Historical and literary process table. Types of analysis. Historical-literary historical-literary analysis considers a work of fiction as a component of an autonomous historical-literary work. Examples of the implementation of the historical and literary commentary

• Historical Chronicle 5
• For someone else's freedom 49
  • Part two 49
  • Part three 84
• 107
• Nightmares in reality. (From human documents about peace and war. Essays) 141
  • I. Follow 141
• 166
• Nikolai Ivanovich Grodekov. (1883 - 1913 Memoirs - notes) 189
  • I. Grodekov, according to the recollections of colleagues and old-timers, as the military governor of the Syr-Darya region. - His character traits. - Attitude towards smokers and alcoholics. - Concerns about public education. - Church building. - Creation of Russian settlements. - Cholera riot in 1892 in Tashkent. - Activities in the Amur region. - Appointment as Turkestan Governor-General 189
  • II. Meeting of the new governor-general. - Grodekov's view of the resettlement business. - The position of the Turkestan Territory at the end of 1906. - Changes in personnel. - Fight against the revolutionary movement. - Reorganization of the resettlement business. - Frictions with the main department of agriculture on the resettlement issue. - Reception at the Governor General, his working day. - Caring for different educational institutions. - Monument to Kaufman. - Attitude towards Khiva and Bukhara. - Grodekov's view of the people's military administration. - Departure of Nikolai Ivanovich from Turkestan. - The memory of him among the Russian population, especially retired veterans who settled in the region 196
• On the history of Polish-Russian relations 215
• From the schismatic deeds of the recent past 239
• Legends of War 246
  • Airplanes 247
  • The beginning of the end of the world 249
  • Wilhelm 250
  • Skobelev 253
  • Grand Duke Nikolai Nikolaevich 255
  • Cossack Pashnin 257
• Germans 40 years ago. (From personal memories) 264
  • I. How the Germans behaved during the Franco-Prussian War 264
  • II. How they brought up feelings of a military unit and valor in their soldiers 265
  • III. How the Germans observed the laws and customs of war in the fight against the French 269
  • IV. What did the Germans think forty years ago about the war with Russia; their complete unfamiliarity with our homeland at that time 271
• Professor Ivan Ivanovich Sokolov. (To the twenty-fifth anniversary of his pedagogical and academic literary activity) 277
• New Earth 286
  • I. Departure of the Murmansk Island steamer Olga Konstantinovna Koroleva to Novaya Zemlya. - Short story colonization of New Earth. - The way to the first camp. - White lip. - Consecration of the chapel. - "Bird Market" 286
  • II. Transportation of animals (dogs). - The village of Malye Karmakuly. - School, bathhouse, - Supply of colonists with "vital supplies" and a system of calculations 295
  • III. Matochkin Shar. - Nature. - A little adventure. - Drunkenness of the Samoyeds, their character and a difficult financial situation 302
  • IV. Olginsky village. - Its inhabitants and the sad aspects of their existence. - Landing live cargo: bears, polar foxes, owls. - Coming back. - Storm. - Pitching. - Fog. - Final word 308
• From the historian's notebook 318
  • The course of hostilities in the fight against the Germans. - Bulgarian treason to the Slavic cause. - Events in the internal life of Russia 318
• Criticism and bibliography 324
  • IN AND. Adamovich. Justification by representatives of the German intelligentsia of the current war and the way it was waged by Germany and Austria-Hungary, and rebuke by representatives of the intelligentsia in France, England and Russia. Petrograd. 1915. p. 68. Ts. 40 k. 324
  • B.D. Grekov. Novgorod house of St. Sophia. The experience of studying the organization and internal relations of a large church estate. Part I. Pgr. 1914. p. XIV + 544 + 129. Ts. 3 r. 325
  • N.G. Vysotsky. The first scopic process. Materials related to the initial history of the scopic sect. Moscow. 1915. p. I + XX + I + 345. Ts. 2 p. 327
  • A.K. Jivelegov. Alexander I and Napoleon. Moscow. 1915. p. 302. Ts. 1 p. 75 r. 329
  • Proceedings of the Poltava Scientific Archive Commission. Issue 12. Poltava. 1915. p. 240 + 21. Price not indicated 330
  • W.G. Ivask. Life and Works of Vasily Ivanovich Sobolshchikov, Senior Librarian and Architect of the Imperial Public Library (with an engraved portrait). Moscow. 1914. p. 59. Price 1 p. 50 k. 331
  • Actions of the Nizhny Novgorod Provincial Scientific Archive Commission. Collection. Volume XV. Issues IV and V. In commemoration of the 300th anniversary of the reign of the Romanov dynasty. Volume XVII. Issues II and III. Nizhny Novgorod. 1913-1914. P. 163; 148; 20, 5, 32, 6, 48, 10; 6, 4, 12, 3, 3, 30, 12, 2, 3, 25. No price 332
  • The history of music of all times and peoples - prof. L.A. Sacchetti. Pgr. 1915. "Rosehip" edition. Issue III. 202-296. With many illustrations. Subscription price 332
  • N.N. Sergievsky. The most august poet K.R. (Life and work: Grand Duke Konstantin Konstantinovich as a state and public figure, poet and person. Evaluation of creativity in the letters of our classics. My memories). With portraits, rare autographs and photographs of the production of the drama "King of the Jews". Publication of the magazine "Nasha Starina". Pgr. 1915. p. 49. Ts. 75 k. 334
  • The speeches of Libanius, translated from Greek, with an introduction, notes and two supplements by S. Shestakov. T. I. Kazan. P. 5 + XC + 522. Ts. 3 r. 60 k. 335
  • N.M. Zatvornitsky. Napoleonic era. Bibliographic index. First release. Fri. 1914. p. XIV + 328 and 8 separate tables. The price is 3 rubles. Second edition. Pgr. 1915. p. IV + 314 and 8 dep. tab. Price 3 rubles 336
  • Professor N.K. Grunsky. Lectures on pedagogy. 2nd ed. Yuriev. 1914. Ts. 1 p. 50 K. - A.M. Medvedkov. Pedagogy for self-education, school and family. Petrograd. 1914. Ts. 1 p. 35 K. - P.F. Kapterev. Didactic sketches. Education theory. Second edition. Peter. 1915. Ts. 2 p. 40 k. 338
  • K.R. "King of the Jews", a drama in 4 acts and 5 scenes. SPb. 1914. Printing house of the Ministry of Internal Affairs. Pictures from the production of drama and portraits actors in the photograph of K.A. Fisher; cliches, printing of color phototypes and heliogravure of R. Golike and A. Vilborg. Costume sketches - under the supervision of P.K. Stepanov, sketches of scenery by N.N. Boldyreva; sketches of curtains by I.G. Okorokova; color drawings of scenes from photographs by K.A. Fisher performed by M.I. Khvostenko. Cover, headpieces and color portraits of P.P. Libena. P. 284 + 12. Price 20 rubles, bound 25 rubles. 339
  • N. Marx. Drawings by E. Artseulov. Legends of Crimea. Moscow. 1914. no. I. Ed. 2nd. P. 43. Fig. 15. Ts. 1 p. 340
  • "Vilensky Vremennik", published at the Muravyov Museum in Vilna. Book VI. Archival materials of the Muravyov Museum relating to the Polish uprising of 1863-1864 within the North-Western Region. Part one. Correspondence on political affairs of the civil administration from January 1, 1862 to May 1, 1863. Compiled by A.I. Milovidov. With two chromolithographic images and six zincographic facsimiles in the text. Price 3 r. 75 r. P. XVI + 462 340
  • Prof. N.V. Hawks. Galicia on the eve great war 1914 of the year. Pgr. 1915. p. VIII + 146. Ts. 1 r. 25 r. 342
  • N.M. Lagov. Galicia, its history, nature, wealth and attractions. Pgr. 1915. p. VIII + 123. Ts. 80 k. 342
  • Collection of materials for the description of localities and tribes of the Caucasus. Publication of the administration of the Caucasian educational district. Issue 43. Tiflis. 1914. p. III + IV + 232 + 156 + 176 + VII + 243. Price not indicated 343
  • V. Lebedev. For the sovereign, the grand duke. Historical tale half of the 15th century. Moscow. Edition A.D. Stupin. 1914. p. 96. The price is 35 kopecks. 344
