The campaign against cosmopolitanism, which unfolded in the late 1940s and early 50s, had a negative impact on the development of literature and art. Famous Soviet composers and writers were persecuted: S. Prokofiev, A. Khachaturian, N. Myaskovsky, A. Akhmatova, M. I. Zoshchenko and others, whose work was classified as anti-Soviet.

During the “thaw” there was a noticeable rise in literature and art, which was greatly facilitated by the rehabilitation of some cultural figures repressed under Stalin.

At the same time, it was in the sphere of culture that the relapses of Stalinism became especially clear. In 1957–1962 “meetings” were held between party leaders and cultural and artistic figures, at which extremely harsh assessments were made.

In many cities the number of theater studios has increased sharply. New films began to appear on screens. It is necessary to name the films of T. Abuladze. The penetration of Western cultural products into the country, especially video films, has increased significantly. The prestige of the magazines “New World” (editor A. T. Tvardovsky) and “Youth” (editor V. P. Kataev) was constantly growing.

A real shock for millions of Soviet people was the publication of A. I. Solzhenitsyn’s short story “One Day in the Life of Ivan Denisovich.”

In the second half of the 1960s. The dissident movement begins to grow in the country. In 1965, writers A. Sinyavsky and Y. Daniel were convicted of publishing their works in the West. In 1974, A.I. Solzhenitsyn was deprived of Soviet citizenship and forcibly expelled from the USSR. Film director A. Tarkovsky, director Yu. Lyubimov, writer V. Nekrasov, poet I. Brodsky, cellist M. Rostropovich and others found themselves abroad.

The ideology of neo-Stalinism was also opposed by the “village” prose of V. Astafiev and B. Mozhaev. The books and films of V. M. Shukshin occupied a special place in the culture of those years.

Another specific feature of the culture of the 1960s and 1970s was the so-called “tape revolution.”

Recognized leaders were bards V. Vysotsky, B. Okudzhava, A. Galich and others. Elements of a special youth pop culture appeared and were consolidated.

Since the mid-1970s. inflation began. The shortage had a profound impact on popular consciousness. At the same time, official propaganda waged an intensified fight against “materialism.”

In the 1970-1980s. among the writers one can highlight F. Iskander, poets I. Brodsky, N. Korzhavin, A. Galich, directors A. Tarkovsky, Y. Lyubimov, A. German, T. Abuladze, S. Parajanov, the Mikhalkov brothers, etc.

In 1947, the USSR Academy of Arts was created, and already in the 1950s. In the field of fine arts, a rigid educational and production system was established. The future artist had to go through a number of mandatory stages:

1) art school;

2) school or institute.

The state was the main customer and buyer of his works. The main style was the so-called socialist realism (socialist realism), or social art. In Soviet painting of the late 1950s - early 60s. the “severe style” was established. The source of inspiration for the masters of the “severe style” was the life of ordinary people, which they conveyed in a sublimely poetic spirit. The images in the paintings “Our Everyday Life” (1960) by P. F. Nikonov and “Rafters” (1961) by N. Andronov are generalized and laconic.

N. S. Khrushchev criticized abstract artists and formalists at exhibitions. In particular, the sculptor E. Neizvestny, having no idea either about his works or about the author himself.

In the circles of the creative intelligentsia - writers, artists, filmmakers (later they were called "sixties") - opposition to official art was formed.

Already at the end of the 1950s. There was a group of artists passionate about European and American surrealism. They fully declared themselves in the second half of the 60s and in the 70s.

Soviet artists who worked outside the framework of official art gained fame in the West, as their works were purchased mainly by foreigners. Western critics called these masters “nonconformists.”

In the 1970-80s. Among the “nonconformists,” forms of avant-garde art, such as actions and performances, became increasingly popular. Here the artist did not represent any work, but himself as the bearer of an idea.

In the 1980-90s. Russian art developed parallel to Western art. Private galleries arose (M. Gelman, A. Salakhova, etc.), supporting “non-traditional” forms of art.

Similar processes took place in architecture. So, in the 1950s. The party leadership condemned “embellishment” and “excessive luxury.” A course was set for the massive construction of residential buildings. Asceticism and simplicity became the standards. The parallelepiped occupied a dominant position among architectural forms, and concrete among building materials (Kremlin Palace of Congresses, Taganka Theater).

And in the 1970-80s. a variety of shapes, styles, and materials have become popular. Titanium and glass structures are appearing; architects are especially fond of the historical style.

General characteristics of Russian Culture 1991 – 2003. Education and science

The culture of the period under study is characterized by the following features:

1) a wide variety of styles, genres and trends;

2) the state ceases to dictate canons, style and subjects in art;

3) restrictions in science and teaching are lifted;

4) new myths are born in culture;

5) culture loses its main customer, and its funding is sharply reduced;

6) mass art comes to the fore;

7) in the 1990s. a number of names returned - Russians learned about such layers of culture as the culture of the Silver Age (the work of poets I. Mandelstam, A. Akhmatova, M. Tsvetaeva, L. Gumilyov, etc.) and the Russian Abroad (V. Nabokov, M. Aldanov and etc.).

