Literary trends of the 20th century table. Literary directions - briefly about the main thing

Literary directions (theoretical material)

Classicism, sentimentalism, romanticism, realism are the main literary trends.

Main features of literary movements :

· unite writers of a certain historical era;

· represent a special type of hero;

· express a certain worldview;

· choose characteristic themes and plots;

· use characteristic artistic techniques;

· work in certain genres;

· stand out for their artistic speech style;

· put forward certain life and aesthetic ideals.

Classicism

A movement in literature and art of the 17th – early 19th centuries, based on examples of ancient (classical) art. Russian classicism is characterized by national and patriotic themes associated with the transformations of the Peter the Great era.

Distinctive features:

· significance of themes and plots;

· violation of the truth of life: utopianism, idealization, abstraction in the image;

· far-fetched images, schematic characters;

· the edifying nature of the work, the strict division of heroes into positive and negative;

· use of language that is poorly understood to the common people;

· appeal to the sublime heroic moral ideals;

· national, civil orientation;

· establishing a hierarchy of genres: “high” (odes and tragedies), “middle” (elegy, historical works, friendly letters) and “low” (comedies, satires, fables, epigrams);

· subordination of the plot and composition to the rules of the “three unities”: time, space (place) and action (all events take place in 24 hours, in one place and around one storyline).

Representatives of classicism

Western European literature:

· P. Corneille – tragedies “Cid”, “Horace”, “Cinna”;

· J. Racine – tragedies “Phaedra”, “Midridate”;

· Voltaire - tragedies “Brutus”, “Tancred”;

· Moliere - comedies “Tartuffe”, “The Bourgeois in the Nobility”;

· N. Boileau – treatise in verse “Poetic Art”;

· J. Lafontaine - “Fables”.

Russian literature

· M. Lomonosov - poem “Conversation with Anacreon”, “Ode on the day of the accession to the throne of Empress Elizabeth Petrovna, 1747”;

· G. Derzhavin - ode “Felitsa”;

· A. Sumarokov – tragedies “Khorev”, “Sinav and Truvor”;

· Y. Knyazhnin - tragedies “Dido”, “Rosslav”;

· D. Fonvizin - comedies “The Brigadier”, “The Minor”.

Sentimentalism

Movement in literature and art of the second half of the 18th – early 19th centuries. He declared that the dominant “human nature” was not reason, but feeling, and sought the path to the ideal of a harmoniously developed personality in the release and improvement of “natural” feelings.

Distinctive features:

· revealing human psychology;

· feeling is proclaimed to be the highest value;

· interest in the common man, in the world of his feelings, in nature, in everyday life;

· idealization of reality, subjective image of the world;

· ideas of moral equality of people, organic connection with nature;

· the work is often written in the first person (narrator - author), which gives it lyricism and poetry.

Representatives of sentimentalism

· S. Richardson – novel “Clarissa Garlow”;

· - novel “Julia, or New Eloise»;

· - novel “The Sorrows of Young Werther.”

Russian literature

· V. Zhukovsky - early poems;

· N. Karamzin - stories " Poor Lisa" - the pinnacle of Russian sentimentalism, "Bornholm Island";

· I. Bogdanovich - poem “Darling”;

· A. Radishchev (not all researchers classify his work as sentimentalism; it is close to this trend only in its psychologism; travel notes “Journey from St. Petersburg to Moscow”).

Romanticism

A movement in art and literature of the late 18th – first half of the 19th centuries, reflecting the artist’s desire to contrast reality and dreams.

Distinctive features:

· unusualness, exoticism in the depiction of events, landscapes, people;

· rejection of the prosaic nature of real life; expression of a worldview characterized by dreaminess, idealization of reality, and the cult of freedom;

· striving for ideal, perfection;

· strong, bright, sublime image romantic hero;

· depiction of a romantic hero in exceptional circumstances (in a tragic duel with fate);

· contrast in the mixture of high and low, tragic and comic, ordinary and unusual.

Representatives of romanticism

Western European literature

· J. Byron - poems “Childe Harold’s Pilgrimage”, “The Corsair”;

· – drama “Egmont”;

· I. Schiller - dramas “Robbers”, “Cunning and Love”;

· E. Hoffman – fantastic story"Golden Pot"; fairy tales “Little Tsakhes”, “Lord of the Fleas”;

· P. Merimee - short story “Carmen”;

· V. Hugo – historical novel"Cathedral Notre Dame of Paris»;

· V. Scott - historical novel “Ivanhoe”.