  • A. Rennikov. Rhine Gold. About the Germans in Russia. With many pictures and maps. Pgr. 1915. p. 395. Ts. 1 p. 50 k. 345
• History News 347
  • A German usurper of royal gifts and a Livadian deacon. - Ominous prophecy about the tragedy of March 1. - Disturbed shadows of the serf age. - Archive of the Philosophers. - Novorzhevsk landowners and peasant emancipation. - A decrepit feudal lord and a new life. - From the life of A.P. Filosofova. - The liberal wife of the military attorney. - Dostoevsky among the salon philosophers. - Leo Tolstoy in the story of a peasant in Yasnaya Polyana. - Gleb Uspensky in family life. - A novel against the will of the author of "Rasteryaeva Street" 347
• 362
  • The last days of the Bismarck dictatorship 362
  • Goethe as a war reporter 366
  • "Soul of Russia" 368
  • Death of Archduke Rudolph and Mary of the Evening 371
  • Heredity 372
  • Gogol and Dickens. Pickwick and Chichikov 375
  • An English-Russian book on German dominance 376
• Blend 379
  • Medal in memory of K.R. 379
  • New Society 380
  • Honoring northern sailors 381
  • 45th anniversary of V.N. Beetle 382
  • Anniversary of P.O. Morozova 383
  • The 25th anniversary of Professor A.P. Rozhdestvensky 383
  • Anniversary of Professor S.P. Glazenapa 384
  • The nine hundredth anniversary of the death of St. book Gleb 384
• Obituaries 386
  • Durnovo, P.N. 386
  • Dukhovskoy, S.A. 387
  • Kolomnin, P.P. 387
  • Kossovich, P.S. 388
  • Lutugin, L.I. 388
  • A. V. Nechaev 389
  • Ordynsky, A.K. 390
  • Palm, S.A. 391
  • Savina, M.G. 392
  • Flerov, N.M. 393
  • Chelyshev, M.D. 394
  • Shapirov, B.M. 394
  • Shur, M.A. 395
• Notes and corrections 395
  • I. To the memoirs of Mr. S.U. "Mosaic" 395
  • II. Regarding the review by P.M. Maikova 396
  • III. Regarding A. Sigov's article "Prince Paskevich's castle in Gomel" 396
  • IV. On the same occasion 399
• last hope 401
  • XIII. Inside the walls 403
  • XIV. Raised bedspread 408
  • XV. Low tide 414
  • Xvi. Players 418
  • XVII. On the Royal Bridge 423
  • Xviii. The city that soon forgets 429
• Historical Chronicle 443
• For someone else's freedom 485
  • Part three 485
• San Stefano. (Notes of Count N. P. Ignatiev with notes by A. A. Bashmakov and K. A. Gubastov) 546
• Nightmares in reality. (From human documents about peace and war). (Essays) 578
  • II. Poison 578
• For thirty years. (Sheets of Memories) 601
• Little historical mystery 617
• Mark Lukich Kropyvnytsky. (Memories of a fellow countryman) 627
• From the memoirs of a former court official 632
  • Xvi. General 633
  • XVII. Philosopher 635
  • Xviii. Fast 637
  • XIX. Legalist 637
  • XX. Scattered 639
  • XXI. Shrewd 640
  • XXII. Doctor 641
  • XXIII. Guardian of morality 642
  • XXIV. Lieutenant 643
• One of the shadows of the past. (From the history of the Kholmsky region) 647
• Anatoly Aleksandrovich Flerov. (To the 35th anniversary of his educational and administrative activities) 664
• Germans in the Samara steppes. Feature article 675
• In memory of Maria Gavriilovna Savina 691
• Senator G.A. Troinitsky 698
• "Fighting the Green Serpent" 705
• Count Sergei Yulievich Witte. (Materials for biography) 724
• To old Moscow. (From the trip of the grand dukes in 1861) 742
• Criticism and bibliography 774
  • Russian biographical dictionary... Labzin - Lyashenko. Published by the Imperial Russian Historical Society. Petrograd. 1914. p. 844. Price 5 rubles. 774
  • Prince Oleg. Petrograd. 1915.40 + IV + 204 pages. Price 6 rubles. 775
  • Balkan Union. Memories and documents. I.E. Geshov. Pgr. 1915. p. 110. Ts. Not indicated 777
  • Notes of Sergei Mikhailovich Soloviev. With portraits. Book "Prometheus" N.N. Mikhailova. Pgr. 1915. p. 174. Ts. 2 p. 778
  • Sergey Bertenson. The grandfather of the Russian scene. About the life and work of Ivan Ivanovich Sosnitsky. Petrograd. 1916 175 pp. + XXI. With three portraits. Price 1 r. 50 k. 779
  • Deputy from Russia (Memoirs and Correspondence of Olga Alekseevna Novikova). compiled by W. Stead. Translated by E.S. Mosolova. Petrograd 1915.Vol. I and II. Price 2 rubles. 50 k. For both volumes 780
  • Voronezh antiquity. Thirteenth edition. Published by the Voronezh Church Historical and Archaeological Committee. Voronezh. 1914. p. 109 + 243 + 115. Price RUB 2 50 kopecks 781
  • S.I. Lavrentieva. Experienced (From memories). Pgr. 1915. p. 327. Ts. 1 p. 20 k. 782
  • Fairy tales and songs of the Belozersk region. Recorded by Boris and Yuri Sokolov. (With introductory articles, photographs and a geographic map). Published by the Department of Russian Language and Literature of the Imperial Academy of Sciences. M. 1915. p. 665, XV, CXVIII 783
  • Gr. F. de la Barthes, Doctor of Western Literary History. Literary movement in the West in the first third of the 19th century. I. People of the twilight time. II. Romantic synthesis (1760 - 1830). Lectures. M. 1914. p. X + 3 + 245. Price RUB 1 50 kopecks 785
  • Gr. F. de la Barthes, Doctor of Western Literary History. Conversations on the history of general literature. Part I. The Middle Ages and the Renaissance. Lecture manual. 2nd edition, completely revised and enlarged. M. 1914. p. XIV + 349. Price RUB 2 785
  • V. Gerrier. Philosophy of history from Augustine to Hegel. Moscow. 1915. p. II + 267. Price 1 r. 50 k. 787
  • VC. Shileiko. Votive inscriptions of the Sumerian rulers. Ed. N.P. Likhachev. Petrograd. 1915. p. XXXIV + 24. Ts. 3 r. 788
  • Monuments of world literature. Ancient writers... Lucian. Biography. Religion. Moscow. 1915. p. LXIV + 320. Price RUB 2 25 kopecks 791
  • L.P. Karsavin. Foundations of medieval religiosity in the XII-XIII centuries, mainly in Italy. Pgr. 1915. p. 360. Ts. 3 r. 792
  • In memory of Dmitry Vasilyevich Roitman (October 15, 1872 - December 23, 1911) Petersburg. 1914.231 pp. 793
  • K. Shumsky. Essays on the world war on land and at sea. Overview of military operations in the main theaters. With drawings and pictures. Published by A.F. Mars. Pgr. 1915. p. 252. Ts. 1 p. 50 k. 794
  • V.P. Semennikov. Materials for the history of Russian literature and for the dictionary of Russian writers of the era of Catherine II. Based on documents from the archive of the conference of the Imperial Academy of Sciences. Petrograd 1915. p. 161 795
  • P.S. Kogan. Prologue. Thoughts on literature and life. Pgr. 1915. p. 63. Ts. 80 k. 796
  • IN AND. Rubtsov. Curriculum for the history of contemporary Russian literature. For secondary schools. Pgr. 1915. p. 363. Ts. 1 p. 35 r. 796
• History News 798
  • Petersburg arson in the memoirs of E.I. Lamansky. - Ober-prosecutor's dominance and domineering trepidation. (From the correspondence between Pobedonostsev and Archbishop Nikanor). - Head of censorship M.P. Soloviev, denounced by the pen of a former colleague. - Feoktistov and the "sedition" of the poet Polonsky. - Pushkin holiday in the coverage of modern Sobakevich 798
• Foreign historical news and trivia 809
  • Beard in France now and before 809
  • Who was Kant 810
  • Walter Scott on the Prussians 811
  • Adventures of an American in Germany 813
  • From memories of Dumas 822
  • Bulgarian country Macedonia or Serbian? 824
• Blend 827
  • In memory of the enlightener of Russia 827
  • The fiftieth anniversary of the journal "Pedagogical Collection" 828
  • Anniversary of the Moscow Bibliographic Society 828
  • 50th anniversary of the professorship of Archpriest V.G. Rozhdestvensky 829
  • To Russian teachers 829
• Obituaries 831
  • Avdakov, N.S. 831
  • Kruglov, A.V. 832
  • Rodionov, L.M. 833
  • Rusov, A.A. 833
  • Rystenko, A.V., professor 834
  • Skrebitsky, A.I. 834
  • Sokolovsky, A.L. 835
  • Soloviev, N.V. 836
• last hope 837
  • XIX. Into the Gap 839
  • XX. "Nineteen" 843
• Part two 848
  • I. St. James Street, no. 8 848
  • II. Pilot thrown 854
  • III. Simple banker 860
  • IV. A path with many bends 865