Science and education find themselves in difficult conditions. It is interesting that the main place in state policy is given to secondary education. It is regulated by the law on education, adopted in 1992. At the same time, the content of education has changed qualitatively: it has become personality-oriented and comparable to world standards.

Secondary and higher schools are experiencing difficulties due to a lack of material resources, a decline in the level of teaching, and the reluctance of government structures and political leaders to provide normal funding. The unwillingness of most educational institutions to act in a market economy and to earn money themselves also had an impact.

But higher education is now in great demand and is actively developing, universities are opening, and new promising specialties are appearing. Thus, by mid-2001, there were about 600 state and 250 non-state universities in Russia. A characteristic feature is the paid – commercial – form of training.

As for science, post-Soviet science adapted extremely poorly to the market economy. A common occurrence in the 1990s. there was a so-called “brain drain” abroad - many scientists chose better working conditions. Nevertheless, a large number of scientists remain in Russia, they work and achieve good results with modest funding. Priority in funding is given to scientists working in the field of natural sciences (fundamental and applied branches). Sponsoring funds play a big role (domestic - for example, the Potanin Foundation, foreign - the Ford Foundation, the Soros Foundation).

Humanities scholars, who have the opportunity to freely communicate with foreign colleagues, are today not constrained by the former ideological uniformity. They more objectively reveal the history of the Fatherland, its culture and contribution to the development of world civilization.

Test on the topic “Features of the development of literature in the 1950s-1990s.”

1. The period of social reforms that began in 1953 after the death of I.V. Stalin received a figurative definition -

A) “cult of personality” B) “thaw” C) “flood” D) “storm”

2. Ernest Hemingway is

A) American spy

B) American writer

B) American sculptor

D) American composer

3. Gennady Aigi in the 1960s in Soviet literature -

A) literary critic

B) translator

D) writer

4. They denied any dependence on any restrictions on artistic creativity, be it political dictates or the framework of traditions:

A) realist writers

B) futurist poets

B) avant-garde poets

D) acmeist poets

5. During the reign of L. I. Brezhnev, the government’s policy towards dissident representatives of artistic culture provoked a new, third stream of emigration. Indicate the years of the third stream:

A) 1950-1980 B) 1918-1922 C) 1970-1980 D) 1941-1953

6. Indicate the group of writers and poets who emigrated from the USSR (third wave of emigration).

A) V. Shalamov, V. Voinovich, A. I. Pristavkin, A. Solzhenitsyn.

B) A. Solzhenitsyn, V. Grossman, V. Tendryakov, B. Mozhaev.

B) I. Brodsky, V. Aksenov, A. Galich, S. Dovlatov.

D) V. P. Astafiev, S. P. Zalygin, V. M. Shukshin, V. G. Rasputin

7. Works that were stored for many years in special storage facilities and published in the literary magazines “New World”, “October”, “Friendship of Peoples” received a definition

A) literature of the “Thaw”

B) returned literature

B) special literature

D) emigrant literature

8. Plurality, diversity of something, for example, opinions, views - this is

A) “thaw” B) subculture C) pluralism D) realism

9. A term used to characterize a certain worldview, an intellectual movement that arose in European thought of the 20th century with the desire to determine, first of all, the political and cultural problems of society - this is

A) pluralism B) realism

B) modernism

D) postmodernism

10. The form of illegal distribution of works of art in the USSR in typewritten form is

A) self-writing B) samizdat C) self-redemption D) self-sufficiency

11. He wrote the poem “Moscow-Petushki” in 1969

A) A. Tvardovsky

B) Vep. Erofeev

B) A. Voznesensky

D) E. Yevtushenko

12. One of the leading trends in literature of the second half of the 20th century (late 1960s-1980s) was

A) “returned prose”

B) “village prose”

B) “urban prose”

D) “lyrical prose”

13. The story “Farewell to Matera” (1976) was written by

14. The story “Matrenin’s Dvor” (1959) was written by

A) A. I. Solzhenitsyn B) V. P. Astafiev C) V. G. Rasputin D) F. A. Abramov

15. The artistic movement that united the epic works of front-line writers is

A) village prose

B) camp prose

B) military prose

D) lyrical prose

16. The story “In the Trenches of Stalingrad” (1946) was written by

A) Vasil Bykov B) Viktor Astafiev C) Viktor Nekrasov

D) Konstantin Vorobiev

17. He wrote the stories “Sotnikov”, “The Third Rocket”, “Alpine Ballad”, “Crane Cry”

A) Yuri Bondarev B) Vasil Bykov C) Viktor Nekrasov D) Grigory Baklanov

18. “Kolyma Tales” by V. Shalamov, “Black Stones” by A. Zhigulin, “In the First Circle” by A. Solzhenitsyn are united by the theme

A) Great Patriotic War

B) the theme of the Gulag

B) village life

D) restoration of the destroyed economy after the Second World War

19. The development of the urban or intellectual movement in Soviet literature is associated with the name of which writer?

