Development of world literature at the end of the 20th–21st centuries. Main trends in the development of world literature and half of the twentieth century, Polish literature
1. The main trends in the development of world literature in the half of the twentieth century. During this period, there is an acute conflict between opposing tendencies. The general artistic decline is already manifested in the work of naturalist writers (see naturalism). The emergence of impressionism in France dates back to 60-70 years, and over time in Germany and other extreme countries (see impressionism). The first actually decadent movements are symbolism, the birthplace of which was France in the 70-80s, and aestheticism, which took shape in England in the 90s. (See symbolism) Aestheticism is a movement that has an inherent cult of refined beauty. Its supporters rallied around the Yellow Book magazine (1894-97), putting forward the slogan “art for art’s sake.” Oscar Wilde was the yardstick of aestheticism. Formalist^-formalist-aesthetic-formalist art, which opposed itself to realism and declared its apoliticality, reflected the crisis of bourgeois society. These trends were determined by the beginning of the twentieth century. On their basis, over time, new, modernist ones arose. At the same time, another main trend in the literature of this period is realism. (see realism) The achievements of realism were especially great due to the fact that new qualities directly appeared within it, the sprouts of new literature arose
2. The problem of realism in world literature in the half of the twentieth century. Critical realism of the late twentieth century is entering a new phase of its development, acquiring a number of new features that distinguish it from the classical realism of the mid-century. At the turn of the century, he gained leading positions in the world literary process. Realist writers are active in France (Maupassant, France, Rolland), Great Britain (Wells, Shaw, Galsworthy), Germany (Brother Mann, Hauptmann), Scandinavian countries (Ibsen, Andersen-Njokse), USA (Mark Twain, London, Dreiser, O. Henry), as well as in other countries. The rise of realism was facilitated by an organic connection with the traditions of national art, revolutionary romanticism, which was in tune with the writers of the new era with its focus on the future. The journalistic side of realistic literature is sharply increasing, and open tendentiousness in defending one’s views appears. The method of objective storytelling, perfected by Flaubert, is inferior to the method in which the assessment of phenomena, polemics, discussion, and the open manifestation of the writer’s position are common things. Broad generalizations, bold hypotheses, appeal to the achievements of science and culture - all these are features of the new realism. Literature is enriched in terms of genre: many varieties of the novel, enrichment of the themes and structure of the short story, and the rise of drama. The theater is undergoing a renewal process, and important social issues are appearing on the stage. One of the guiding motives is the exposure of bourgeois society. The struggle for freedom of the creative personality of the artist. Historical and revolutionary theme. The attention that realists pay to the individual helps them achieve success in character development and leads to a deepening of psychologism. The visual means of man in literature, the means of discovering his inner world, are becoming richer
3. Romanticism and neo-romanticism. Neo-romanticism is the conventional name for a complex of different movements in European artistic culture of the late twentieth and early twentieth centuries, which arose primarily as a reaction to positivism in ideology and naturalism in art and revived a number of aesthetic principles of romanticism - the pathos of personal will, the objection of the everyday, the cult of the irrational, attraction to science fiction, etc. This includes French symbolism and post-impressionism, but for the most part this term is applied to English literature, where its most prominent representative is Rudiard Kipling. The kinship of neo-romanticism with the decadents is manifested in the fact that it creates an artificial world. Neo-romantics gravitated towards the genre of adventure, adventurous, “exotic” novel, the foundations of which were laid by Property Rod and Cooper. Robert Lewis Stevenson (1850-1894) was the first to preach neo-romanticism, contrasting art with bourgeois reality. In the adventure novels “Treasure Island” (1883), “Kidnapped” (1886), “Catriona” (1893), etc. he created a fascinating world, which is characterized by humanism and democracy. Joseph Conrad (1857-1924) - a follower of Stevenson, dedicated his novels to the sea. Rudiard Kipling was the first to introduce into literature the type of “man of action” - soldier, official, missionary, developing colonial themes in an unusual way