TYPES OF ANALYSIS. Historical-literary HISTORICAL-LITERARY analysis examines piece of art as a component of an autonomous historical and literary series, that is, as an element of a diachronic text. HISTORICAL-LITERARY analysis considers a work of art as a component of an autonomous historical-literary series, that is, as an element of a diachronic text.

TYPES OF ANALYSIS. Historical and literary context of the analysis is itself literary process: The context of the analysis is the literary process itself: the internal laws of the domestic or world literary process, the internal laws of the domestic or world literary process, the place of the writer in the history of literature (the counterpoint of tradition and innovation in his work is perceived by the researcher as factors that determined the appearance, problems and poetics of a work of art ). the place of the writer in the history of literature (the counterpoint of tradition and innovation in his work is perceived by the researcher as factors that determined the appearance, problems and poetics of a work of art).

TYPES OF ANALYSIS. Historical and literary “... the first task of a future researcher of the origin of Turgenev's novel is to find out the size and nature of Pushkin's legacy in it, and then the nature and reasons for Turgenev's deviation from the Pushkin norm. These are special questions. Nevertheless, we will allow ourselves to point out, on the second issue, the enormous (noticed by contemporaries) role of J. Sand's novel in the composition of Turgenev's novel. But the novels of J. Sand, that is, those of them that are relevant to our question, belong to the literary descendants of "Adolf" and represent the development and expansion of the constant roman d "analyze" (L. Pumpyansky) "... the first task of the future researcher of the origin of Turgenev's novel - to find out the size and nature of Pushkin's legacy in it, and then the nature and reasons for Turgenev's deviation from the Pushkin norm. Sand in the addition of Turgenev's novel But the novels of J. Sand, that is, those of them that are relevant to our question, belong to the literary offspring of "Adolf" and represent the development and expansion of the constant roman d "analyze" (L. Pumpyansky)

TYPES OF ANALYSIS. Historical and literary "... the form of poetry depends on the nature of the artistic genius of that other people: the hexameter of Homeric epic is nothing but a prosody of the chants of the Greek people" of the Greek people "I. Herder. I. Herder.

TYPES OF ANALYSIS. Historical and literary A short and very important signal of loneliness: A short and very important signal of loneliness: I go out alone on the road. I go out alone on the road. Opposition: “go out” and “on the road”. The road (as a rule) of Russian and world poetry, they usually mean: changing connections of the traveler with people and the world, set the expectation of communication and meetings, Opposition: "go out" and "on the road." The road (as a rule) of Russian and world poetry, they usually mean: the changing connections of the traveler with people and the world, set the expectation of communication and meetings, but in this case this expectation does not come true: one, but in this case this expectation does not come true: alone, therefore, the contrast between the signal of loneliness and neighboring words, symbols of future communication, emphasizes the cheerless state of the hero. therefore, the contrast between the signal of loneliness and neighboring words, symbols of future communication, emphasizes the cheerless state of the hero.

TYPES OF ANALYSIS. Historical and literary A bleak state: in the next line there is a subtle, but completely real presence of sadness: A bleak state: in the next line there is a subtle, but completely real presence of sadness: Through the fog, the flint path glitters ... Through the fog, the flint path glitters .. . "Flint", that is, strewn with small stones, stony, "Flint", that is, strewn with small stones, stony, which evokes the idea of ​​a difficult and harsh path, and this association, significant in itself, is enriched with a feeling of sorrow , which is inspired by the lunar landscape (the path in the night, of course, shines only in the light of the moon, and the epithet "sad" is inseparable from it). which evokes the idea of ​​a difficult and harsh path, and this association, significant in itself, is enriched with a feeling of sorrow, which is inspired by the lunar landscape (the path in the night, of course, shines only in the light of the moon, and the epithet "sad" is inseparable from it).

