture, and science is developing.

Culture of Russia in the second half of the 19th - early 20th centuries.

Russian scientists, artists, painters and writers are gaining fame abroad. The achievements of Russian culture of the period under review are receiving worldwide recognition. The names of Russian travelers and discoverers adorn world maps. The artistic forms that originated in Russia have a significant influence on foreign culture, many of whose representatives now prefer to look up to Russian writers, sculptors, poets, scientists and artists.

The turn of the 19th–20th centuries is a period of a new rise in Russian culture. This is a time of rethinking the traditions and values ​​of Russian and world culture of the 19th century. It is filled with religious and philosophical quests, rethinking the role of the artist’s creative activity, its genres and forms.

A feature of Russian culture of this period is the formation of a dual path of development: realism and decadence, united at the present stage by the concept of “Silver Age” culture. This testifies to the dualistic perception of the world, so characteristic of both romanticism and new art. The first path of cultural development concentrated in itself the traditions of the 19th century, the aesthetics of the Wanderers and the philosophy of populism. The second path was developed by the aesthetic intelligentsia, which broke ties with the raznochinstvo.

Decadence in Russia became a reflection of religious philosophy, incorporating the aesthetics of symbolism. Western European culture also developed in a multifaceted way, where decadence and symbolism were parallel trends in poetry and philosophy. In Russia, both of these concepts quickly become synonymous. This leads to the formation of two schools: Moscow and St. Petersburg, which developed both aesthetic concepts. If the St. Petersburg school sought to overcome individualism on the basis of the mystical and religious philosophy of Vl. Solovyov, the Moscow school most fully absorbed European traditions. There was a special interest here in the philosophy of Schopenhauer and Nietzsche, and in the synaestheticism of French poetry.

An analysis of the socio-cultural life of the late 19th century shows that the mood of a certain stability widespread in society in the 80s is being replaced by some kind of psychological tension, the expectation of a “great revolution” (L. Tolstoy). In one of his letters in 1901, M. Gorky noted that “the new century will truly be a century of spiritual renewal.”

Since the mid-90s, a social upsurge has begun again in the socio-political life of Russia, a feature of which has become a broad liberal movement and the participation of workers in revolutionary democratic uprisings.

The Russian intelligentsia turned out to be almost helpless in the face of the new demands of political development: a multi-party system was inevitably developing, and actual practice was significantly ahead of the theoretical understanding of the principles of the new political culture.

All these trends occurred against the background of the growing diversity of spiritual life that accompanied the development of capitalism and the weakening of authoritarian control by the autocracy.

The diversity of forces fighting in the political arena and the special character of the Russian revolution influenced culture, the creative and ideological quests of its leaders, and opened up new paths for socio-cultural development. The complexity and inconsistency of historical reality determined the diversity of forms of the cultural-historical process.

Philosophical and aesthetic thought in Russia as an independent branch of knowledge developed with some delay and at the turn of the 19th - 20th centuries had a number of features, due, first of all, to the border position of Russians between Europe and Asia and their unique spiritual world. The cultural theories of that time were given particular specificity by the feeling of instability, instability, uncertainty and nervousness in Russian culture of the late 19th and early 20th centuries.

In Russian philosophical and aesthetic thought of the 19th - first half of the 20th centuries. the predecessor of Russian cosmism N.F. Fedorov contributed; philosopher V.V. Rozanov, who proclaimed family and sex life to be the basis of faith; proponent of the reconciliation of science and religion S.L. Frank, who contributed to the formation of an existentialist view of culture; the prophet of future world catastrophes and the creator of the philosophy of the absurdity and tragedy of human existence L.I. Shestakov, who spoke out against the dictates of reason over the spiritual freedom of the individual, etc.