Russian literature

1. Literary direction is often identified with artistic method. Designates a set of fundamental spiritual and aesthetic principles of many writers, as well as a number of groups and schools, their programmatic and aesthetic attitudes, and the means used. In the struggle and change of directions, patterns are most clearly expressed literary process. It is customary to distinguish the following literary trends:

   a) Classicism,
   b) Sentimentalism,
   c) Naturalism,
   d) Romanticism,
   d) Symbolism,
   f) Realism.

2. Literary movement - often identified with literary group and school. Denotes a collection creative personalities, which are characterized by ideological and artistic closeness and programmatic and aesthetic unity. Otherwise, a literary movement is a variety (as if a subclass) of a literary movement. For example, in relation to Russian romanticism they talk about “philosophical”, “psychological” and “civil” movements. In Russian realism, some distinguish “psychological” and “sociological” trends.

Classicism

Artistic style and direction in European literature and art of the XVII-beginning. XIX centuries. The name is derived from the Latin “classicus” - exemplary.

Features of classicism:

1. Appeal to the images and forms of ancient literature and art as an ideal aesthetic standard, putting forward on this basis the principle of “imitation of nature,” which implies strict adherence to immutable rules drawn from ancient aesthetics (for example, in the person of Aristotle, Horace).
2. Aesthetics is based on the principles of rationalism (from the Latin “ratio” - reason), which affirms the view of a work of art as an artificial creation - consciously created, intelligently organized, logically constructed.
3. Images in classicism are deprived individual traits, since they are primarily intended to capture stable, generic, time-enduring characteristics that act as the embodiment of any social or spiritual forces.
4. The social and educational function of art. Education of a harmonious personality.
5. A strict hierarchy of genres has been established, which are divided into “high” (tragedy, epic, ode; their sphere is public life, historical events, mythology, their heroes - monarchs, generals, mythological characters, religious ascetics) and “low” (comedy, satire, fable that depicted the private everyday life of people of the middle classes). Each genre has strict boundaries and clear formal characteristics; no mixing of the sublime and the base, the tragic and the comic, the heroic and the ordinary was allowed. The leading genre is tragedy.
6. Classical dramaturgy approved the so-called principle of “unity of place, time and action,” which meant: the action of the play should take place in one place, the duration of the action should be limited to the duration of the performance (possibly more, but the maximum time about which the play should have been narrated is one day), the unity of action implied that the play should reflect one central intrigue, not interrupted by side actions.

Classicism originated and developed in France with the establishment of absolutism (classicism with its concepts of “exemplaryness”, a strict hierarchy of genres, etc. is generally often associated with absolutism and the flourishing of statehood - P. Corneille, J. Racine, J. Lafontaine, J. B. Moliere, etc. Having entered a period of decline at the end of the 17th century, classicism was revived during the Enlightenment - Voltaire, M. Chenier, etc. After the Great french revolution With the collapse of rationalistic ideas, classicism declines, and romanticism becomes the dominant style of European art.

Classicism in Russia:

Russian classicism arose in the second quarter of the 18th century in the works of the founders of new Russian literature - A. D. Kantemir, V. K. Trediakovsky and M. V. Lomonosov. In the era of classicism, Russian literature mastered the genre and style forms that had developed in the West and joined the pan-European literary development while preserving its national identity. Characteristics Russian classicism:

A) Satirical orientation - important place occupy such genres as satire, fable, comedy, directly addressed to specific phenomena of Russian life;
b) The predominance of national historical themes over ancient ones (the tragedies of A. P. Sumarokov, Ya. B. Knyazhnin, etc.);
V) High level development of the ode genre (by M. V. Lomonosov and G. R. Derzhavin);
G) The general patriotic pathos of Russian classicism.

At the end of the XVIII - beginning. 19th century Russian classicism is influenced by sentimentalist and pre-romantic ideas, which is reflected in the poetry of G. R. Derzhavin, the tragedies of V. A. Ozerov and civil lyrics Decembrist poets.

Sentimentalism

Sentimentalism (from English sentimental - “sensitive”) is a movement in European literature and art XVIII century. It was prepared by the crisis of Enlightenment rationalism and was the final stage of the Enlightenment. Chronologically, it mainly preceded romanticism, passing on a number of its features to it.