A) Alexander Solzhenitsyn

B) Yuri Trifonov

B) Fedor Abramov

D) Valentina Rasputina

20. The works of F. Iskander “Rabbits and Boas”, V. Voinovich “Moscow 2042”, L. Leonov “Pyramid” are written in the genre

A) comedies

B) tragedy

B) dystopia

D) folklore

21. N. Aseev, O. Berggolts, V. Lugovsky, M. Svetlov

A) artists

B) writers

D) translators

22. Which poet can be called a pop poet?

A) Mikhail Svetlov B) Evgeny Yevtushenko C) Joseph Brodsky

D) Nikolai Zabolotsky

23. The works of poets N. Rubtsov, V. Sokolov, S. Kupyaev belong to

A) military lyrics B) quiet lyrics C) urban lyrics D) author’s

24. Name a poet whose work combined the civic pathos of the sixties poets and the subtle lyricism of “quiet lyricism”

A) Alexander Galich B) Rasul Gamzatov C) Yuri Vizbor D) Andrey Voznesensky

25. Which poet was awarded the Nobel Prize in Literature in 1987

A) Vladimir Vysotsky

B) Joseph Brodsky

B) Evgeny Yevtushenko

D) Bulat Okudzhava

26. The key figures of which movement in poetry are rightfully recognized

B. Okudzhava, A. Galich and V. Vysotsky

B) pop song

D) rock poetry

27. V. Rozov, A. Volodin, A. Arbuzov, A. Vampilov is

A) writers

B) playwrights

A) A. Arbuzov B) A. Volodin C) A. Vampilov D) V. Rozov

29. The name of the main character of the play “Duck Hunt” is

A) Victor Nilov B) Alexander Vampilov C) Nikolai Vilov D) Victor Zilov

30. Soviet film director, actor, writer, screenwriter, Honored Artist of the RSFSR, author of the books “Until the Third Roosters”, “Kalina Krasnaya”, etc.

A) Vladimir Vysotsky

B) Valentin Rasputin

B) Vasily Shukshin

After studying the chapter, the student should:

know

about the change in the social and cultural situation during the “thaw” period;
about the ideological and creative positions of the magazines "New World" and "Our Contemporary", about the role of these publications in the literary process of the second half of the 1950s - early 1980s;
about the most important trends in prose during the second half of the 1950s – early 1980s;
the role of M. A. Sholokhov and A. I. Solzhenitsyn in the literary situation of the period under review;
the reasons for the appearance of literature of the third wave of Russian emigration;

be able to

determine the typological features of military, rural and urban prose; analyze literary texts of the most significant works of the second half of the 1950s - early 1980s;
highlight elements of conventional narrative, mythopoetics, postmodern poetics in the works of realist writers;

own

concepts of “socialist realism”, “urban prose”, “village prose”, “symbolism”, “mythopoetics”.

Literary and social situation

Literary process of the second half of the 20th century. fundamentally different from the previous period of literary development (1930–1950s). Previously, the main characteristic of literature was the obvious opposition between realism and modernism, which was very acute in the 1920s, weakened in the 1930s and almost disappeared by the middle of the century, giving rise at the same time to the phenomenon of socialist realism. The next period of literary development

tia, especially the 1950s–1960s, was not marked by opposition to any aesthetic systems. First of all, this is due to the fact that it was a kind of result of the literary (and extra-literary, socio-political) development of the 1930–1950s. became the formation monistic concept Soviet literature, which excluded the existence of any aesthetic system other than socialist realism, which abolished the very possibility of aesthetic or ideological opposition. The movement of literature was determined by circumstances of a different kind: it was the knowledge of different aspects of national existence and national destiny in the historical realities of the 20th century. In aesthetic terms, this was a return to realism, a gradual departure from the aesthetic and ideological canon of socialist realism, as it had developed by the early 1950s; in the cognitive, cognitive plane - a gradual movement from the socialist realist mythology that was formed at the same time to the comprehension of the actual and historically significant facets of national existence.

Every era, thought M. M. Bakhtin, has his own value center in the ideological horizon, to which all the paths and aspirations of ideological creativity converge. The literature of the second half of the 20th century contains such ideological centers that form their own range of cognitive interests. knew several. They formed into a kind of literary trends, each of which was defined by its subject, its theme, its in-depth study, and the study of its socio-historical genesis. The fate of the Russian village in the historical realities of the 20th century; The Great Patriotic War; GULAG as a national tragedy; the personality of a modern thinking person, immersed in everyday life and at the same time striving to gain orientation in the historical and cultural space - these themes formed the main directions of literature in the second half of the 1950s - early 1980s. Village, military, camp, city prose- they all developed in line realistic aesthetics, which in the second half of the century again discovered its productivity.