TYPES OF ANALYSIS. The historical and literary "Sad Moon" is a cultural symbol that is universally significant for world poetry; among poets, it is always associated with the image of painful sadness, a gloomy thought (AN Afanasyev); “The sad moon” is a cultural symbol that is universally significant for world poetry; among poets, it is always associated with the image of painful sadness, a gloomy thought (AN Afanasyev); exceptions are observed in parody texts: exceptions are observed in parodic texts: She is round, red in her face, Round, she is red in her face, Like this stupid moon Like this stupid moon In this stupid sky - In this stupid sky - "Eugene Onegin" "Eugene Onegin"

TYPES OF ANALYSIS. Historical and literary Fog and any belittling of light, (for example, an eclipse), correlate in the mythological views of the Slavs with bad omens, a premonition of loss and damage (A.N. Afanasyev). Fog and any belittling of light, (for example, an eclipse), correlate in the mythological views of the Slavs with bad omens, a premonition of loss and damage (A.N. Afanasyev). These associations, generated by the context of Russian, world poetry, already at the very beginning of the poem entail an atmosphere of sadness. These associations, generated by the context of Russian, world poetry, already at the very beginning of the poem entail an atmosphere of sadness.

TYPES OF ANALYSIS. Historical and literary Third and fourth verses: Third and fourth verses: the unhappy, mournful, preoccupied mood is opposed to the peace of the Universe, where everything is in harmony, harmony with each other ("The night is quiet. The desert hears God, and the star speaks with the star"), the unhappy, mournful, anxious mood is contrasted with the peace of the Universe, where everything is in agreement, harmony with each other ("The night is quiet. The desert listens to God, and the star speaks with the star"), and where Lermontov's man is not involved in anything and belongs to nothing. His inner aloofness to the environment is reinforced by the word "desert": a deserted space in which any connection of one with the other is impossible. and where Lermontov's man is not involved in anything and belongs to nothing. His inner aloofness to the environment is reinforced by the word "desert": a deserted space in which any connection of one with the other is impossible.

TYPES OF ANALYSIS. Historical and literary However, the “desert” itself is inseparable from a single whole, space, or the Universe, for it “hears God”, and therefore the loneliness of the hero, as if displaced from the vast world or torn from ties with it, acquires an unlimited, universal, and therefore , a truly romantic character. However, the “desert” itself is inseparable from a single whole, space, or the Universe, for it “hears God”, and therefore the loneliness of the hero, as if displaced from the vast world or torn from ties with it, acquires an unlimited, universal, and therefore truly romantic character.

TYPES OF ANALYSIS. Historical and literary The feeling of loneliness is also confirmed by the opening verses of the second stanza: The feeling of loneliness is also confirmed by the opening verses of the second stanza: "In the heavens solemn and wonderful ..." - this is a look up from the earth, "In the heavens solemn and wonderful ..." - this is a look upward, from the ground, But: "The earth sleeps in a blue glow ..." ... "- The lyrical hero sees the earth as if it were the whole, in a halo of blue radiance (again look up?): Romantic space

TYPES OF ANALYSIS. Historical and literary The opposition of points of view in the fifth and sixth verses (one - from a height, the other - from below) creates the impression that Lermontov's man feels himself as a kind of center around which the rest of the world is located: romantic egocentrism The opposition of points of view in the fifth and sixth verses (one - from a height, the other - from below) creates the impression that Lermontov's person feels like a kind of center around which the rest of the world is located: romantic egocentrism

TYPES OF ANALYSIS. Historical and literary Like the Demon, Lermontov's man does not belong to earth or heaven, "homeless" both on earth and in heaven, is torn away from heavenly paradise, where it is "solemn and wonderful", and cannot accept the earthly vale. Like the Demon, Lermontov's man does not belong either to earth or to heaven, "homeless" both on earth and in heaven, is torn away from heavenly paradise, where it is "solemn and wonderful", and cannot accept the earthly vale. This is how the whole measure of the restlessness and tragedy of the lyric hero is revealed, which arouses in him a painful question: This is how the whole measure of the restlessness and tragedy of the lyric hero is revealed, which raises in him a painful question: What does it hurt so much and so difficult for me? Why is it so painful for me and so difficult? This ends the first part of the poem This ends the first part of the poem

TYPES OF ANALYSIS. Historical and literary The assertion of my own, special values ​​begins with denial: "I do not expect anything from life ..." - The assertion of my special values ​​begins with denial: "I do not expect anything from life ..." an imperfect life with which a proud, protesting heart cannot come to terms. it is about an imperfect earthly life with which a proud, protesting heart cannot reconcile. The next line should not be read (understood) literally, because it contains a purely Lermontovian meaning. The key to it is in all the poet's lyrics, it differs from other poetic systems by an extraordinary unity of thought, views, and worldview. The next line should not be read (understood) literally, because it contains a purely Lermontovian meaning. The key to it is in all the poet's lyrics, it differs from other poetic systems by an extraordinary unity of thought, views, and worldview.

TYPES OF ANALYSIS. Historical and literary "And I do not regret the past at all ..." - evidence of one of the most important features of Lermontov's poetic consciousness - his belief in the "heavenly origin" of the human soul, that the soul remembers the past heavenly harmony. "And I do not regret the past at all ..." - evidence of one of the most important features of Lermontov's poetic consciousness - his belief in the "heavenly origin" of the human soul, that the soul remembers the past heavenly harmony. The verses about the angel who carried the soul to the woeful and perishable earth are indicative: The verses about the angel who carried the soul to the woeful and perishable earth are indicative:

An angel flew across the midnight sky, And he sang a quiet song; And the month, and the stars, and the clouds in a crowd listened to that holy song. He sang about the bliss of sinless spirits Under the bushes of the Gardens of Eden; He sang about God the great, and His praise was not feigned. He carried a young soul in his arms For the world of sorrow and tears; And the sound of his song in a young soul Remained without words, but alive. And for a long time in the world she languished, Full of wonderful desire; And the sounds of heaven could not replace her boring songs of the earth. "Angel"

TYPES OF ANALYSIS. The historical and literary "Past", which is mentioned in the second line of the third stanza of the poem "I go out on the road alone ...", denotes the "past" heavenly bliss, lost harmony. "The past", which is mentioned in the second line of the third stanza of the poem "I go out on the road alone ...", denotes the "past" heavenly bliss, lost harmony. The poet does not seem to regret her and does not expect anything from earthly life, but the meaning of his assurances comes into clear contradiction with their intonation, in which the bitterness of irreplaceable losses sounds. It is she who does not allow the hero, with all his despair, to renounce undoubted ideals, to stop yearning for them. The poet does not seem to regret her and does not expect anything from earthly life, but the meaning of his assurances comes into clear contradiction with their intonation, in which the bitterness of irreplaceable losses sounds. It is she who does not allow the hero, with all his despair, to renounce undoubted ideals, to stop yearning for them.

TYPES OF ANALYSIS. Historical and literary "I'm looking for freedom and peace" - "I'm looking for freedom and peace" - and Pushkin's: and Pushkin's: "There is no happiness in the world, but there is peace and will ..." (poem "It's time, my friend, it's time! .. "). "There is no happiness in the world, but there is peace and will ..." (poem "It's time, my friend, it's time! .."). BUT: BUT: The hope that nourished Pushkin is clearly shaken in the dramatic consciousness of Lermontov. This is due to the fundamental difference between the eras that formed the two geniuses: "before" and "after" the December uprising. The hope that nourished Pushkin is clearly shaken in the dramatic consciousness of Lermontov. This is due to the fundamental difference between the eras that formed the two geniuses: "before" and "after" the December uprising. What for Pushkin was a symbol of faith ("is") became an unattainable ideal for his successor ("I am looking for"). What for Pushkin was a symbol of faith ("is") became an unattainable ideal for his successor ("I am looking for" ), which is why the desire arises: “I would like to forget and fall asleep!”. why there is a desire: "I would like to forget and fall asleep!"