The main signs of sentimentalism:

1. Sentimentalism remained true to the ideal of the normative personality.
2. In contrast to classicism with its educational pathos, it declared feeling, not reason, to be the dominant of “human nature.”
3. The condition for the formation of an ideal personality was considered not by the “reasonable reorganization of the world,” but by the release and improvement of “natural feelings.”
4. The hero of sentimental literature is more individualized: by origin (or convictions) he is a democrat, rich spiritual world the commoner is one of the conquests of sentimentalism.
5. However, unlike romanticism (pre-romanticism), the “irrational” is alien to sentimentalism: he perceived the inconsistency of moods and the impulsiveness of mental impulses as accessible to rationalistic interpretation.

Sentimentalism took its most complete expression in England, where the ideology of the third estate was formed first - the works of J. Thomson, O. Goldsmith, J. Crabb, S. Richardson, JI. Stern.

Sentimentalism in Russia:

In Russia, representatives of sentimentalism were: M. N. Muravyov, N. M. Karamzin (most famous work - “Poor Liza”), I. I. Dmitriev, V. V. Kapnist, N. A. Lvov, young V. A. Zhukovsky.

Characteristic features of Russian sentimentalism:

a) Rationalistic tendencies are quite clearly expressed;
b) The didactic (moralizing) attitude is strong;
c) Educational trends;
d) Improving literary language, Russian sentimentalists turned to colloquial norms and introduced colloquialisms.

The favorite genres of sentimentalists are elegy, epistle, epistolary novel (novel in letters), travel notes, diaries and other types of prose in which confessional motifs predominate.

Romanticism

One of the largest destinations in European and American literature the end of the 18th - first half of the 19th century, which gained worldwide significance and distribution. In the 18th century, everything fantastic, unusual, strange, found only in books and not in reality, was called romantic. At the turn of the 18th and 19th centuries. “Romanticism” begins to be called a new literary movement.

Main features of romanticism:

1. Anti-Enlightenment orientation (i.e., against the ideology of the Enlightenment), which manifested itself in sentimentalism and pre-romanticism, and reached its highest point in romanticism. Social and ideological prerequisites - disappointment in the results of the Great French Revolution and the fruits of civilization in general, protest against the vulgarity, routine and prosaicness of bourgeois life. The reality of history turned out to be beyond the control of “reason”, irrational, full of secrets and contingencies, and the modern world order is hostile to human nature and his personal freedom.
2. The general pessimistic orientation is the ideas of “cosmic pessimism”, “world sorrow” (heroes in the works of F. Chateaubriand, A. Musset, J. Byron, A. Vigny, etc.). Theme "lying in evil" scary world“was especially clearly reflected in the “drama of rock” or “tragedy of rock” (G. Kleist, J. Byron, E. T. A. Hoffmann, E. Poe).
3. Belief in the omnipotence of the human spirit, in its ability to renew itself. The Romantics discovered the extraordinary complexity, the inner depth of human individuality. For them, a person is a microcosm, a small universe. Hence the absolutization of the personal principle, the philosophy of individualism. In the center romantic work There is always a strong, exceptional personality opposing society, its laws or moral standards.
4. “Dual world”, that is, the division of the world into real and ideal, which are opposed to each other. Spiritual insight, inspiration, which is subject to the romantic hero, is nothing more than penetration into this ideal world (for example, the works of Hoffmann, especially vividly in: “The Golden Pot”, “The Nutcracker”, “Little Tsakhes, nicknamed Zinnober”) . The romantics contrasted the classicist “imitation of nature” with the creative activity of the artist with his right to transformation real world: the artist creates his own, special world, more beautiful and true.
5. "Local color" A person who opposes society feels a spiritual closeness with nature, its elements. This is why romantics so often use exotic countries and their nature (the East) as the setting for action. Exotic wild nature was quite consistent in spirit with the romantic personality striving beyond the boundaries of everyday life. Romantics are the first to pay close attention to creative heritage people, their national-cultural and historical features. National and cultural diversity, according to the philosophy of the romantics, was part of one large unified whole - the “universum”. This was clearly realized in the development of the historical novel genre (authors such as W. Scott, F. Cooper, V. Hugo).

The Romantics, absolutizing the creative freedom of the artist, denied rationalistic regulation in art, which, however, did not prevent them from proclaiming their own, romantic canons.

Genres have developed: the fantastic story, the historical novel, the lyric-epic poem, and the lyricist reaches an extraordinary flowering.

The classical countries of romanticism are Germany, England, France.

Since the 1840s, romanticism in the main European countries gives way to critical realism and fades into the background.

Romanticism in Russia:

The origin of romanticism in Russia is associated with the socio-ideological atmosphere of Russian life - the nationwide upsurge after the War of 1812. All this determined not only the formation, but also the special character of the romanticism of the Decembrist poets (for example, K. F. Ryleev, V. K. Kuchelbecker, A. I. Odoevsky), whose work was inspired by the idea of ​​civil service, imbued with the pathos of love of freedom and struggle.