However, the literature of this period is not limited to the development of realistic trends. In the 1960–1970s. marginal ones begin to appear at first unrealistic tendencies which subsequently became much more noticeable and prepared the aesthetic ground for expansion postmodernism in the 1990s This was a retreat from realism, an appeal to forms of conventional imagery, the grotesque, a fantastic plot, as in the prose of N. Arzhak (IO. M. Daniel) and A. Tertz (A. D. Sinyavsky), L. S. Petrushevskaya and Yu. V. Mamlev, A. G. Bitov and Venedikt Erofeev.

And yet, it was not the interaction between different aesthetic systems that determined the literature of the period under review, but its problematics, the main thematic nodes, created by her, and those political and ideological processes, that society has experienced since the mid-1950s. The death of Stalin (1953) and the subsequent 20th Congress of the CPSU (1956) affected all aspects of public life, including literature. The most significant works created in the post-war years ("Doctor Zhivago" by B. L. Pasternak, works by A. I. Solzhenitsyn, "Life and Fate", "Everything Flows" by V. S. Grossman) could not be published earlier due to political and ideological reasons. But the 20th Congress of the CPSU and N. S. Khrushchev’s report at it on the personality cult of J. V. Stalin and measures to overcome it became a turning point in Soviet history. From this moment it begins new period of historical and literary development.

The milestone defining its beginning was the story of M. A. Sholokhov "The Fate of Man", published in two issues of the Pravda newspaper (December 31, 1956 and January 2, 1957). The story proposed something new for Soviet literature humanism concept and new concept of heroic. His hero, Andrei Sokolov, embodies the typical character of a Russian Soviet man, whose fate is entirely and completely connected with national life. He participates in pre-war construction, industrialization, during the war he devotes all his strength to victory and loses the most precious thing he had: his wife and child. The narrator, whose meeting with Andrei Sokolov motivates the composition of the work (a story within a story), notices in the hero traces of incineration by the tragic events of his fate: gray hair, eyes as if sprinkled with ashes. This is a man who gave everything he had to his country. But if he did everything he could, then why didn’t he get anything in return? Why does the narrator see him in the aura of a wanderer, wanderer, pilgrim, walking through his country in search of work, warmth and shelter? Why does only Vanyushka, an orphan of war like himself, need him, and no one else? Thus, Sholokhov considers the question of a person’s unconditional duty to society, the country, the state, the people, posed by socialist realism back in the 1930s, from a new perspective. Does a person who has fully fulfilled his duty have the right to count on reciprocal care - if not material reward, then at least social attention, recognition of his merits, and unconditional respect?

Soviet literature traditionally affirmed the heroic on the battlefield, in the transformation of the world, in confronting inert or hostile historical circumstances (Soviet historical novel), in the resistance of an internally strong personality to a fatal disease ("How the Steel Was Tempered" by N. A. Ostrovsky, "The Road to the Ocean" by L. M. Leonova), etc. M. A. Sholokhov’s new concept of the heroic is embodied in specific historical circumstances that are least suitable for heroic action: in the German concentration camp. At the climax of the story, in confrontation with the commander of the German camp and other German officers, Sokolov asserts his superiority, keeping his own moral values unshakable, remaining human in inhuman conditions. From the publication of this story a thread stretches to the appearance of the story in "New World" (1962, No. 11) "One day in the life of Ivan Denisovich" A.I. Solzhenitsyn, who opened the topic of the Gulag, which was simply unthinkable a few years earlier. In other words, the story of M. A. Sholokhov opened "thaw" period, as I. G. Ehrenburg successfully defined it with the title of his novel.

This literary period, which chronologically almost completely coincided with the political “thaw”, is associated with the editorial policy and literary position of the magazine "New world", led by A. T. Tvardovsky. It is impossible to imagine the Soviet 1960s without Novy Mir and its editor-in-chief. The magazine was both a sign, a guarantor, and an organ for the renewal of Soviet society; the “New World” book in one’s hands was like a password by which one recognized “one’s own.” Tvardovsky accurately and decisively carried out the policy of the 20th Congress of the CPSU, without going beyond the boundaries of ideological and literary freedom outlined by the decisions of the congress. It was then that the words “sixties”, “sixties” and the concept they denote and which includes a whole complex of political and ideological ideas arose: loyalty to the communist idea, upholding the ideals of 1917, faith in revolution as a form of transformation of the world, unconditional Leninism. All this was accompanied by sharp and even uncompromising criticism of the cult of personality and confidence in its random and atypical nature for the socialist system.