4. The problem of naturalism. Naturalism, which developed in France as a literary movement and became widespread in Europe and America in the last third of the twentieth century, was not actually a decadent movement. He declared himself as a method that develops and deepens realistic art, was related to realism, demanded from the artist a more careful, detailed study of those aspects of life, which he turned to display, stimulated interest in the problems of social unevenness, introduced to the sphere of artistic images a number of new topics. The naturalistic method is transitional; it is fundamentally different from the realistic one, since it is associated with a refusal to typify, select and generalize material, and with a refusal to penetrate into the essence of the depicted phenomena. Naturalism is based on the philosophy and aesthetics of positivism. Refusal of broad socio-psychological generalizations, photographically accurate depiction of reality, emphasis on the biological principle of heredity, the action of which naturalists tried to explain the origin of social unevenness. Biologization degrades man. The hereditary factor is transformed into the image of a formidable fate - the deity of the Symbolists, which manifests itself in the early Hauptmann and Hamsun. Naturalism is gradually degenerating
Impressionism in literature. The term "impressionism" comes from the French word "impression" - "impression". Having arisen from the beginning in painting, it developed in literature, mostly in poetry. The art of artists (E. Manet, O. Renoir) was not a retreat from realism, but its innovative development. Impressionist art opened up opportunities for penetration into the inner world of a person and developed a system of principles for its disclosure. The absolutization of the individual, subjective, such that does not need to be verified with the help of objective criteria of impression as the fundamental basis of the artistic image leads impressionism to the separation of vijity.
6. Symbolism as a creative method. Symbolism, which received wide popularity not only in France, where it originated, but also in Belgium and Germany, has an anti-realistic orientation, which manifests itself in the desire to substitute in place of images that reflect objective reality, image-symbols that express unclear shades of subjective settings ( Verlaine), the mysterious and irrational life of the soul or the no less secretive “singing of infinity”, inexorable fate (Maeterlinck). In their aesthetic moods and artistic practice, the Symbolists are closely connected with philosophical idealism. They call for depicting the other world, refusing to depict the real world and using irrational symbols for this. Having emerged as a “cry of despair”, as a protest against the satiety of bourgeois existence, symbolism put forward a number of original and original talents.
7. French literature (main development trends, periodization).
8. Creative Shlyahmopassana.
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Development of world literature of the late XX-XXI centuries.
The topic: “Development of world literature of the late 20th and early 21st centuries” seemed to me the most interesting, since it affects the time in which we live. Literature is of great importance for the development of society as a whole.
I also liked this topic purely out of personal interest. In the future, I would like to connect my activities, in particular educational ones, with literature. This work may be useful to me in the future.
My task is to find out the main literary trends and get acquainted with the most famous writers of a given time period.
To achieve my goal, I will use materials from the Internet and educational literature from the library.
The changes that took place in Europe after the Second World War, affecting society and art, led to changes not only in artistic systems, but also contributed to the emergence of new forms. The need to reconstruct historical events and comprehend what happened led to the merging of artistic and documentary options for reflecting reality, the creation of multimedia texts, the dissemination of works in which the recent past became a source of reflection on the present, presenting options for interpreting the “microenvironment” of the individual, emphasizing, at the same time, the special , transtemporal and supra-ideological value of the individual.
The turning point that changed the 20th century once again after the Second World War was 1968, when the university campuses of France, the USA, England, and Germany were overwhelmed by student riots. The very fact of the speech of the anarchist students of Sarbonne destroyed the myth of the sustainability of the consumer society and exacerbated the problem of general dehumanization. Understanding the consequences of the student “revolutions” came later (R. Merle “Behind the Glass”), but the hopeless, at first glance, rebellion revealed the depth of the contradictions of technological and consumer civilization, the loss of ideals and the decline of spirituality, which frightened Europeans.
The virtual world, television or multimedia picture replaces the word; in the global communication network, the image often crowds out the latter.