Characteristic features of romanticism in Russia:

A) The acceleration of the development of literature in Russia at the beginning of the 19th century led to the “rush” and combination of various stages, which in other countries were experienced in stages. In Russian romanticism, pre-romantic tendencies were intertwined with the tendencies of classicism and the Enlightenment: doubts about the omnipotent role of reason, the cult of sensitivity, nature, elegiac melancholy were combined with the classic orderliness of styles and genres, moderate didacticism (edification) and the fight against excessive metaphor for the sake of “harmonic accuracy” (expression A. S. Pushkin).

b) A more pronounced social orientation of Russian romanticism. For example, the poetry of the Decembrists, the works of M. Yu. Lermontov.

In Russian romanticism, such genres as elegy and idyll receive special development. The development of the ballad (for example, in the work of V. A. Zhukovsky) was very important for the self-determination of Russian romanticism. The contours of Russian romanticism were most clearly defined with the emergence of the genre of lyric-epic poem (southern poems by A. S. Pushkin, works by I. I. Kozlov, K. F. Ryleev, M. Yu. Lermontov, etc.). The historical novel is developing as a large epic form (M. N. Zagoskin, I. I. Lazhechnikov). A special way of creating a large epic form is cyclization, that is, the combination of seemingly independent (and partially published separately) works (“Double or My Evenings in Little Russia” by A. Pogorelsky, “Evenings on a Farm near Dikanka” by N. V. Gogol, “Our Hero” time" by M. Yu. Lermontov, "Russian Nights" by V. F. Odoevsky).

Naturalism

Naturalism (from the Latin natura - “nature”) is a literary movement that developed in the last third of the 19th century in Europe and the USA.

Characteristics of naturalism:

1. The desire for an objective, accurate and dispassionate depiction of reality and human character, determined by physiological nature and environment, understood primarily as the immediate everyday and material environment, but not excluding socio-historical factors. The main task of naturalists was to study society with the same completeness with which a natural scientist studies nature; artistic knowledge was likened to scientific knowledge.
2. A work of art was considered as a “human document”, and the main aesthetic criterion was the completeness of the cognitive act carried out in it.
3. Naturalists rejected moralization, believing that reality depicted with scientific impartiality was in itself quite expressive. They believed that literature, like science, has no right in choosing material, that there are no unsuitable plots or unworthy topics for a writer. Hence, plotlessness and social indifference often arose in the works of naturalists.

Naturalism received particular development in France - for example, naturalism includes the work of such writers as G. Flaubert, the brothers E. and J. Goncourt, E. Zola (who developed the theory of naturalism).

In Russia, naturalism was not widespread; it played only a certain role in initial stage development of Russian realism. Naturalistic tendencies can be traced among the writers of the so-called “natural school” (see below) - V. I. Dal, I. I. Panaev and others.

Realism

Realism (from the late Latin realis - material, real) is a literary and artistic movement of the 19th-20th centuries. It originates in the Renaissance (the so-called “Renaissance realism”) or in the Enlightenment (“ educational realism"). Features of realism are noted in ancient and medieval folklore and ancient literature.

Main features of realism:

1. The artist depicts life in images that correspond to the essence of the phenomena of life itself.
2. Literature in realism is a means of a person’s knowledge of himself and the world around him.
3. Knowledge of reality occurs with the help of images created through typification of facts of reality (“typical characters in a typical setting”). Typification of characters in realism is carried out through the “truthfulness of details” in the “specifics” of the characters’ conditions of existence.
4. Realistic art is life-affirming art, even with a tragic resolution to the conflict. The philosophical basis for this is Gnosticism, the belief in knowability and an adequate reflection of the surrounding world, in contrast, for example, to romanticism.
5. Realistic art is characterized by the desire to consider reality in development, the ability to detect and capture the emergence and development of new forms of life and social relations, new psychological and social types.

Realism as a literary movement was formed in the 30s years XIX century. The immediate predecessor of realism in European literature was romanticism. Having made the unusual the subject of the image, creating an imaginary world of special circumstances and exceptional passions, he (romanticism) at the same time showed a personality richer in spirituality, emotionally, more complex and contradictory than was available to classicism, sentimentalism and other movements of previous eras. Therefore, realism developed not as an antagonist of romanticism, but as its ally in the fight against idealization public relations, for national-historical originality artistic images(color of place and time). It is not always easy to draw clear boundaries between romanticism and realism of the first half of the 19th century; in the works of many writers, romantic and realistic features merged - for example, the works of O. Balzac, Stendhal, V. Hugo, and partly Charles Dickens. In Russian literature, this was especially clearly reflected in the works of A. S. Pushkin and M. Yu. Lermontov (the southern poems of Pushkin and “Hero of Our Time” by Lermontov).