The history of the “New World” under the leadership of A. T. Tvardovsky includes two stages: 1) from the second half of the 1950s. until 1964 (removal of N. S. Khrushchev from political leadership); 2) from the second half of the 1960s. until Tvardovsky’s forced departure from the magazine in 1970. At the first stage, with all the inconsistency of Khrushchev’s policies, its ideological zigzags and fluctuations, the magazine’s position was quite strong, and its artistic and literary-critical orientation was entirely party: even in Solzhenitsyn’s work, Tvardovsky did not see any obvious discrepancies with sixties ideology. During the Brezhnev era, the magazine's position became almost critical. After 1964, Tvardovsky tried for more than five years to maintain his previous course, fighting bureaucratic restoration. This fight ended with his removal.

In terms of aesthetics, the “New World” developed the principles real criticism, laid down by N.A. Dobrolyubov. Real criticism is, in principle, alien to normativity. The task of a critic is to judge society by literature, since literature is conceived as a unique, in its own way, the only source of social information: the artist looks into areas of social life where the gaze of a journalist, publicist, or sociologist does not penetrate. Thus, the “Novomirites” set themselves the task of identifying an objective social equivalent of a work of art. In this sense, the main opponent of the "New World" was the magazine "October", headed by V. A. Kochetov and focused on previous socio-political traditions and socialist realist aesthetic and ideological preferences.

After A. T. Tvardovsky left the post of editor-in-chief (1970), Novy Mir sharply lost its previous positions in the 1970–1980s. The magazine took the place of the most significant, interesting and in tune with its tenth anniversary publication "Our Contemporary". It is difficult to imagine a complex of views as far from the “Novomir” ones with which “Our Contemporary” addressed its reader. It was a desire to Russian national self-identification, attempts to remember the Russian idea through decades of national oblivion and unconsciousness under the sign of internationalism. Critics such as V.V. Kozhinov, M. gathered around the magazine. P. Lobanov, V. A. Chalmaev, Yu. M. Loschits. Turning to Russian history and social thought, the magazine tried to identify, often quite successfully, the specifics of the Russian view of the world, reflected in literature. From the point of view of its literary and social role, its position as the most prominent magazine, forming a complex of nationally significant literary and socio-political ideas, was similar to that occupied by the New World a decade earlier. It is no coincidence that both magazines found themselves at the epicenter of literary life and both became the object of harsh criticism - both from literary opponents and in official party periodicals.

To contemporaries who observed the literary process during these two decades, it seemed likely that “The New World” of the 1960s and “Our Contemporary” of the 1970s–1980s. represent the poles of the literary-critical process. In fact, the democracy and internationalism of the “New World”, social activism and progressivism in the present, the socialist revolution and Leninism as the glorious prehistory of this present clearly did not correspond to the pathos of “Our Contemporary”, the authors of which were inclined to consider the Soviet decades in the subtext of their works as by no means did not contribute to Russian national self-identification. The opposition and even hostility of these currents of literary thought of two adjacent decades was quite obvious, although they both belonged to the same literature and predetermined the nature of its development - each in its own direction. The polemics between magazines enriched literature, increased its semantic volume, supplementing the problems of a concrete historical perspective with an eternal, existential plan, illuminated by thousands of years of national experience.

The decade that followed the death of Stalin found a wonderful self-definition in literature: Khrushchev’s time was called "thaw" after the name of the novel by I. G. Ehrenburg that appeared at that time. The two subsequent Brezhnev decades already in the mid-1980s. were called time stagnation“Thaw” and stagnation, in fact, characterize two vectors of socio-political development, which both influenced the literary process and were reflected in it.

Of course, the decade of N.S. Khrushchev’s reign was not overly liberal. It was during this period that such events in social and literary life occurred as the persecution of B. L. Pasternak for publishing the novel “Doctor Zhivago” in Italy in 1957 and awarding the writer the Nobel Prize (1958); seizure by state security agencies of V. S. Grossman’s novel “Life and Fate”; the famous “bulldozer exhibition” of avant-garde artists, crushed by tractor tracks. Towards the end of the Khrushchev decade, disagreements between young avant-garde art and political power became increasingly aggravated. In 1963, Khrushchev visited an exhibition of modernists and avant-garde artists in Manege and gave the authors a real political scolding. V.P. Aksenov and A.A. Voznesensky then found themselves “dragged to the podium in the face of the all-Union activists and, with the entire Politburo and Nikita behind them, waving his arms and threatening,” they tried to explain their aesthetic views.

“Freezes” of this kind, which also occurred during the “thaw,” began to determine trends in socio-political life from the second half of the 1960s. It is during this period that the emergence of third wave of Russian emigration as a literary and political phenomenon. In essence, the third wave of emigration was generated by the duality of the “thaw”. On the one hand, the opportunity opened up to escape from the yoke of both political dogma and the socialist realist canon to new aesthetic solutions - both modernist and realistic. On the other hand, the “thaw” did not create the conditions for the realization of these opportunities, and the ensuing stagnation made them practically unfeasible. Writers who sought to realize their own creative potential, which did not fit into the official Procrustean bed of political and artistic ideology, saw emigration as a path to creative freedom.