All this leads to the fact that a very serious problem arises: by consuming information, and art also begins to be classified as information, the recipient risks losing the skill of understanding words
Critical realism.
He addressed unresolved social problems, the destinies of people torn out by circumstances and their usual conditions of existence. It was realism that influenced the literature of the 20th century.
Psychological realism
Appeared in the first half of the 20th century. Its most prominent representatives are W. Faulkner, E. Hemingway, G. Böll, S. Zweig. The focus is on the fate of the individual in a changing world, his search for the meaning of life. “A hero can be killed, but not defeated.”
Neorealism
A new direction arose in the wake of a broad democratic anti-fascist movement. It affirmed a humane attitude towards people, faith in the beauty and richness of the people's soul, and therefore had a great and fruitful influence on the culture of the post-war world.
At the same time, the weaknesses of neorealism were soon revealed.
This is, first of all, a certain contemplation, an insufficiently sharp portrayal of social conflicts, an evasion of a clear answer to the question of what needs to be done to save the common man from adversity.
Representatives: V. Pratolini, K. Levi, A Moravia and others.
Psychological realism
One of the leading directions. Its representatives are B. Shaw, B. Brecht, T. Dreiser, I. Stone, S. Maugham, E.M. Remarque et al.
The world, as follows from their works, not only destroys the human in man, but is also initially created by him as an inhumane world.
Socialist realism
This direction was focused not only on fulfilling the ideological demands of the ruling parties. In Western countries, many famous writers and poets expressed sincere sympathy for revolutionary ideas. In France it is R. Rolland, A. Barbusse, L. Aragon, in Spain - G. Lorca, in Chile - P. Neruda. They introduced a new image into literature - these are masses captured by a single idea, impulse, capable of both destruction and creation.
Avant-garde (from French avant garde - vanguard)
It is characterized by a break with the traditions of the past and the desire for a radical renewal of art. Many writers paid tribute to avant-gardeism. In their work they moved away from traditional plots and narrative logic. The Irish writer J. Joyce used the “stream of consciousness” (or internal monologue) as a method of description, recording transitions of thoughts, impressions and sensations (self-report of sensations). M. Proust, A. Gide and many other writers experimented within the framework of avant-gardeism.
Expressionism ("The Art of Screaming")
The undeniable merit of expressionism is the militant bringing to the forefront of man, his inner world at a time when man was threatened with destruction in bloody wars.
For example, in the stories of the Austrian writer F. Kafka, impersonal forces hostile to man are always at work behind the everyday routine of life. They show the contours of a soulless state machine. Expressionism is characterized by grotesqueness, lack of an optimistic perspective, and the insecurity of a person suffering from loneliness and the absurdity of life.
Existentialism (from Latin exsistentia - existence)
According to existentialism, the world is generally absurd, devoid of essence and meaning.
Its representatives are the French writers J.P. Sartre and A. Camus considered personality as an absolute value. There are no positive heroes familiar to realistic literature. Their characters are selfish, hostile to each other and society.
Social dystopia
Combines elements of avant-garde and realism. English writers H. Wells, O. Huxley, D. Orwell, turning to the theme of the future, created novels of warning. Their heroes live in a society where totalitarianism has prevailed. In these societies, dissent is mercilessly eradicated; the emergence of people capable of critical perception of reality is not allowed. The consequence of the triumph of such a regime, H. Wells warned, would be the complete degradation of both the managers and the governed.
“Bad time: everyone writes, no one reads”
The course of current Russian literature is a course towards mass appeal, towards history (“story”), towards adventure, towards carnivalesque... The prose of recent years is characterized by “journalism”, which is expressed primarily in style. The realist trend pushes aside the postmodernist one.
The success of the book in the online environment is ensured by its similarity to a computer game.