The complex social processes that engulfed Russia in the late 19th and early 20th centuries, growing political instability, and the search for ways to further develop the country made the discussion of social science issues especially relevant. It included representatives of a wide variety of scientific specialties and ideological movements. An important factor in the ideological development of Russia was the spread of Marxism. The largest theorists of Russian Marxism were the leaders of the social democratic movement V.I. Lenin, G.V. Plekhanov, N.I. Bukharin. The positions of “legal Marxism” were initially occupied by the famous Russian philosopher N.A. Berdyaev, who later switched to seeking God in the spirit of religious existentialism, and the economist M.I. Tugan-Baranovsky. The most significant of the non-Marxist thinkers were the sociologist P.A. Sorokin, who emigrated from the country after the revolution; economist, philosopher and historian P.B. Struve. Russian religious philosophy was bright and original. Its most significant representatives are V.S. Solovyov, Prince S.N. Trubetskoy, S.N. Bulgakov, P.A. Florensky.

The leading direction in the literary process of the second half of the 19th century was critical realism. It is reflected especially clearly in the works of A.P. Chekhov. Talent A.P. Chekhov manifested himself, first of all, in stories and plays in which the writer amazingly accurately, with subtle humor and slight sadness showed the life of ordinary people - provincial landowners, zemstvo doctors, county young ladies, behind the monotonous course of whose lives arose a real tragedy - unfulfilled dreams, unrealized aspirations that turned out to be useless to anyone - power, knowledge, love.

The appearance of Russian literature changed quite seriously at the turn of the century. Maxim Gorky entered Russian culture with a bright and original talent. Coming from the people, shaped as a personality thanks to persistent self-education, he enriched Russian literature with images of extraordinary strength and novelty. Gorky took a direct part in the revolutionary movement, actively promoting the activities of the RSDLP. He put his literary talent at the service of the political struggle. At the same time, Gorky’s entire work cannot be reduced only to narrow political enlightenment. As a real talent, he was wider than any ideological boundaries. His “Song of the Petrel”, the autobiographical trilogy “Childhood”, “In People”, “My Universities”, the plays “At the Depths”, “Vassa Zheleznova”, and the novel “The Life of Klim Samgin” are of enduring importance.

A significant role in the literary life of the turn of the century was played by V. G. Korolenko (“The History of My Contemporary”), L. N. Andreev (“Red Laughter”, “The Tale of the Seven Hanged Men”), A. I. Kuprin (“Olesya”, “The Pit”, “Pomegranate Bracelet”), I. A. Bunin (“Antonov Apples”, “Village”).

Great changes occurred at the turn of the century in poetry. Critical realism of poets of the second half of the 19th century. is replaced by the innovative, free-flight of artistic imagination, mysterious, whimsical, mystical poetry of the “Silver Age”. A characteristic feature of the life of the poetic environment of that time was the emergence of artistic associations that professed certain creative principles. One of the first to emerge was the Symbolist movement. It was formed in 1890–1900. The first generation of symbolists included D.S. Merezhkovsky, Z. Gippius, K.D. Balmont, V.Ya. Bryusov, F. Sologub. The second includes A.A. Blok, A. Bely, V.I. Ivanov.

The key to the aesthetics of symbolism was the desire to convey one’s sense of the world through poetic “symbols”, peculiar half-hints, for the correct understanding of which it was necessary to abstract from the direct, mundane perception of reality and intuitively see, or rather, feel in everyday images a sign of a higher mystical essence, to touch the global the secrets of the universe, to Eternity, etc.

Later, a new poetic direction, acmeism, emerged from symbolism (from the Greek akme - tip, highest point of flowering). The works of N.S. Gumilyov, the early works of O.E. Mandelstam, A.A. Akhmatova belong to it. The Acmeists abandoned the aesthetics of allusion inherent in symbolism. They are characterized by a return to clear, simple poetic language and a precise, “tangible” image.