In Russia, where the foundations of realism were already in the 1820-30s. laid down by the work of A. S. Pushkin (“Eugene Onegin”, “Boris Godunov”, “ Captain's daughter”, late lyrics), as well as some other writers (“Woe from Wit” by A. S. Griboyedov, fables by I. A. Krylov), this stage is associated with the names of I. A. Goncharov, I. S. Turgenev, N. A. Nekrasov, A. N. Ostrovsky and others. Realism of the 19th century is usually called “critical”, since the defining principle in it was precisely the social-critical one. Heightened social-critical pathos is one of the main distinctive features Russian realism - for example, “The Inspector General”, “ Dead Souls"N.V. Gogol, the activities of writers of the “natural school.” Realism of the 2nd half of the 19th century reached its peak precisely in Russian literature, especially in the works of L. N. Tolstoy and F. M. Dostoevsky, who became late XIX century as the central figures of the world literary process. They enriched world literature new principles for constructing a socio-psychological novel, philosophical and moral issues, new ways of revealing human psyche in its deep layers.

Art direction denotes a set of fundamental spiritual and aesthetic principles of many writers, as well as a number of groups and schools, their programmatic and aesthetic attitudes, and the means used.
The following areas are distinguished:
Classicism- artistic movement in literature and art of the 17th - early 19th centuries, one of the important features of which was the appeal to images and forms ancient literature and art as an ideal aesthetic standard. Representatives: A. D. Kantemir, V. K. Trediakovsky, M. V. Lomonosov, A. P. Sumarokov, A. D. Kantemir

Sentimentalism- (second half of the 18th - beginning of the 19th century) - from French word“Sentiment” - feeling, sensitivity. Special attention- to the spiritual world of a person. The main thing is the feeling, the experience common man, not great ideas. Representatives: N.M. Karamzin.

Romanticism - (late XVIII- second half of the 19th century) - greatest development received in England, Germany, France (J. Byron, W. Scott, V. Hugo, P. Merimee). In Russia, Russian romanticism arose against the backdrop of national upsurge after the War of 1812. It has a pronounced social orientation. He is imbued with the idea of ​​civil service and love of freedom. Representatives: V.A. Zhukovsky, K.F. Ryleev, A.S. Pushkin, M.Yu. Lermontov, F.I. Tyutchev.

Naturalism - direction in literature of the last third of the 19th century, which asserted an extremely accurate and objective reproduction of reality, sometimes leading to the suppression of the author’s individuality.

Realism- a direction in literature and art that aims to truthfully reproduce reality in its typical features. Representatives: N.V. Gogol, L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov, A.I. Solzhenitsyn and others.

Modernism - In literary criticism, it is customary to call primarily three literary movements that made themselves known in the period from 1890 to 1917 as modernist. These are symbolism, acmeism and futurism, which formed the basis of modernism as a literary movement.

Literary movement denotes a set of creative individuals who are characterized by ideological and artistic affinity and programmatic and aesthetic unity. Literary movement- this is a variety literary direction.

Symbolism -direction in European and Russian art of the 1870-1910s. Focuses primarily on artistic expression through symbol of intuitive entities and ideas, vague, often sophisticated feelings and visions. Striving to penetrate the secrets of being and consciousness, to see through visible reality the supra-temporal ideal essence of the world, the symbolists expressed rejection of bourgeoisism and positivism, longing for spiritual freedom, and a tragic premonition of world socio-historical changes. Representatives: A.A. Blok, A. Bely, Vyach.Ivanov, F.K. Sologub.

Acmeism -movement in Russian poetry of the 10s - 20s. XX century, formed as the antithesis of symbolism. They contrasted the mystical aspirations of symbolism towards the “unknowable” with the “element of nature”, declared a concrete sensory perception of the “material world”, returning the word to its original, non-symbolic meaning. Representatives: A. Akhmatova, N. Gumilyov, S. Gorodetsky.