The focus on examples of Western literature is a quite noticeable trend now - a trend towards universalism, cosmopolitanism. Nowadays commercial projects influence our lives. The book has become a product today. There is even such a term as “business novel”. Literature is created for a certain format, the book is a product, receiving direct or indirect PR support. Many books are read only because they are included in a certain series.
The development of Russian literature in the 21st century will be influenced by three main factors:
The first factor is economic
The second factor is technological
The third factor is ideological
The globalization of the world, on the one hand, and consumer ideology, on the other hand, have a significant impact on the appearance of the consumer of modern literature. The main characteristic of a person today is to be a consumer. Therefore, the book becomes more and more a commodity and less and less a source of transformation.
This job required a lot of effort, especially in searching for information. The development of literature is a rather long but interesting process. As a result, we can say that it is still very important for society. After all, it is literature that has a huge influence on a person, and the existence of the World depends on a person.
This is what one journalist said: “For me, literature is a living word that can express the innermost and transform a person. Literature, if it is real, can change people’s consciousness, and therefore life itself! The task of literature is to form new ideals, remembering the Eternal truths, to prove their necessity and possibility! The art of words - which is literature - consists in the ability to penetrate the heart, and, having conquered it, force the mind to encourage people to do good without looking back, to evoke feelings that, better than any proof, will convince of the need to love no matter what. Literature is a cry, a call to man, a call to the best in man!”
List of annotated information sources
neorealism expressionism cosmopolitanism
1. Pages of the history of “Foreign literature of the XX-XXI centuries”, Textbook for students. Tsareva R.Sh.
2. http://blog.nikolaykofyrin.ru/?p=194.
3. “Foreign Literature” a manual for an elective course for students in grades 8-10. Ed. 1977
4. “General history. Recent history. XX century: Textbook for 9th grade of general education institutions. Zagladin N.V.
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If you can, go ahead of the century,
if you can’t, go with the century,
but never be behind the century.
Valery Bryusov
Russian literature at the turn of the 19th and 20th centuries is an important milestone in the historical and literary process, a bright and unique era, a time when the results of the past century were summed up, cultural achievements and failures, gains and losses were analyzed. New literature, starting from the searches of Dostoevsky, Tolstoy, Chekhov, tried to find answers to the questions of concern to contemporaries. The “eternal values” defended by the great classics were chosen as guidelines. At the same time, Russian literature at the turn of the century reflected the process of changing eras and the establishment of new realities. In 1905, Leo Tolstoy wrote: “The century and the end of the century in the Gospel language does not mean the end and beginning of the century, but means the end of one worldview, one faith, one way of communication between people and the beginning of another worldview, another faith, another way of communication.” What was the expression of this different worldview? What was new compared to the last century was man’s perception of the world. The categories of pity, compassion, and self-denial, traditional for the 19th century, were critically rethought by Russian philosophers and writers; the main words of the turn of the century era were exhaustion, borderline, fracture . Awareness of the crisis of the time was also reflected in works of art, which were far from homogeneous. But Russian writers of the turn of the century were united by the denial of gray everyday life, a boring, inactive existence. The common thing, according to the famous literary critic Semyon Vengerov, was “aspiration to the heights, to the distance, to the depths, but only away from the hateful plane of gray vegetation.”
The complication of the general picture of the world at the beginning of the twentieth century, its kaleidoscopicity and fragmentation, the precariousness of such fundamental concepts as fate and human life in literature lead to changes in the genre system. The novel, traditional for Russian literature of the 19th century, is being replaced by more mobile genres - stories and essays, in which writers focus on individual events of human life.
As you know, in Russian literature of the second half of the 19th century, realism played a dominant role. This literary trend remained popular at the turn of the 19th - 20th centuries. Prominent representatives of realism of the late nineteenth and early twentieth centuries were Maxim Gorky, Vladimir Korolenko, Leonid Andreev, Ivan Bunin, Alexander Kuprin. Let us remember that during this period such recognized authors as L.N. Tolstoy And A.P. Chekhov. So, in 1899, Tolstoy finished his novel "Resurrection" , and in 1904 Chekhov wrote the play "The Cherry Orchard" .