The milestone from which the history of the third wave of Russian emigration begins may be 1966, when Valery Yakovlevich Tarsis (1906–1983) was expelled from the USSR and deprived of his citizenship. The writer’s personality traits are reflected in his autobiographical hero, who runs through all 10 volumes of the epic “The Risky Life of Valentin Almazov.” The ego is also a romantic, approaching reality from the point of view of his ideal, painfully experiencing loneliness and restlessness, but consciously choosing a path that dooms him to the rejection of his contemporaries.

Each of the third wave writers had their own path to the West. In 1969, A. Kuznetsov remained in England, going there on a business trip; in 1974, A.I. Solzhenitsyn was arrested and subsequently deported, who did not consider himself an emigrant, i.e. those who left voluntarily. But the overwhelming majority of writers of the third wave left of their own free will, although the motives for leaving were different: fear of persecution (V.P. Aksenov, Yu. Aleshkovsky, F.N. Gorenshtein, G.N. Vladimov, A.L. Lvov), desire to be published, to find a reader, to realize creative potential (I. A. Brodsky, Sasha Sokolov, S. D. Dovlatov, Yu. A. Galperin). The integrity of the third wave of emigration is determined only by the then general position of these writers outside their homeland, while internal contradictions, artistic and ideological, were much stronger than the connecting principles.

Cm.: Zubareva E./ABOUT. Prose of Russian abroad (1970–1980s). M., 2000. P. 7. This book contains a detailed study of the literature of the Russian emigration of the third wave as an integral and internally contradictory literary and socio-political phenomenon.

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Presentation on the topic: Russian literature of the 1950s-80s

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Village prose VILLAGE PRO FOR - a significant, spiritually and aesthetically effective thematic trend in literature 1960 - early. 1980s, comprehending the dramatic. fate of the cross, rus. villages in the 20th century, marked by increased attention to issues of tradition, people. morality, to the relationship between man and nature. Although individual works critically reflecting on the collective farm experience began to appear in the early 1950s (essays by Valentin Ovechkin, Alexander Yashin, Efim Dorosh), only by the mid-1960s did “village prose” reach such a level of artistry as to take shape in a special direction ( Solzhenitsyn’s story “Matryonin’s Dvor” was of great importance for this. It was then that the term itself arose. The largest representatives, “patriarchs” of the movement are considered to be F.A. Abramov, V.I. Belov, V.G. Rasputin. A bright and original representative of the “village prose” of the younger generation was the writer and film director V. M. Shukshin.

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Fyodor Aleksandrovich Abramov The novel “Brothers and Sisters” by State Prize laureate Fyodor Abramov covers about forty years of the life of our society. The writer created a wonderful gallery of images of Soviet rural workers. Talking about the life of the northern village of Pekashino, F. Abramov reveals the most important, most pressing problems of people's life in recent decades.

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Valentin Grigorievich Rasputin The plot of the works is based on the difficult trials that the heroes faced, the problems of choosing a path, life and death, physical and spiritual. The writer often puts his characters in exceptional situations, usually limited to a certain period during which they must be resolved.

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Vasily Ivanovich Belov Vasily Ivanovich Belov (b. 10/23/1932, Timonikha village, Vologda region), Russian Soviet writer. Member of the CPSU since 1956. Graduated from the Literary Institute. M. Gorky (1964). He worked on a collective farm and at a Ural plant. Published since 1956. Published a collection of poems “My Forest Village” (1961), collections of stories “Sultry Summer” (1963) and “River Windows” (1964). B.'s prose is lyrical. Among the books about the modern village, his stories “A Habitual Business” (1966) and “Carpenter’s Stories” (1968) stand out; They created the integral characters of ordinary people of the North, who, despite all the difficulties and adversities, preserved the “warmth of goodness” and “joy for the world” - the feelings that color their everyday life and work.

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Vasily Makarovich Shukshin Vasily Makarovich Shukshin was born on July 25, 1929 in the village of Srostki, Altai Territory. In 1945-1947, he studied at the Biysk Automotive Technical School, then worked as a mechanic - rigger and laborer at factories in Kaluga and Vladimir, then served in the navy. In 1953-1954, Vasily Shukshin was a history teacher and director of a school for rural youth in his home village of Srostki. In 1960, Vasily Shukshin graduated from the directing department of VGIK, where he studied the art of cinematography in the workshop of Mikhail Romm. Two years later, Shukshin directed the drama “Your Son and Brother,” which received the State Prize of the RSFSR.