The literary activity of the masters of the Russian avant-garde was distinguished by true innovation. In 1913, a movement arose called futurism (from the Latin futurum - future). Futurists, among whom there were many very talented poets (V.V. Mayakovsky, A.E. Kruchenykh, the Burlyuk brothers, I. Severyanin, V. Khlebnikov), were characterized by bold experiments with words and poetic form. The works of the futurists - the “poetry of the future” - were sometimes very coldly perceived by the reading public, but the creative search that they conducted had a huge impact on the further development of Russian literature.

Federal Agency for Education

State educational institution

Higher professional education

Kuzbass State Technical University

Department: National history, theory and history of culture

Discipline: Cultural Studies

Test No. 1

"Russian culture of the late 19th and early 20th centuries"

Option 16

Code 099-463

Completed by: Saigina M.V.

Kemerovo region, Topkinsky district,

Razdolye village, microdistrict 1, 12

Kemerovo, 2010

Task 4. Run tests

.Theorists and practitioners of symbolism include:

A) N. Gumilev

B) V. Bryusov

B) A. Blok

D) M. Vrubel

D) M. Tsvetaeva

Correct answer: B, C, D

The World of Art association included:

A) V. Mayakovsky

B) K. Somov

B) E. Lansere

D) L. Bakst

D) A. Benoit

E) V. Vasnetsov

Correct answer: B, C, D, D

.Match the work with the author:

A) “The King’s Walk” A) M. Nesterov

B) “The Rape of Europe” B) N. Roerich

B) “Overseas Guests” B) A. Benois

D) “Portrait of F. Chaliapin” D) V. Serov

D) “Vision to the youth Bartholomew D) B. Kustodiev

Correct answer: A-C, B-D, C-B, D-D, D-A

Task 1. Cover the problem: “Silver Age” of Russian literature”

The 19th century, the “golden age” of Russian literature, ended, and the 20th century began. This turning point went down in history under the beautiful name of the “Silver Age”. Turn of the century proved to be a favorable basis for this period. It gave birth to the great rise of Russian culture and became the beginning of its tragic fall. The beginning of the “Silver Age” is usually attributed to the 90s of the 19th century, when the poems of V. Bryusov, I. Annensky, K. Balmont and other wonderful poets appeared. The heyday of the “Silver Age” is considered to be 1915 - the time of its greatest rise and end.

Century did not last long - about twenty years, but it gave the world wonderful examples of philosophical thought, demonstrated the life and melody of poetry, resurrected the ancient Russian icon, and gave impetus to new directions in painting, music, and theatrical art. silver Age became the time of formation of the Russian avant-garde.

The period of transitional cultures is always dramatic, and the relationship between the traditional, classical culture of the past - familiar, habitual, but no longer arousing special interest - and the emerging culture of a new type is always complex and contradictory. So new that its manifestations are incomprehensible and sometimes cause a negative reaction. This is natural: in the consciousness of society, changing types of cultures occurs quite painfully. The complexity of the situation is largely determined by changes in values, ideals and norms of spiritual culture. The old values ​​have fulfilled their function, played their roles, there are no new values ​​yet, they are just taking shape, and the historical stage remains empty.

In Russia, the difficulty was that public consciousness took shape under conditions that further dramatized the situation. Post-reform Russia was moving to new forms of economic relations. The Russian intelligentsia turned out to be almost helpless in the face of the new demands of political development: a multi-party system was inevitably developing, and actual practice was significantly ahead of the theoretical understanding of the new political culture. Russian culture is losing one of the fundamental principles of its existence - conciliarity - the feeling of the unity of a person with another person and a social group.

The socio-political situation of this time was characterized by a deep crisis of the existing government, a stormy, restless atmosphere in the country requiring decisive changes. Maybe that’s why the paths of art and politics crossed. Just as society was intensely searching for ways to a new social system, writers and poets sought to master new artistic forms and put forward bold experimental ideas. The realistic depiction of reality ceased to satisfy artists, and in polemics with the classics of the 19th century, new literary movements were established: symbolism, acmeism, futurism. They offered different ways of comprehending existence, but each of them was distinguished by the extraordinary music of the verse, the original expression of the feelings and experiences of the lyrical hero, and a focus on the future.