TYPES OF ANALYSIS. Historical and literary Striving to “forget and fall asleep” - The striving to “forget and fall asleep” is a rebellion of a lonely person against an imperfect world order, but not life itself. the rebellion of a lonely person against an imperfect world order, but not life itself. The thirst for the ideal is stronger than despair, and sleep is thought not of exclusion from being ("... not that cold sleep of the grave" when the spirit "drowns in the endless abyss"), but other being, in which life and death are the same complementary members of the pair, like heaven and earth in the universe. The thirst for the ideal is stronger than despair, and sleep is thought not of exclusion from being ("... not that cold sleep of the grave" when the spirit "drowns in the endless abyss"), but other being, in which life and death are the same complementary members of the pair, like heaven and earth in the universe.

TYPES OF ANALYSIS. Historical and literary Life becomes like death ("forever ... to fall asleep"), death - like life ("So that the strength of life slumber in the chest, So that the chest heaves quietly while breathing") - this is a state of nirvana, Life becomes like death ("Forever ... to sleep"), death - for life ("So that the strength of life slumber in the chest, So that the chest heaves quietly while breathing") - this is a state of nirvana, which only one can give the hero a sense of peace and freedom, therefore: which is only one thing that can give the hero a sense of peace and freedom, therefore: The loneliness and restlessness of Lermontov's man disappear. The loneliness and restlessness of the Lermontov man disappear. His closed world: (“But, having lost my homeland and freedom, I suddenly found myself in myself alone”) (not without reason the hero feels like the center of the Universe, not belonging to it) will enter into a different relationship with the cosmos. His closed world: (“But, having lost my homeland and freedom, I suddenly found myself in myself alone”) (not without reason the hero feels like the center of the Universe, not belonging to it) will enter into a different relationship with the cosmos.

TYPES OF ANALYSIS. Historical and literary The soul of the hero and the Universe are in complete harmony; heaven ("sweet voice") and earth ("dark oak") will turn to him with love and favor. The soul of the hero and the Universe are in complete harmony; heaven ("sweet voice") and earth ("dark oak") will turn to him with love and favor. The hero's world will join the world of the Universe. However, this idyll is possible only when Lermontov's man ceases to be pain point in the universe. The hero's world will join the world of the Universe. However, this idyll is possible only when Lermontov's man ceases to be a painful point in the universe. On other conditions, there can be no harmony between him and the world around him. On other conditions, there can be no harmony between him and the world around him.

TYPES OF ANALYSIS. Historical and literary The theme of the song ("sweet voice" or the voice "gratifying", from the draft version), arising with the support of harmonic sound writing in the last stanza: The theme of the song ("sweet voice" or the voice "gratifying", from the draft version), arising when support for harmonic sound writing in the last stanza: symmetry of sounds: symmetry of sounds: "y" - in the 1st and 4th verses: 2; "y" - in the 1st and 4th verses: 2; "e" - in the 1st and 3rd verses: 4; in the 2nd and 4th verses: 2; "e" - in the 1st and 3rd verses: 4; in the 2nd and 4th verses: 2; "l" - in the 1st and 4th verses: 3 "l" - in the 1st and 4th verses: 3 and a single rhyme with alternating female and male endings, which gives a special rhythmic-intonational completeness to the verses of the fifth stanza), and a single rhyme with alternating female and male endings, which gives a special rhythmic-intonational completeness to the verses of the fifth stanza),

TYPES OF ANALYSIS. Historical and literary "I go out on the road alone ..." is one of Lermontov's last poems, the result of themes, motives and searches that are cross-cutting for his work. This pearl of Russian lyric poetry reflects an extremely generalized philosophical interpretation of the poet's tragic conflict with the world, free from historical and political realities, his romantically boundless pathos of denial, the psychological depth of the revelation of a hero who endlessly longs for an ideal and does not believe in its existence. "I go out on the road alone ..." is one of Lermontov's last poems, the result of themes, motives and searches that are cross-cutting for his work. This pearl of Russian lyric poetry reflects an extremely generalized philosophical interpretation of the poet's tragic conflict with the world, free from historical and political realities, his romantically boundless pathos of denial, the psychological depth of the revelation of a hero who endlessly longs for an ideal and does not believe in its existence.

TYPES OF ANALYSIS. The historical and literary but spilled and melodious structure of the entire poem, starting with "Angel", is associated with that special Lermontov's Eden, to which he gave the name "joy", with the ideal fullness of being, unattainable in earthly struggles, but including musically transformed earthly values (flowering of nature, female love) "but the diffused and melodious structure of the entire poem, starting with" Angel ", is associated with that special Lermontov's Eden, to which he gave the name" joy ", with the ideal fullness of being, unattainable in earthly struggles, but including yourself musically transformed earthly values ​​(the flowering of nature, female love) "

Russian literature is a great asset for the entire Russian people. Without it, since the 19th century, world culture is unthinkable. The historical and cultural process and the periodization of Russian literature have their own logic and specific traits... Having begun more than a thousand years ago, its phenomenon continues to develop in the time frame of our days. It is he who will become the subject of this article. We will answer the question of what is the periodization of Russian literature (RL).

general information

At the very beginning of the story, we generalized and presented the periodization of Russian literature. The table, compactly and clearly demonstrating the main stages of its development, illustrates the development of the cultural process in Russia. Next, we will consider the information in detail.

Conclusion

Russian literature is really capable of stirring up "good feelings". Its potential is bottomlessly deep. From the sunny musical style of Pushkin and Balmont to the intellectually deep and imaginative presentation of our virtual century by Pelevin. Fans of sentimental lyrics will love Akhmatova's work. It contains both the wisdom inherent in Tolstoy and the filigree psychologism of Dostoevsky, to which Freud himself took off his hat. Even among prose writers, there are those whose style of artistic expression resembles poetry. These are Turgenev and Gogol. Lovers of subtle humor will discover Ilf and Petrov. Those who want to taste the adrenaline from the plots of the criminal world will open the novels of Friedrich Neznansky. Fantasy lovers will not be disappointed with Vadim Panov's books.

In Russian literature, every reader can find something that will touch his soul. Good books are like friends or fellow travelers. They are able to console, advise, entertain, support.

Classicism - (from Latin classicus - exemplary) - literary direction in the European literature XVII in., which is based on:

1) Recognition of ancient art as the highest model, ideal, and works of antiquity as an artistic norm.

2) The principle of rationalism and "imitation of nature".

3) The cult of reason.

4) Active appeal to public, civic issues.

5) Emphasized objectivity of the story.

6) A strict hierarchy of genres.