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Roles in the films “By the Lake” (director Chernykh), “Stoves and Shops” (Ivan Rastorguev) and “Kalina Krasnaya” (Egor Prokudin) brought Shukshin world fame, and the films he shot put him among the most interesting directors of the 1960-1970s. x years. It is worth noting that the famous director and writer directed almost all of the films from his own scripts, and the first stories he wrote were published in 1959. In 1974, Sergei Bondarchuk, director of the film “They Fought for the Motherland,” invited Vasily Shukshin to play one of the main roles, soldier Lopakhin. After this work, Shukshin was going to stage a film about Razin based on his novel “I came to give you freedom...”. During filming with Bondarchuk, in the village of Kletskaya, Volgograd region, on October 2, 1974, Vasily Shukshin died, some of the circumstances of his death have not been fully clarified.

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Camp prose. CAMP PROSE", literary works created by former prisoners of detention. Camp prose is a unique phenomenon not only in Russian, but also in world literature. It is generated by an intense spiritual desire to comprehend the results of the catastrophic events that took place in the country during the twentieth century. Hence the moral and philosophical potential contained in the books of former Gulag prisoners I. Solonevich, B. Shiryaev, O. Volkov, A. Solzhenitsyn, V. Shalamov, A. Zhigulin, L. Borodin and others, whose personal creative experience allowed them not only to capture the horror of the Gulag dungeons, but also to touch upon the “eternal” problems of human existence.

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Yuri Osipovich Dombrovsky Russian Soviet writer. Born on April 29 (May 12), 1909 in Moscow, in the family of a lawyer. In 1932 he graduated from the Higher Literary Courses, in the same year he was arrested and deported to Alma-Ata. He worked as an archaeologist, art critic, journalist, and was engaged in teaching activities. In 1936 he was arrested again, but released a few months later. The story of this arrest formed the basis of the novels “The Keeper of Antiquities” (1964) and “The Faculty of Unnecessary Things” (1978). Dombrovsky kept in them the real names of his investigators, Myachin and Khripushin. In 1938, Derzhavin published a novel, a year later he was arrested again and sent to the Kolyma camps, from where in 1943, sick, he returned to Alma-Ata. In the winter of 1943, in the hospital, he began writing the novel “The Monkey Comes for His Skull” (published 1959). In 1946 he began working on a series of short stories about Shakespeare, “The Dark Lady” (published 1969). In 1949, Dombrowski was arrested again and spent six years in prison in the Far North and Taishet. In 1956 he was rehabilitated for lack of evidence of a crime and received permission to return to Moscow.

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Urban prose. In the 1960-1970s, migration processes intensified in Russia. The urban population began to increase rapidly. The composition and interests of the readership changed accordingly. In those years, the role of literature in public consciousness was much more active than it is now. Naturally, the habits, behavior, way of thinking, and in general the psychology of urban aborigines attracted increased attention. On the other hand, the life of new urban settlers, in particular the so-called limiters, provided writers with ample opportunities for artistic exploration of new areas of human existence. The heroes of the works are “...not workers or peasants, not the elite. These are office workers, scientists, humanitarians, engineers, neighbors at home and dachas, just acquaintances.”

The peculiarities of the USSR culture of this period consisted in the government’s struggle with deviations from the “tasks of social construction.” The pressure and control from the party were so great that they oppressed the freedom of artists and scientists. Mass discussions in various branches of science at this time had a negative impact on their participants.

After coming to power N. S. Khrushcheva His meetings with the intelligentsia became common, at which the Secretary General criticized the “formalists” and avant-garde artists for their “incomprehensibility.” It should be noted that Khrushchev had little understanding of cultural issues, and most “progressive” cultural figures could not openly oppose him. The development of culture took on a utilitarian character.

L. I. Brezhnev spoke out against two extremes of culture: “denigration” and “embellishment of reality.” Works devoted to topical issues were criticized. Works in the spirit of neo-Stalinism were supported. In order to control culture in the mid-1970s. a system of government orders was introduced. Censorship has increased. The acquaintance of Soviet citizens with foreign artistic culture was constantly limited.

Development of culture in the 1960-80s. was controversial. Despite the fact that funds for cultural development were constantly increasing, the achievements did not correspond to the costs.

2. Education and science

During this period, the leadership of the USSR began to pay great attention to education. In 1946, the Soviet government significantly increased spending on science (they were 2.5 times higher than the previous year's spending). At the same time, the Academies of Sciences of Ukraine, Belarus and Lithuania were restored, and created in Kazakhstan, Latvia and Estonia. In the post-war period, a whole series of research institutes was organized. War and repression of the 1930s. dealt a heavy blow to the intelligentsia, so in the 1940s and early 50s. in the Soviet Union there was a shortage of specialists with higher and secondary education.

In the 1940s - early 50s. Soviet science and technology achieved a number of successes in the field of physics, chemistry, and precision mechanics, but they were mainly aimed at military needs. In 1949, the USSR tested an atomic bomb, and research was underway in the field of chemical and bacteriological weapons.

Branches of science that were not directly related to defense were subject to strict control. Indicative in this regard was the persecution of cybernetics, which was declared a science contrary to the laws of materialism. This had a negative impact on the level of world development of the USSR. A monopoly position in agricultural sciences was occupied by supporters of academician T.D. Lysenko, who promised to quickly increase crop yields without major capital investments.