Thus, the new qualities of Russian literature at the turn of the century arose in close contact with tradition.
No less significant changes occurred in poetry. The classical realism of the poets of the second half of the 19th century is replaced by the innovative, mysterious, mystical lyricism of the Silver Age, the most significant representatives of which you have yet to meet.
One of the features of Russian literature of this period was the simultaneous coexistence of several literary trends and trends. In the past, there was also the priority of one aesthetic system and a smooth transition from one direction to another, when, for example, classicism gave way to sentimentalism, and it was replaced by romanticism. In Russian literature at the turn of the 19th and 20th centuries, realism and non-realistic trends and trends coexisted simultaneously. Moreover, inside they were also not homogeneous. During this period, there was an unprecedented surge and rapid development of various literary associations, groups, schools, and workshops. “Literature has become ruined,” noted one of the leading critics of the beginning of the century, Pyotr Pilsky.
An important trend for Russian literature at the turn of the century was the strengthening of contacts with world literature. This became possible, first of all, thanks to the worldwide recognition of such writers as Leo Tolstoy and Fyodor Dostoevsky, and the popularization of Russian culture abroad (for example, the Russian seasons of Sergei Diaghilev). But the broadest cultural exchange was facilitated by the translation activities of Russian writers, such as Ivan Bunin, Valery Bryusov, Konstantin Balmont, Nikolai Gumilyov and etc. Material from the site
The rapid development of theatrical art, the rapid development of the film industry, the opening of numerous art exhibitions and galleries led to an increase in the audience and readership and contributed to the strengthening of the influence of art on the spiritual life of the country. Under this influence, different types of art, including literature, often interpenetrated each other, i.e., a kind of synthesis of the arts took place. Thus, the poems of Alexander Blok had musicality, picturesqueness was inherent in the poetry of Nikolai Gumilyov and the prose of Ivan Bunin. Many representatives of this period were also characterized by creative universalism. For example, Mikhail Kuzmin combined poetry and composing in his work, poets David Burliuk And Vladimir Mayakovsky engaged in fine arts. Interspecific diffusion also occurred in genre varieties. Composer Alexander Scriabin called his symphonies " poems", and the poet Andrey Bely, on the contrary, he considered his poems “ symphonies».
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On this page there is material on the following topics:
- Russian literature, music of the early 20th century - the main development trends in line with the events of the era
- “Literature has become ruined.”
- How did the turn of the century affect literature?
- main directions of development of Russian literature
- leading trends in turn-of-the-century literature
The culture of the West of the twentieth century went through two main stages. The first corresponds to late imperialism, the era of mass assembly line production and totalitarian consciousness. This is the first half of the century, the years 1918-1945, a time when, as a result of the scientific and technological revolution, new forms of culture arose - radio and cinema, which replaced literature in people's minds. The second stage is the period after 1945, when it becomes obvious that bourgeois society, despite the gloomy forecasts of Marx and Nietzsche, is viable, and a deep internal restructuring is taking place in it: modern systems of radical democracy are emerging, a “consumer society” is taking shape, processes of globalization of the world are taking place. economy. The information revolution of the end of the twentieth century generally changes a person’s attitude towards the printed word, books are increasingly read from display screens, and in developed Western countries the role of literature in the public consciousness is steadily declining with increasing competition from cinema and rock music.
Literary development in the twentieth century is accelerating, the generally accepted unit of division of the literary process is no longer a century-long period of time, as it was before, but a decade. Each decade of the twentieth century gave birth to new trends in literature, loud manifestos were created, and new schools were proclaimed. Beneath this stormy surface, behind the very intensity of the search, it is not always easy to discern the inner meaning and patterns of changes in literary trends.