High: tragedy, epic, ode (they depict public life, story; there are heroes, generals, monarchs). Medium: letters, diaries. Low: comedy, satire, fable (subject of the image - everyday life ordinary people). Mixing high and low genres was not allowed. Three works by the Roman poet Virgil, respectively, were considered examples of the simple (low), middle, and high styles in Kazakhstan: Bucolics (the hero is a shepherd), Georgics (the hero is a plowman), and Aeneid (the hero is a leader). The authors of the classicist direction were not supposed to leave the circle of images and plots prescribed by the style. Tragedy is the leading genre of cattle.

The artistic work of K. is organized as an artificial, logically constructed whole, which is characterized by a strict plot-compositional organization and schematism. Human characters are outlined in a straightforward manner; heroes are strictly divided into positive (idealized) and negative. The largest representatives of European C. were P. Corneille, J.-B. Moliere, J. Racine, theoretician - N. Boileau (author of the poem-treatise "Poetic Art").

The birth of Russian K. is attributed to the 1920s and 1930s. XVIII century The features of this trend were most fully manifested in the work of such Russian writers as A.D. Kantemir, V.K. Trediakovsky, A.P. Sumarokov, M.V. Lomonosov, G.R. Derzhavin, D.I. Fonvizin and others.

Sentimentalism - (from French sentiment - feeling, sensitivity) - the literary trend of the second half of the 18th century. - early. XIX century, in contrast to classicism, recognizing the basis of human nature is not reason, but feeling. It arose as a reaction to the rigid framework of classicism. The most important property of S. is the desire to investigate the human personality in the movements of the soul, thoughts, feelings, and experiences. Departing from the straightforwardness inherent in classicism, S. turns to the depiction of private human life. The main themes of S. are love, friendship, suffering, the contradictions of inner life, etc. The hero of S.'s works is a simple person, a representative of the lower classes, endowed with innate moral purity, integrity, and a rich spiritual world. Sentimental writers promoted the value of natural feeling, the organic connection between man and nature, and idealized the patriarchal way of life. The main genres of S. are a sentimental novel, a story, a diary, a journey, a letter, an elegy, and a message. The founder of S. is considered to be the English writer J. Thompson ("The Seasons", 1730); the largest representatives in European literature - L. Stern (" Sentimental journey on France and Italy "), J.-J. Rousseau (" Julia, or New Eloise "), S. Richardson (" Ppamela, or Rewarded Virtue "," Clarissa, or the Story of a Young Lady "), I.-V. Goethe ("The Suffering of Young Werther") and others; in Russian literature of the second half of the 18th century - M.N. Muraviev, N.M. Karamzin, V.V. Kapnist, N.A. Lvov, A.N. Radishchev , early VA Zhukovsky. The story of NM Karamzin became a kind of visiting card and artistic manifesto of Russian S. Poor Lisa Russian S. is characterized by a pronounced educational character: the presence of a strong didactic attitude, active improvement literary language by introducing colloquial forms into it. The role of S. in the literary process is to assert the value of the individual human personality, the democratization of art, and the convergence of the literary language with the spoken language. In general, S., with his subjective approach to the world around him and to man, prepared the way for romanticism.

Romanticism - (German Romantik, French romantisme, English romanticism) a creative method in literature and art, developed in late XVIII- the beginning of the XIX century. and became widespread as a direction (trend) in the art and literature of most European countries. The romantic method is based on general principles: the subjective position of the writer in relation to the depicted; the desire not so much to recreate as to recreate reality, which leads to the use of fantasy, grotesque, symbolism, conventions, and so on in R.'s works; promotion of an exceptional personality as a hero ( romantic hero), a lonely, dissatisfied reality, rebellious, rebelling against the world order, endowed with a desire for absolute freedom, for an unattainable ideal, combined with an understanding of the imperfection of the world around; proclamation of the value of the human person, human individuality . R. is characterized not only by a rejection of the real world, from everyday life, but also an interest in everything exotic, strong, bright, sublime (the action of the poems of J. Byron and A.S. Pushkin unfolds in the southern countries and in the countries of the East, the ballads of V.A. Zhukovsky - in a fantastic, fictional world, romantic poets often transfer the action of their works to the past). The leading feature of R. is a tragic double world, an experience of discord with reality: the romantic hero realizes the imperfection of the world and people and at the same time dreams of being understood and accepted by them. Propagation time - late 18th - first half of the 19th century ... (J. Byron, P.B. Shelley, V. Hugo, E. T. A. Hoffman); heyday in Russia - 10 - 30s. XIX century. (ballads by V.A.Zhukovsky, lyrics and poems by A.S. Pushkin, M.Yu. Lermontov, A.A. Bestuzhev, K.F. Ryleev, etc.).

Realism - (from Lat.realis - material) - artistic method in literature and art, following which, the writer depicts life in accordance with objective reality; faithful reproduction of "typical characters in typical circumstances" (F. Engels). R. - "the direction in art that most closely depicts reality" (VP Rudnev). The focus of R.'s attention is not just facts, events, people and things, but those patterns that operate in life, the relationship between man and the environment, the hero and the time in which he lives. At the same time, the writer does not break away from reality, selects the features inherent in life with the greatest accuracy and thereby enriches the reader with knowledge of life. The selection of life phenomena, their assessment, the ability to present them as important, characteristic, typical - all this is connected with the artist's point of view on life, and this depends on his worldview, on the ability to capture the movement of the era. The basis of the realistic method is the historicism of thinking (the vision of a historical perspective, the interaction of the past, present and future), social analysis (the depiction of phenomena in their specific social conditioning), and social typification. In the XIX century. a new type of realism is emerging - critical R. In the west, its flourishing is associated with the names of Stendhal and O. de Balzac in France, C. Dickens and W. Thackeray in England, in Russia - with the names of A.S. Pushkin, N.V. Gogol, I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov. K. p. depicts the attitude of a person in a new way and environment... Human character is revealed primarily in connection with social circumstances. The subject of deep analysis is also the inner world of a person - K. p. at the same time it is interpreted as psychological (See psychologism). In Russia, the 19th century became a period of intensive development of R. In the second half of the 19th century, the artistic achievements of realism brought Russian literature onto the international arena and won worldwide recognition. A special place in the history of Russian R. belongs to L.N. Tolstoy and F.M. Dostoevsky ... It is thanks to them that the Russian realistic novel acquired world significance. In the twentieth century. the realistic tradition was continued by I.A. Bunin, A.I. Kuprin, V.V. Veresaev and others

Modernism - (from French moderne - modern, newest) -

1) Conventional designation of the cultural period of the late 19th - mid-20th centuries: a set of unrealistic philosophical and artistic trends in the art of this era, which are united by the idea of ​​renewal, revision of the philosophical foundations, creative principles, the very language of classical art of the 19th century. M., just like decadence, in a peculiar way focused and expressed the mood of "the end-beginning of the century."