In the history of Russian artistic culture, the beginning of the 20th century was fruitful, contradictory, and rapid in its development. At the turn of two centuries, Russia gives the world talents with special generosity. The work of L.N. entered a new period. Tolstoy. During these same years A.P. Chekhov becomes that great artist of words who has a huge influence on world literature. V. Korolenko, A. Serafimovich, N. Garin-Mikhailovsky are published, M. Gorky and L. Andreev surprise readers, I. Bunin announces himself with poetry and early prose, A. Kuprin and V. Veresaev begin to publish.

The perception of the world becomes freer, the artist’s personality is liberated.

The revolutionary explosion in Russia caused different assessments among the Russian artistic intelligentsia, so one cannot fail to recognize the influence of the revolution on Russian artistic culture. Social problems characterize the works of M. Gorky, Serafimovich, Korolenko.

Many Russian writers turned to drama. The theater attracts a huge audience; it is in the prime of its strength and possibilities.

It is very important that in the culture of the beginning of the century the philosophical and ethical problem was extremely acute: Which is better, truth or compassion? Comforting lies forms the core of G. Ibsen’s dramas, which enjoyed great success among the Russian public at the beginning of the century. This theme is heard in Gorky's drama At the bottom and forms a certain moral ideal of the time.

There have never been so many directions, associations, and associations in Russian art as at the beginning of the twentieth century. They put forward their creative theoretical programs, rejected their predecessors, fought with their contemporaries, and tried to predict the future. The contours of the new aesthetic ideal were too unclear for many, hence the tragic overtones in the creative quests of many artists.

One of the first literary movements was symbolism, which united such different poets as K. Balmont, V. Bryusov, A. Bely and others. Russian symbolism asserted itself persistently and, according to many critics, suddenly. In 1892 in the magazine Northern Herald An article by Dmitry Merezhkovsky was published On the causes of decline and the latest trends in modern Russian literature , and for a long time it was considered a manifesto of Russian symbolists. In realism, in this artistic materialism Merezhkovsky sees the reason for the decline of modern literature.

Theorists of symbolism believed that the artist should create new art with the help of symbolic images that will help express the moods, feelings and thoughts of the poet in a more subtle and general way. Moreover, truth and insight can appear in an artist not as a result of reflection, but at a moment of creative ecstasy, as if sent to him from above. Symbolist poets carried their dreams upward, asking global questions about how to save humanity, how to restore faith in God, achieve harmony, merging with the Soul of the World, Eternal Femininity, Beauty and Love.

V. Bryusov became the recognized meter of symbolism, embodying in his poems not only the formal innovative achievements of this movement, but also its ideas. Bryusov’s original creative manifesto was a small poem “To the Young Poet,” which was perceived by contemporaries as a program of symbolism:

A pale young man with a burning gaze,

Now I give you three covenants:

First accept: don’t live in the present,

Only the future is the domain of the poet.

Remember the second: don’t sympathize with anyone,

Love yourself infinitely.

Keep the third: worship art,

Only to him, thoughtlessly, aimlessly

The Symbolists viewed life as the life of a Poet. Focus on oneself is characteristic of the work of the remarkable symbolist poet K. Balmont. He himself was the meaning, theme, image and purpose of his poems. I. Ehrenburg very accurately noticed this feature of his poetry: “Balmont noticed nothing in the world except his own soul.” Indeed, the external world existed for him only so that he could express his poetic self.

The unique features of Russian symbolism manifested themselves most of all in the work of junior symbolists beginning of the twentieth century - A. Blok, A. Bely, Vyach. Ivanova. In their work, the material world is only a mask through which another world of the spirit shines through. Images of masks and masquerade constantly flash in the poetry and prose of the Symbolists.

During the years of the first Russian revolution, proletarian poetry emerged. This is mass poetry, close to the urban lower classes. The poems are clear and specific - a kind of response to real events. Proletarian poetry is permeated with revolutionary appeals. Poems were published in many magazines.