Futurism -general name for the avant-garde artistic movements of the 1910s and early 1920s. XX century Any modernist movement in art asserted itself by rejecting old norms, canons, and traditions. However, futurism was distinguished in this regard by its extremely extremist orientation. This movement claimed to build a new art - “the art of the future”, speaking under the slogan of a nihilistic negation of everything that had gone before. artistic experience. Representatives: V. Mayakovsky, Burliuk brothers, V. Khlebnikov, I. Severyanin and others.
Imagism- (the name goes back to the English “imaginism”, shgaee - image) - a literary movement in Russia in the 1920s. In 1919, S. A. Yesenin, R. Ivnev, A. B. Mariengof, V. G. Shershenevich and others presented its principles.

LITERARY DIRECTION (METHOD)- a set of basic features of creativity, formed and repeated in a certain historical period development of art.

At the same time, the features of this direction can be traced in authors who worked in the eras preceding the formation of the movement itself (traits of romanticism in Shakespeare, features of realism in Fonvizin’s “Minor”), as well as in subsequent eras (features of romanticism in Gorky).

There are four main literary trends:CLASSICISM, ROMANTICISM, REALISM, MODERNISM.

LITERARY CURRENT- finer division compared to the direction; currents either represent branches of one direction ( German romanticism, French romanticism, Byronism in England, Karamzinism in Russia), or arise during the transition from one direction to another (sentimentalism).

MAIN LITERARY DIRECTIONS (METHODS) AND TRENDS

1. CLASSICISM

The main literary movement in Russia XVIII century.

Main features

1. Imitation of examples of ancient culture.
2. Strict construction rules works of art.Chapter II. Literary trends (methods) and currents 9
3. Strict hierarchy of genres: high (ode, epic poem, tragedy); medium (satire, love letter); low (fable, comedy).
4. Rigid boundaries between genders and genres.
5. Creation ideal scheme social life And ideal images members of society (enlightened monarch, statesman, military, woman).

Main genres in poetry

Ode, satire, historical poem.

The main rules for constructing dramatic works

1. The rule of “three unities”: place, time, action.
2. Division into positive and negative characters.
3. The presence of a hero-reasoner (a character expressing the author’s position).
4. Traditional roles: reasoner (hero-reasoner), first lover (hero-lover), second lover, ingénue, soubrette, deceived father, etc.
5. Traditional denouement: the triumph of virtue and the punishment of vice.
6. Five actions.
7. Speaking names.
8. Long moralizing monologues.

Main representatives

Europe - writer and thinker Voltaire; playwrights Corneille, Racine, Moliere; fabulist La Fontaine; poet Guys (France).

Russia - poets Lomonosov, Derzhavin, playwright Fonvizin (comedies "The Brigadier", 1769 and "The Minor", 1782).

Traditions of classicism in the literature of the 19th century

Krylov . Genre traditions of classicism in fables.

Griboyedov . Features of classicism in the comedy "Woe from Wit".

The main literary movement in Russia in the first third of the 19th century.

Main features

1. Creation of an ideal dream world, fundamentally incompatible with real life, opposed to it.
2. In the center of the image - human personality, her inner world, its attitude to the surrounding reality.
3. Portrayal of an exceptional hero in exceptional circumstances.
4. Denial of all the rules of classicism.
5. The use of fiction, symbolism, the absence of everyday and historical motivations.

Main genres

Lyric poem, poem, tragedy, novel.

Main genres in Russian poetry

Elegy, message, song, ballad, poem.

Main representatives

Europe - Goethe, Heine, Schiller (Germany), Byron (England).

Russia - Zhukovsky.

Traditions of romanticism in the literature of the 19th-20th centuries

Griboyedov . Romantic traits in the characters of Sofia and Chatsky; a parody of Zhukovsky's ballads (Sofia's dream) in the comedy "Woe from Wit".

Pushkin . Romantic period of creativity (1813--1824); the image of the romantic poet Lensky and discussions of romanticism in the novel in verse "Eugene Onegin"; unfinished novel "Dubrovsky".

Lermontov . Romantic period of creativity (1828-І836); elements of romanticism in poems of the mature period (1837-1841); romantic motifs in the poems “Song about... the merchant Kalashnikov”, “Mtsyri”, “Demon”, in the novel “Hero of Our Time”; the image of the romantic poet Lensky in the poem "The Death of a Poet".

The main literary direction of the 2nd half of the XIX-XX centuries.

Main features

1. Creation of typical (regular) characters.
2. These characters act in typical everyday and historical settings.
3. Life-like verisimilitude, fidelity to detail (in combination with conventional forms of artistic fantasy: symbol, grotesque, fantasy, myth).

In Russia, the emergence of realism began in the 1820s:

Krylov. Fables.