2) The literary trend of the first half of the twentieth century, combining many schools and trends (in world literature, impressionism and expressionism are considered the largest trends in M., in Russian - symbolism and acmeism). M. is basically the opposite of realism as a traditional art: M. is characterized by anti-historical thinking (history is replaced by a certain model of the world in which nothing changes, by the mythologization of the past, present, and future); interest in a person in general, and not in a person as a product of his era (the concrete historical situation in M.'s works does not matter, because "a person, like a horse, always walks with his eyes closed in the same circles" (D. Joyce) ); lack of social typification. M. transforms the world by means of art, seeks to model his own reality. In addition, important features of modernist aesthetics are the principle of the synthesis of arts, the fusion of the real and the fantastic, the blurring of the boundaries between reality and art, innovation in the field of form and content, etc.

symbolism	acmeism	futurism
(fr. symbollisme< от греч. symbolon - знак, опознавательная примета) - явление художественной культуры последней трети XIX - нач. ХХ вв., противопоставившее себя реализму (в частности, натурализму) и сделавшее основой своей художественной системы философскую концепцию о принципиальной непознаваемости мира и человека средствами scientific experience, logical analysis and realistic image. Sivolist artists only recognized intuitive knowledge- artistic intuition, capable of discovering the ideal (spiritual) essence of the world, lost as a result of the tragic gap between the visible and the real, the material and the spiritual, the manifest and the hidden, helping the poet (artist) to guess or feel the deep state of the environment. Born in France in the 70s. XIX century. as a trend that develops achievements impressionism in the field of language and style, S. began to be recognized as an independent direction that opened up fundamentally new ways of comprehending reality. The philosophy of S. is based on the idea of ​​the German philosopher F. Nietzsche that life is an endless process of creativity, which has no purpose other than aesthetic (art for the sake of art): "The existence of the world can only be justified as an aesthetic phenomenon." Symbolists made Art God, and the creative act was perceived as a religious and mystical act that connects the artist with true reality - other worlds... A key concept in S.'s philosophy is the rethought romantic idea of ​​a double world (see romanticism): the imperfect real world is only a reflection of the ideal world. The connecting link, the bridge between the two worlds becomes symbol , just like in Ancient Greece two parts of the plate (symbol), converging into a whole along the fault line, were a conventional sign that allowed strangers involved in some common cause or secret to recognize each other. Thus, in art, the Symbolists see a universal way of connecting the mysterious (ideal) world with reality, and the poet (artist), far from the social problems of our time, is thought of as the chosen one (theurge, "the god of the mysterious world"), endowed with the highest knowledge of eternal Beauty and realizing this knowledge in a renewed poetic word. The influence of the word, in turn, is likened to the influence of music as a universal (that is, non-national, capable of being understood without words) art: the Symbolists strive to ensure that the word does not "speak", but inspire, enchant, induce (literally according to Fet: "Oh , if without a word // It was possible to say with the soul! "and" What cannot be expressed with words - // Sound to the soul "). S. actively developed in countries Western Europe: the work of many poets is associated with it (C. Baudelaire, P. Verlaine, A. Rimbaud, S. Mallarmé, R.M. Rilke and others, playwrights (G. Ibsen, M. Maeterlink, E. Rostan, etc.) , prose writers (G. Mann, F. Kafka, G. Hesse, etc.). In Russia, S. declared himself in the late 1880s in the poetry of N. Minsky, K. Ldov and others, philosophical works and lyrics V.S. Solovyova(primarily in the doctrine of the "soul of the world"), and in the last decade of the century - in the works of senior symbolists D.S. Merezhkovsky, Z.N. Gippius, V. Ya. Bryusova, Viach. Ivanov and others, at the turn of the century - the younger Symbolists A.A. Blok, A. Bely, S.M. Soloviev.	Acmeism ("Adamism") (from the Greek. Acmeists proclaimed materiality, the objectivity of themes and images, and the accuracy of words. The formation of Acmeism is closely related to the activities of the "Guild of Poets", the central figures of which were the founders of Acmeism, N. S. Gumilyov, A. Akhmatova (who was its secretary and active participant) and S. M. Gorodetsky. Contemporaries gave the term other interpretations: Vladimir Piast saw its origins in the pseudonym of Anna Akhmatova, which sounds like “akmatus” in Latin, some pointed to its connection with the Greek “akme” - “edge”. The term "acmeism" was proposed in 1912 by N. Gumilyov and S. M. Gorodetsky: in their opinion, symbolism, which is in crisis, is being replaced by a trend that generalizes the experience of predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of polemics and was not entirely justified: Vyacheslav Ivanov jokingly spoke about “acmeism” and “adamism”, Nikolai Gumilyov picked up accidentally thrown words and christened a group of poets close to him ... Acmeism was based on preference for describing real, earthly life, but it was perceived extrasocial and extrahistorical. The little things of life, the objective world were described... The gifted and ambitious organizer of Acmeism dreamed of creating a "direction of directions" - a literary movement reflecting the appearance of all contemporary Russian poetry. Acmeism was established in the theoretical works and artistic practice of N. S. Gumilyov (article "The legacy of symbolism and acmeism" 1913), S. M. Gorodetsky ("Some trends in modern Russian poetry" 1913), O.E. Mandelstam (article "Morning of Acmeism" published. in 1919), A. A. Akhmatova, M. A. Zenkevich, G. V. Ivanov, E. Yu. Kuzmina-Karavaeva.	(from Lat. futurum - future) - avant-garde (see avant-garde) trend in art and literature of the twentieth century, originated in Italy ("Manifesto of the Futurists" in 1909) and became widespread in many European countries, primarily in Russia ... Representatives of this revolutionary movement in art are characterized by: 1) A demonstrative break with traditional culture, rejection of the classical (see classic) heritage (Russian futurists called for "throwing" Pushkin, Dostoevsky, Tolstoy "off the" Steamer of Modernity ".) 2) Experiments in the field of words (expansion of the poetic vocabulary due to" word-creation "and" word-creation ", for example, the creation of derivatives from the words in the language: V. Khlebnikov and others). 3) Outrageous public and often literary hooliganism (the manifesto of Russian futurists was called "A slap in the face for public taste" collections - "The Garden of Judges", "Milkers of Exhausted Toads", "Dead Moon", "Roaring Parnassus", etc.). Russian F. was represented by four associations of poets: the group of Moscow "willlyans" (from the word "future" - the neologism belongs to V. Khlebnikov) "Gileya" included D. and N. Burliuk, V.V. Mayakovsky, A. Kruchenykh, V. Kamensky, E. Guro (in the future they began to call themselves cubo-futurists and promote the ideas of cacophony of poetic speech, the use of reduced vocabulary, violation of linguistic norms, etc.); Petersburg ego-futurists (the term of I. Severyanin: from the Latin ego - I, literally I - the future) were I. Severyanin, G.V. Ivanov, P. Shirokov and others; the Moscow association of ego-futurists "Mezzanine of Poetry" is represented by the names of V.G. Shershenevich, R. Ivnev, B.A. Lavrenev and others; the successors of the St. Petersburg F. were members of the "Centrifuga" group B.L. Pasternak, N.N. Aseev and others. It is believed that the Russian F. was exhausted by about 1915.