The mass reader's literary taste was developing, and the culture of this period had significant educational potential, and an entire system of self-education was developed.

The years of post-revolutionary reaction were characterized by sentiments of pessimism and renunciation.

Russian literature found a way out in the appearance neorealistic style , which had no clear external signs. Along with the reviving realism, new forms of romanticism arose. This was especially evident in poetry.

Just as the denial of realism gave rise to symbolism, a new literary movement - Acmeism - arose in the course of polemics with symbolism. He rejected the craving of symbolism for the unknown, the focus on the world of his own soul. Acmeism, according to Gumilev, should not strive for the unknowable, but turn to what can be understood, that is, to real reality, trying to embrace the diversity of the world as fully as possible. With this view, the Acmeist artist, unlike the Symbolists, becomes involved in the world rhythm, although he gives assessments to the phenomena depicted.

Acmeism also received a certain theoretical justification in the articles of Gorodetsky Some trends in modern Russian poetry , O. Mandelstam Morning of Acmeism , A. Akhmatova, M. Zenkevich, G. Ivanov. Joining a group Workshop of poets , they joined the magazine Apollo , contrasted with the mystical aspirations of symbolism towards unknowable element of nature , declared concrete sensory perception material world , returning the word to its basic, original meaning.

The Acmeists drew closer to late symbolism and focused on revealing eternal entities.

Despite all the virtuosity of depicting reality, social motives are extremely rare among Acmeist poets. Acmeism was characterized by extreme apoliticality, complete indifference to the pressing problems of our time.

This is probably why Acmeism had to give way to a new literary movement - futurism, which was distinguished by revolutionary rebellion, oppositional sentiment against bourgeois society, its morality, aesthetic tastes, and the entire system of social relations. The futurists destroyed the boundaries between art and life, between image and everyday life; they focused on the language of the streets, popular prints, advertising, urban folklore and posters.

It is not for nothing that the first collection of futurists, who considered themselves poets of the future, bore the obviously provocative title “A Slap in the Face of Public Taste.” Mayakovsky's early work was associated with futurism. In his youthful poems one can feel the desire of the aspiring poet to amaze the reader with the novelty and unusualness of his vision of the world. And Mayakovsky really succeeded.

There was a group of poets who gravitated towards futurism - V. Kamensky, the Burliuk brothers, A. Kruchenykh. Collections of futurists Judges cage (1910-1913), A slap in the face to public taste (1912), Dead Moon (1913) were frankly unusual for the reading public.

Poets such as V. Mayakovsky, V. Khlebnikov, V. Kamensky, discerned in the union of poetry and struggle the special spiritual state of their time and tried to find new rhythms and images for the poetic embodiment of the seething revolutionary life.

The Silver Age is marked by women's lyrics. Zinaida Gippius, Marina Tsvetaeva, Anna Akhmatova... There were others, but hardly anyone can compare with those named. The poets of the Silver Age created a grandiose poetic corpus. Great talent is always rare, genius even more so. The twentieth century did not give its Pushkin, but the art of Russia at the beginning of the twentieth century created a kind of book - “that book was written with the stars, the Milky Way is one of its leaves.” D. Merezhkovsky, A. Blok, M. Voloshin, I. Annensky, V. Bryusov, K. Balmont, B. Pasternak, S. Gorodetsky, S. Yesenin... A. Scriabin, S. Rachmaninov, M. Vrubel, V. Kandinsky, M. Chagall, Falk, I. Mashkov, N. Roerich - a gallery of the greatest names and personalities. The fate of most of the geniuses of the Silver Age was tragic. But all of them, through the vicissitudes of revolutions, wars, through emigration, through fire and blood, through mistakes and delusions, carried the feeling of the Motherland, the unshakable belief that “Russia will be great.” All of them created a real miracle at the beginning of the 20th century - the “Silver Age” of Russian poetry. The diversity of creative individuals makes it especially fascinating, albeit difficult, to get to know and study this rich and diverse period.