Griboyedov . Comedy "Woe from Wit" (1822 -1824).

Pushkin . Mikhailovsky (1824-1826) and late (1826-1836) periods of creativity: the novel in verse "Eugene Onegin" (1823-1831), the tragedy "Boris Godunov" (1825), "Belkin's Tales" (1830), the poem " Bronze Horseman"(1833), story "The Captain's Daughter" (1833-1836); late lyrics.

Lermontov . Period mature creativity(1837-1841): novel “A Hero of Our Time” (1839-1841), late lyrics.

Gogol . "Petersburg Tales" (1835-1842; "The Overcoat", 1842), the comedy "The Inspector General" (1835), the poem "Dead Souls" (1st volume: 1835-1842).

Tyutchev, Fet . Features of realism in lyrics.

In the years 1839-1847, Russian realism was formed into a special literary movement, called the “natural school” or “Gogolian direction.” Natural school became the first stage in the development of a new movement in realism - Russian critical realism.

Programmatic works of writers of critical realism

Prose

Goncharov . Novel "Oblomov" (1848-1858).

Turgenev . The story "Asya" (1858), the novel "Fathers and Sons" (1861).

Dostoevsky . Novel "Crime and Punishment" (1866).

Lev Tolstoy . Epic novel "War and Peace" (1863-1869).

Saltykov-Shchedrin . "The History of a City" (1869--1870), "Fairy Tales" (1869-1886).

Leskov . The story "The Enchanted Wanderer" (1879), the story "Lefty" (1881).

Dramaturgy

Ostrovsky . Drama “The Thunderstorm” (1859), comedy “Forest” (1870).

Poetry

Nekrasov . Lyrics, poems “Peasant Children” (1861), “Who Lives Well in Rus'” (1863-1877).

The development of critical realism ends at the end of the 19th - beginning of the 20th centuries:

Chekhov . Stories "Death of an Official" (1883), "Chameleon" (1884), "Student" (1894), "House with a Mezzanine" (1896), "Ionych", "Man in a Case", "Gooseberry", "About Love" , "Darling" (all 1898), "Lady with a Dog" (1899), comedy " The Cherry Orchard" (1904).

Bitter . Feature article " Former people"(1897), the story "Ice drift" (1912), the play "At the Bottom" (1902).

Bunin . The stories "Anton's Apples" (1900), "The Gentleman from San Francisco" (1915).

Kuprin . The story "Olesya" (1898), " Garnet bracelet" (1910).

After October revolution the term " socialist realism"However, the work of the best writers of the post-revolutionary period does not fit into the narrow framework of this movement and retains traditional features Russian realism:

Sholokhov . Novel " Quiet Don"(1925-1940), story "The Fate of Man" (1956).

Bulgakov . Tale " dog's heart"(1925), novels" White Guard"(1922-1924), "The Master and Margarita" (1929-1940), the play "Days of the Turbins" (1925-1926).

Zamyatin . Dystopian novel "We" (1929).

Platonov . The story "The Pit" (1930).

Tvardovsky . Poems, poem "Vasily Terkin" (1941-1945).

Parsnip . Late lyrics, novel "Doctor Zhivago" (1945--1955).

Solzhenitsyn . The story "One Day in the Life of Ivan Denisovich", story " Matrenin Dvor" (1959).

Shalamov . Cycle " Kolyma stories" (1954--1973).

Astafiev . The story "The Shepherd and the Shepherdess" (1967-1989).

Trifonov . The story "The Old Man" (1978).

Shukshin. Stories.

Rasputin . The story "Farewell to Matera" (1976).

5. MODERNISM

Modernism - a literary movement that unites various movements in art of the late 19th-20th centuries, engaged in experiments with the form of works of art (symbolism, Acmeism, futurism, cubism, constructivism, avant-gardeism, abstract art, etc.).

IMAGINISM (imago - image) is a literary movement in Russian poetry between 1919 and 1925, whose representatives stated that the goal of creativity is to create an image. Basics means of expression Imagists - metaphor, often metaphorical chains that compare various elements of two images - direct and figurative. The creator of the movement is Anatoly Borisovich Mariengof. Sergei Yesenin, who was a member of it, brought fame to the Imagist group.

POSTMODERNISM - various movements in the art of the 2nd half XX-beginning XXI centuries (conceptualism, pop art, social art, body art, graffiti, etc.), which put the denial of the integrity of life and art at all levels at the forefront. In Russian literature, the era of postmodernism opens with the almanac "Metropol", 1979; most famous authors almanac:V.P. Aksenov, B.A. Akhmadulina, A.G. Bitov, A.A. Voznesensky, V.S. Vysotsky, F.A. Iskander.