Realism in the twentieth century is represented by many names of once famous writers, but today it is clear that, whatever their lifetime popularity, the realistic novel in the twentieth century existed mainly due to inertia. Realism as an aspiration for a scientific analysis of the world and man comes from confidence in the knowability of the world, from the optimistic conviction that the word is an ideal and objective tool for understanding reality, that the social vices identified in the word are subject to correction. We have seen that all these postulates of realism were already called into question by Conrad. The catastrophic reality of the twentieth century finally undermined the ideological basis of realism - historical optimism and faith in progress, therefore, although the forms of realistic narrative were preserved, they were perceived by the aesthetically developed reader as a relic of the past.
Only when realist writers came into contact with other movements did their works become genuine events.
Forms of realistic storytelling found application in a new phenomenon of twentieth-century literature - mass literature. This is literature created with the mass reader in mind according to clear recipes, unpretentious in an artistic sense, ideologically aimed at maintaining the existing world order. This is a literary product, subject to all the laws of the market, aimed at different categories of consumers. Thus, different series of romance novels can be intended for young girls, young women making a career, for women of an older age group, etc. The genres of mass literature - detective, sentimental novel, thriller, fantasy, science fiction - quantitatively predominate in the literature of the twentieth century, but due to their overtly commercial nature, entertainment function and high degree of predictability, “formularity”, they come to the attention of critics rather as phenomena from the field of sociology of literature. No one talks seriously about the artistry of these ephemera works; reading them does not require work of the mind and heart, but provides rest after a monotonous working day, and becomes a form of relaxation. All genres of conformist mass literature glide across the surface of modern life, the characters in them are created according to long-tested formulas, the emphasized authenticity of details, the indispensable moral lesson, and much more are borrowed from the realistic novel. However, the very share of mass literature has turned into a factor that has the opposite effect on “high” literature. Serious writers of the 20th century increasingly used plotting techniques and stylistic cliches of mass literature in their works, of course, completely rethinking them in line with their own goals. One way or another, mass literature plays an increasingly important role in the culture of the twentieth century.
The central, most fruitful trends in the literature of the twentieth century were modernism, which flourished in the first half of the century and replaced it after 1945 postmodernism. We will look at them in more detail.
At the end of the 19th and beginning of the 20th century, all aspects of Russian life were radically transformed: politics, economics, science, technology, culture, art. Various, sometimes directly opposite, assessments of the socio-economic and cultural prospects for the country's development arise. What becomes common is the feeling of the onset of a new era, bringing a change in the political situation and a revaluation of previous spiritual and aesthetic ideals. Literature could not help but respond to the fundamental changes in the life of the country. There is a revision of artistic guidelines and a radical renewal of literary techniques. At this time, Russian poetry was developing especially dynamically. A little later, this period will be called the “poetic renaissance” or the Silver Age of Russian literature.
Realism at the beginning of the 20th century
Realism does not disappear, it continues to develop. L.N. is still actively working. Tolstoy, A.P. Chekhov and V.G. Korolenko, M. Gorky, I.A. have already powerfully declared themselves. Bunin, A.I. Kuprin... Within the framework of the aesthetics of realism, the creative individuality of writers of the 19th century, their civic position and moral ideals found a vivid manifestation - realism equally reflected the views of authors who shared a Christian, primarily Orthodox, worldview - from F.M. Dostoevsky to I.A. Bunin, and those for whom this worldview was alien - from V.G. Belinsky to M. Gorky.
However, at the beginning of the 20th century, many writers were no longer satisfied with the aesthetics of realism - new aesthetic schools began to emerge. Writers unite in various groups, put forward creative principles, participate in polemics - literary movements are established: symbolism, acmeism, futurism, imagism, etc.
Symbolism at the beginning of the 20th century
Russian symbolism, the largest of the modernist movements, arose not only as a literary phenomenon, but also as a special worldview that combines artistic, philosophical and religious principles. The date of emergence of the new aesthetic system is considered to be 1892, when D.S. Merezhkovsky made a report "On the causes of the decline and on new trends in modern Russian literature." It proclaimed the main principles of future symbolists: “mystical content, symbols and the expansion of artistic impressionability.” The central place in the aesthetics of symbolism was given to the symbol, an image with the potential inexhaustibility of meaning.