Task 2. Briefly answer the questions

what are the main achievements of Russian science of the border era?

The turn of two centuries became a period of intensive development of various social sciences. It was at this time that the work of the major sociologist P.A. Sorokin began, whose works subsequently became world famous. P.A. Sorokin, who emigrated from the USSR in 1922, played a huge role in the formation and development of American sociology. The works of M. I. Tugan-Baranovsky and P. B. Struve made a great contribution to the study of economic, historical and economic problems.

Russian historical science has achieved great success. The past of Russia was actively studied.

Philologist and historian A.A. Shakhmatov created a number of classic works on Russian chronicles. Significant successes in the development of domestic historiography were achieved by A.E. Presnyakov, S.F. Platonov, S.V. Bakhrushin, Yu.V. Gauthier, A.S. Lappo-Danilevsky.

Not only the past of the Fatherland was in the field of view of Russian historians. The problems of the Western European Middle Ages and modern times were studied by N.I. Kareev, P.G. Vinogradov, E.V. Tarle, D.M. Petrushevsky.

At the turn of the two centuries, jurisprudence, philological sciences, etc. developed successfully.

Name the main artistic movements of the Silver Age.

Symbolism was the product of a deep crisis that gripped European culture at the end of the 19th century. The crisis manifested itself in a negative assessment of progressive social ideas, in a revision of moral values, in a loss of faith in the power of the scientific subconscious, and in a passion for idealistic philosophy. Symbolists strive to create a complex, associative metaphor, abstract and irrational.

Acmeism (from the Greek akme - the highest degree of something, blossoming, maturity, peak, edge) is one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism. The Acmeists proclaimed materiality, objectivity of themes and images, precision of words (from the standpoint of “art for art’s sake”).

Futurism (from Latin futurum - future) is the general name of the artistic avant-garde movements of the 1910s and early 1920s. XX century

What is the role of patrons in the development of Russian culture?

Patronage is material support for certain cultural figures. It can serve the achievement of various goals - economic, political, ideological.

Patronage played an important role in the development of culture.

S.I. Mamontov (1841 - 1918) created an art circle on his Abramtsevo estate near Moscow, which became one of the centers of development of Russian culture. The very flower of the Russian intelligentsia gathered here: I. E. Repin, V. M. Vasnetsov, M. A. Vrubel, K. A. Korovin, V. A. Serov, V. D. Polenov. In Moscow in 1885, Mamontov founded a private Russian opera and became its director.

Moscow merchant and industrialist P. M. Tretyakov (1838 - 1898). Since 1856, he systematically bought paintings by Russian artists and created a rich art gallery of Russian painting. In 1893, Tretyakov donated his collection to Moscow. The Tretyakov Gallery is the largest museum of Russian painting.

S. T. Morozov (1862 - 1905) was a patron of the Moscow Art Theater. He allocated money for the construction of the building and provided financial support to the theater. The Morozovs are also known for creating a museum of Western art and creating a huge collection of ancient Russian engravings and portraits.

The Shchukin family of textile manufacturers created a museum of modern Western painting, which displays paintings by P. Gauguin, A. Matisse, P. Picasso; a large museum of Russian antiquity, and also founded the Psychological Institute at her own expense.

A. A. Bakhrushin (1865 - 1929) based on his collection created a private literary and theatrical museum (now the Bakhrushin Theater Museum).

The Ryabushinskys made a great contribution to the revival of Russian church architecture and collected a rich collection of Russian icon painting. They financed the art magazine "Golden Fleece", events in support of Russian aviation, and expeditions to explore Kamchatka. After the revolution, the family ended up in exile.

The list of names of Russian philanthropists is very wide, so it is impossible to name all the Russian merchants, industrialists, and nobles who spent personal funds on science, art, and charity without thinking about profit. It should be remembered that high art has always developed due to the support of the state and patronage.