If anyone thinks that they are very difficult to remember, then, of course, they are mistaken. It's quite simple.

Open the list of references. We see that everything here is laid out in time. Specific time periods are given. And now I’d like to focus your attention on this: almost every literary movement has a clear time frame.

Let's look at the screenshot. “The Minor” by Fonvizin, “Monument” by Derzhavin, “Woe from Wit” by Griboyedov - this is all classicism. Then realism replaced classicism; sentimentalism existed for some time, but it is not represented in this list of works. Therefore, almost all of the works listed below are realism. If “novel” is written next to the work, then it is only realism. Nothing more.

Romanticism is also on this list, we must not forget about it. It is poorly represented, these are works such as the ballad of V.A. Zhukovsky “Svetlana”, poem by M.Yu. Lermontov "Mtsyri". It would seem that romanticism died at the beginning of the 19th century, but we can still meet it in the 20th. There was a story by M.A. Gorky "Old Woman Izergil". That's all, there is no more romanticism.

Everything else that is given in the list that I did not name is realism.

What then is the direction of “The Tale of Igor’s Campaign?” In this case it is not highlighted.

Now let’s briefly go over the features of these areas. It's simple:

Classicism– these are 3 unities: the unity of place, time, action. Let's remember Griboyedov's comedy "Woe from Wit." The whole action lasts 24 hours, and it takes place in Famusov’s house. With Fonvizin’s “Minor” everything is similar. Another detail for classicism: heroes can be clearly divided into positive and negative. It is not necessary to know the remaining signs. This is enough for you to understand that this is a classic work.

Romanticism– an exceptional hero in exceptional circumstances. Let us remember what happened in the poem by M.Yu. Lermontov "Mtsyri". Against the backdrop of majestic nature, its divine beauty and grandeur, events unfold. "Mtsyrya is running away." Nature and the hero merge with each other, there is a complete immersion of the inner and outer worlds. Mtsyri is an exceptional person. Strong, brave, courageous.

Let us remember in the story “Old Woman Izergil” the hero Danko, who tore out his heart and illuminated the path for people. The said hero also fits the criterion of an exceptional personality, so this romantic story. And in general, all the heroes described by Gorky are desperate rebels.

Realism begins with Pushkin, which develops very rapidly throughout the second half of the 19th century. All of life, with its advantages and disadvantages, with its inconsistency and complexity, becomes the object of writers. Specific historical events and personalities are taken who live with fictional characters, which very often have a real prototype or even several.

In short, realism– what I see is what I write. Our life is complex, and so are our heroes; they rush around, think, change, develop, and make mistakes.

By the beginning of the twentieth century, it became clear that it was time to look for new forms, new styles, and other approaches. Therefore, new authors are rapidly breaking into literature, and modernism is flourishing, which includes a lot of branches: symbolism, acmeism, imagism, futurism.

And in order to determine which specific literary movement a particular work can be attributed to, you also need to know the time of its writing. Because, for example, it is wrong to say that Akhmatova is only Acmeism. This direction can only be attributed to early work. The work of some did not fit into a specific classification at all, such as Tsvetaeva and Pasternak.

As for symbolism, it will be somewhat simpler: Blok, Mandelstam. Futurism – Mayakovsky. Acmeism, as we have already said, Akhmatova. There was also imagism, but it was poorly represented; Yesenin was included in it. That's all.

Symbolism– the term speaks for itself. The authors encrypted the meaning of the work through a large number of various symbols. The number of meanings laid down by poets can be searched and searched for indefinitely. That is why these poems are quite complex.

Futurism- word creation. Art of the future. Rejection of the past. An unrestrained search for new rhythms, rhymes, words. Do we remember Mayakovsky's ladder? Such works were intended for recitation (read in public). Futurists are just crazy people. They did everything to make the public remember them. All means for this were good.

Acmeism- if not a damn thing is clear in symbolism, then the Acmeists undertook to completely oppose themselves to them. Their creativity is clear and concrete. It's not in the clouds somewhere. It's here, here. They depicted the earthly world, its earthly beauty. They also sought to transform the world through words. It's enough.

Imagism- the image is the basis. Sometimes not alone. Such poems, as a rule, are completely devoid of meaning. Seryozha Yesenin wrote such poems for a short time. No one else from the list of references is included in this movement.

This is all. If you still don’t understand something, or find errors in my words, then write in the comments. Let's figure it out together.