Postmodernism - a trend in literature, aesthetics, philosophy of the XX century (its origin is attributed to the 30s - 40s of the XX century, flourishing - to the 80s). Characteristic feature Russian postmodern literature is opposed to realistic art, primarily socialist realism, which was considered the official direction in Russia until the end of the 70s. XX century: postmodernists consciously reject the norms, rules and restrictions developed by the previous cultural tradition, reject authorities (including the authority of modernism) or ironically rethink them. P. declares cultural pluralism (freedom of choice of topics, genres, etc.), blurring the boundaries between high and low, reality and fiction, art and reality, etc. The most important element of the postmodern text is irony and self-irony, a language game. The stylistics of postmodern texts is also characterized by a conscious combination in one work of themes, problems, motives, artistic techniques, styles of works of different epochs, peoples, cultures, which inevitably leads to stylistic eclecticism, quotation (L. Losev writes: "I am pinching someone else's string, // I am carrying something alien"). Quotation, often brought to the point of centonity (see centon), became one of the principles of P. However, in the postmodern text, a quotation taken out of the context of the source begins to live an independent life, being included in a new context, for example:

A special place in P.'s poetics is occupied by traversed (that is, parodically reduced) quotations: "... and then Dantes in chain mail // From his Paris // like a pulnet to the singing of a blizzard // into the body of our everything!" (Gol); "How the soul now says goodbye to the body. // To say goodbye, to know, the time has come. // She is still, right where she is good. // It is old and tired" (L. Losev). The language itself in P.'s work turns from a tool for describing the world into an object of research, and a poet or writer turns into an instrument of language. P. also actively uses allegories, reminiscences, associations, mythologemes and ideologemes, symbols. The leading postulate of P. is the principle of "the world as a text" (see intertextuality). At the same time, P. proclaims the conditions for creating a text to be the free movement of meanings that do not form a single semantic center, an arbitrary combination of elements, in other words, the creation of a kind of cultural collage, a text that does not reflect reality, but creates a new or many new realities. To representatives of P. in modern Russian literature include Sasha Sokolov, V. Sorokin, T. Kibirova, V. Strochkov, A. Levin, and others. The most striking trends in Russian P. are Sotsart and Conceptualism.

Video tutorial 2: Literary directions

Lecture: Historical and literary process

Classicism

Classicism- main artistic direction European art XVII-early XIX centuries

This literary movement was formed in France (late 17th century)

Main topics: civil, patriotic motives

Signs	Target	Specific traits	Representatives of the direction in Russia
1. Cultivates the theme of moral duty, patriotism, "high" citizenship 2. Proclaims the prevalence of public interests over private problems.	Creation of works based on the model of ancient art	1. Purity of the genre (high genres exclude the use of everyday situations, heroes, sublime, tragic motives are unacceptable for low ones); 2. Purity of language (high genre uses high, sublime vocabulary, low - vernacular language) 3. A clear division of heroes into negative and positive; 4. Strict adherence to the rule of "unity of 3" - place, time, action.	Poetic creations M. Lomonosov, V. Trediakovsky, A.Kantemira, V.Knyazhnina, A. Sumarokova.

Sentimentalism

To replace classicism in the second half of the 18th century. came sentimentalism (English "sensitive", French "feeling"). Human feelings, emotions, experiences became the dominant theme of art.

Sentimentalism- the primacy of feelings over reason.

The main value criterion sentimentalists proclaimed the harmonious combination of nature and man.

Sentimentalism is represented in Russia by works:

N.M. Karamzin,

I. I. Dmitrieva,

V.A. Zhukovsky (early work).

Romanticism

At the end of the 18th century. in Germany, a new literary movement, romanticism, was formed. Several circumstances contributed to the emergence of a new trend:

Enlightenment crisis

Revolutionary events in France

Classical German philosophy

The artistic quest for sentimentalism

Hero romantic works- the embodiment of rebellion against the realities of the surrounding reality.

Representatives of the romantic art movement in Russia:

Zhukovsky V.A.

Batyushkov K.N.

Yazykov N.M.

Pushkin A.S. (early works)

Lermontov M.Yu.

Tyutchev F.I. (philosophical lyrics)

Realism

Realism is a true reflection of reality.

Principles of Realism:

• objective display of the sides of life in combination with the author's ideal
• reproducing typical characters in typical circumstances
• vital reliability of the image using conventional forms of artistic fantasy (myth, symbol) of the grotesque.

Realism took over criticism of the bourgeois world order from romanticism, developed it creatively, significantly deepened it, so later the term was supplemented with an essential "clarification": Maxim Gorky defined the new direction as "critical realism."

Modernism

The worldwide crisis of bourgeois culture, which took shape at the transition from the 19th century to the 20th century, gave rise to a new artistic direction, called "modernism". The new trend proclaimed a complete break with realistic traditions in creativity.

If in European modernism about a dozen newly created trends showed themselves, then the Russian version of the new literary trend consists of only "three whales":

symbolism

acmeism

futurism

Each of these trends is looking for a path in art that will help break away from everyday, boring reality, and open a new, ideal world for a person.

Direction name	Characteristic features, signs	Representatives in Russian literature
Symbolism(Greek "conventional sign") (1870-1910s)	The main place in creativity belongs to the symbol 1. Reflection of the world in real and mystical planes. 2. The search for "incorruptible Beauty", the desire to know the "ideal essence of the world" 3. The world is learned through intuition 4. Understatement, hints, secret signs, the special musicality of the verse 5. My own creation of myths 6. Preference for lyric genres	The "senior" symbolists who stood at the origins of the new trend - D. Merezhkovsky (founder), Z. Gippius, V. Bryusov, K. Balmont. Later, the "junior" successors joined the direction: Vyacheslav Ivanov, A. Blok, A. Bely
Acmeism(Greek "akme" - the highest point) (1910s)	1. Complete apoliticality, complete indifference to the pressing problems of the surrounding reality. 2. Liberation from symbolic ideals and images, from the sublime, multivalued artificiality of texts, excessive metaphoricality - distinctness, definiteness of poetic images, clarity, accuracy of verse. 3. Return of poetry to the real, material world and subject	In the early periods of creativity A. Akhmatov, also O. Mandelstam, N. Gumilyov, M. Kuzmin, S. Gorodetsky.
Futurism(lat. "future") (1910 -1912 - in Russia)	1. The denial of traditional culture, the dream of the emergence of super-art in order to transform the world with its help. 2. Word creation, updating the poetic language, searching for new forms of expression, new rhymes. Gravitation towards colloquial speech. 3. A special way of reading poetry- declaiming. 4. Usage latest achievements science and technology 5. "Urbanization" of a language, a word is a kind of construction, a material for word creation 6. Shocking, artificial creation of the atmosphere of a literary scandal	V. Khlebnikov (early poems), D. Burliuk, I. Severyanin, V. Mayakovsky
Postmodernism(late XX - early XXI century)	1. The loss of ideals led to the destruction of the holistic perception of reality, fragmentation of consciousness, mosaic perception of the world was formed. 2. The author prefers the most simplified reflection of the surrounding world. 3. Literature is not looking for ways to understand the world - everything is perceived in the form in which it exists here and now. 4. The leading principle is oxymoron (a special stylistic device in which incongruous things and concepts are combined). 5. Authorities are not recognized, there is a clear gravitation towards a parody style of presentation. 6. The text is a bizarre mixture of various genres and eras.	V. Erofeev S. Dovlatov V. Petsukh T. Tolstaya V. Pelevin V.Aksyonov V. Pelevin and others.