Task 3. Explain the terms: Suprematism, Acmeism, Constructivism, Symbolism, Futurism, Decadence

Russian literature decadence acmeism

Suprematism (from Latin Supremus - highest) is a movement in avant-garde art, founded in the 1st half of the 1910s. K. S. Malevich. Being a type of abstract art, Suprematism was expressed in combinations of multi-colored planes of the simplest geometric shapes devoid of pictorial meaning (in the geometric forms of a straight line, square, circle and rectangle). The combination of multi-colored and different-sized geometric figures forms balanced asymmetrical suprematist compositions permeated with internal movement. At the initial stage, this term, going back to the Latin root suprem, meant dominance, superiority of color over all other properties of painting. In non-objective canvases, paint, according to K. S. Malevich, was for the first time freed from an auxiliary role, from serving other purposes - Suprematist paintings became the first step of “pure creativity,” that is, an act that equalized the creative power of man and Nature (God).

Acmeism (from the Greek - “the highest degree, peak, flowering, blooming time”) is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. Acmeists proclaimed the materiality, objectivity of themes and images. It is based on the simplicity and clarity of poetic language, the rigor of poetic composition, the desire to create accurate, visible images and directly name objects. The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. S. Gumilyov.

Constructivism is a Soviet avant-garde method (style, direction) in fine arts, architecture, photography and decorative and applied arts, which was developed in 1920 - early. 1930. Characterized by rigor, geometricism, laconic forms and monolithic appearance.

Symbolism (from the French symbolisme, from the Greek symbolon - sign, identifying mark) is an aesthetic movement that formed in France in 1880-1890 and became widespread in literature, painting, music, architecture and theater in many European countries at the turn of the 19-20s centuries Symbolism was of great importance in Russian art of the same period, which in art history acquired the definition of “Silver Age”. The symbolists radically changed not only various types of art, but also the very attitude towards it. Their experimental nature, desire for innovation, cosmopolitanism and wide range of influences have become a model for most modern art movements.

Futurism (from Latin futurum - future) is the general name of the artistic avant-garde movements of the 1910s and early 1920s. XX century, primarily in Italy and Russia. Futurism denied traditional culture (especially its moral and artistic values), cultivated urbanism (the aesthetics of the machine industry), and destroyed natural language in poetry. 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 a reverence for action, movement, speed, strength and aggression; exaltation of oneself and contempt for the weak; the priority of force, the rapture of war and destruction were asserted. In this regard, futurism in its ideology was very close to both right-wing and left-wing radicals: anarchists, fascists, communists, focused on the revolutionary overthrow of the past.

Decadence (from the late Latin decadentia - decline) is the general name for the crisis phenomena of European culture of the 2nd half of the 19th - early 20th centuries, marked by moods of hopelessness, rejection of life, and tendencies of individualism. A complex and contradictory phenomenon, its source is a crisis of public consciousness, the confusion of many artists in the face of the sharp social antagonisms of reality. Decadent artists considered art’s refusal of political and civil themes to be a manifestation and an indispensable condition for creative freedom. Constant themes are the motives of non-existence and death, longing for spiritual values ​​and ideals.

List of used literature

1. Georgieva T.S. Russian culture: history and modernity: Textbook. allowance. - M., 1999.

Culturology. Domestic culture: Textbook. allowance. - Kemerovo, 2003.

Polikarpov V.S. Lectures on cultural studies. - M.: "Gardarika", "Expert Bureau", 1997.-344 p.

Rapatskaya L.A. Art of the "Silver Age". - M., 1996.

Sarabyanov D.V. History of Russian art of the late XIX - early XX centuries. - M., 1993.

Reader on cultural studies: Textbook. allowance / Compiled by: Laletin D. A., Parkhomenko I. T., Radugin A. A. Responsible. editor Radugin A. A. - M.: Center, 1998. - 592 p.

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