The symbolists contrasted the rational knowledge of the world with the construction of the world in creativity, the knowledge of the environment through art, which V. Bryusov defined as “comprehension of the world in other, non-rational ways.” In the mythology of different nations, symbolists found universal philosophical models with the help of which it is possible to comprehend the deep foundations of the human soul and solve the spiritual problems of our time. Representatives of this trend also paid special attention to the heritage of Russian classical literature - new interpretations of the works of Pushkin, Gogol, Tolstoy, Dostoevsky, Tyutchev were reflected in the works and articles of the symbolists. Symbolism gave culture the names of outstanding writers - D. Merezhkovsky, A. Blok, Andrei Bely, V. Bryusov; the aesthetics of symbolism had a huge influence on many representatives of other literary movements.
Acmeism at the beginning of the 20th century
Acmeism was born in the bosom of symbolism: a group of young poets first founded the literary association “Poets Workshop”, and then proclaimed themselves representatives of a new literary movement - acmeism (from the Greek akme - the highest degree of something, blossoming, peak). Its main representatives are N. Gumilev, A. Akhmatova, S. Gorodetsky, O. Mandelstam. Unlike the symbolists, who sought to know the unknowable and comprehend higher essences, the Acmeists again turned to the value of human life, the diversity of the vibrant earthly world. The main requirement for the artistic form of works was the pictorial clarity of images, verified and precise composition, stylistic balance, and precision of details. Acmeists assigned the most important place in the aesthetic system of values to memory - a category associated with the preservation of the best domestic traditions and world cultural heritage.
Futurism at the beginning of the 20th century
Derogatory reviews of previous and contemporary literature were given by representatives of another modernist movement - futurism (from the Latin futurum - future). A necessary condition for the existence of this literary phenomenon, its representatives considered an atmosphere of outrageousness, a challenge to public taste, and a literary scandal. The Futurists' desire for mass theatrical performances with dressing up, painting faces and hands was caused by the idea that poetry should come out of books onto the square, to sound in front of spectators and listeners. Futurists (V. Mayakovsky, V. Khlebnikov, D. Burliuk, A. Kruchenykh, E. Guro, etc.) put forward a program for transforming the world with the help of new art, which abandoned the legacy of its predecessors. At the same time, unlike representatives of other literary movements, in substantiating their creativity they relied on fundamental sciences - mathematics, physics, philology. The formal and stylistic features of Futurism poetry were the renewal of the meaning of many words, word creation, the rejection of punctuation marks, special graphic design of poems, depoetization of language (the introduction of vulgarisms, technical terms, the destruction of the usual boundaries between “high” and “low”).
Conclusion
Thus, in the history of Russian culture, the beginning of the 20th century was marked by the emergence of diverse literary movements, various aesthetic views and schools. However, original writers, true artists of words, overcame the narrow framework of declarations, created highly artistic works that outlived their era and entered the treasury of Russian literature.
The most important feature of the beginning of the 20th century was the universal craving for culture. Not being at the premiere of a play in the theater, not being present at an evening of an original and already sensational poet, in literary drawing rooms and salons, not reading a newly published book of poetry was considered a sign of bad taste, unmodern, unfashionable. When a culture becomes a fashionable phenomenon, this is a good sign. “Fashion for culture” is not a new phenomenon for Russia. This was the case during the time of V.A. Zhukovsky and A.S. Pushkin: let’s remember the “Green Lamp” and “Arzamas”, the “Society of Lovers of Russian Literature”, etc. At the beginning of the new century, exactly a hundred years later, the situation practically repeated itself. The Silver Age replaced the Golden Age, maintaining and preserving the connection of times.