After N.S. Khrushchev came to power, there was some emancipation of historical science. Gradually, there was a departure from the dogmas of the short course on the history of the CPSU (b), a revision of the role of Stalin in the history of the Soviet state. The personality cult of Khrushchev himself grew.

During the 7-year plan (1959–1965), there was a significant shift in technological progress. In July 1956, the first Soviet jet passenger aircraft, TU-104, took off into the sky. In 1957, a multi-stage intercontinental ballistic missile was launched. On October 4, 1957, the Soviet artificial Earth satellite was launched. The USSR became a pioneer in space exploration. On April 12, 1961, the first ever flight into space was made by the Soviet cosmonaut Yu. A. Gagarin.

In the mid-1950s and early 60s. The media have developed. Radio broadcasts covered the entire country.

The time of the “thaw” was characterized by the rise of Soviet science and culture. Much attention was paid to secondary and higher education. In December 1958, a law was passed according to which, instead of 7-year education, universal compulsory 8-year education was introduced.

In 1957, the world's most powerful particle accelerator, the synchrophasotron, was launched in the USSR. In 1956, a large international research center was created in Dubna - the Joint Institute for Nuclear Research. The works of Soviet physicists - academicians L. D. Landau, A. D. Sakharov and others - became world famous. The production of domestic computer equipment began.

The crisis in school education prompted attempts to implement school reform (1983–1984). But lack of preparation and lack of understanding of the causes of the crisis in this area led to a quick abandonment of the reform. Already in 1985–1986. it was folded.

The same problems faced higher education. Despite the fact that the number of universities and universities was constantly growing in the country, the country's industry and agriculture were in need of qualified personnel. The main reasons for this were:

1) irrational use of university graduates;

2) low level of their training;

3) reduction in the prestige of a certified specialist.

The situation in science was slightly better. Soviet science only in fundamental areas did not lag behind the science of Western countries; in the applied area, and especially in computerization, it was in the last ranks. Significant successes were achieved by Soviet science in the fields of physics, chemistry, and space exploration.

1985–1991 in the field of education, science and culture are characterized ambiguously. In the field of education, changes began to occur in 1988. The shortage of teachers increased, as they began to go into commerce to ensure a decent income. The interest of young people in getting an education has sharply decreased. Alternative education was gradually introduced:

1) gymnasiums were created;

2) lyceums and colleges.

During the 2nd half of the 1980s. In the USSR, there were practically no serious discoveries, and leading branches of science, such as cosmonautics, nuclear physics, molecular biology, etc., had difficulty maintaining the level achieved in the previous period.

3. Literature

The campaign against cosmopolitanism, which unfolded in the late 1940s and early 50s, had a negative impact on the development of literature and art. Its purpose was:

1) denigrate everything non-Soviet, non-socialist;

2) put a barrier between the USSR and Western countries.

In 1946–1948 decisions of the Central Committee of the party were adopted “On the magazines “Zvezda” and “Leningrad”, “On the repertoire of drama theaters and measures to improve it”, “On the film “Big Life”, “On V. Muradeli’s opera “The Great Friendship”. Famous Soviet composers and writers were persecuted: S. S. Prokofiev, A. N. Khachaturyan, N. Ya. Myaskovsky, A. A. Akhmatova, M. M. Zoshchenko and others, whose work was classified as anti-Soviet.

During the Thaw, the standard of living of the Soviet people increased noticeably. Since 1956, a 6-hour working day has been established for teenagers aged 16–18 years. In 1956–1960 the transfer of all workers and employees to a 7-hour working day, and for underground and hazardous work to a 6-hour working day ended.

During the “thaw” there was a noticeable rise in literature and art, which was greatly facilitated by the rehabilitation of some cultural figures repressed under Stalin. In 1958, the CPSU Central Committee adopted a resolution “On correcting errors in the evaluation of the operas “The Great Friendship” and “Bogdan Khmelnitsky”.

At the same time, it was in the sphere of culture that the relapses of Stalinism became especially clear. In 1957–1962 “meetings” of party leaders were held with cultural and artistic figures, at which extremely harsh assessments of such anti-Stalin works as the novels “Not by Bread Alone” by Dudintsev, “Levers” by A. A. Yashin, “Own Opinion” by D. A. Granin were heard, and the novel “Doctor Zhivago,” which was not even published in the USSR, became the reason for the persecution of B. L. Pasternak.

As part of the literary and artistic process of the “thaw,” a layer of intelligentsia was formed that was in opposition to the existing regime—dissidents. The emergence of “samizdat” and “tamizdat” literature also dates back to this time.

In many cities the number of theater studios has increased sharply. New films began to appear on screens. It is necessary to name the films of T. E. Abuladze. The penetration of Western cultural products into the country, especially video films, has increased significantly. The prestige of the magazines “New World” (editor A. T. Tvardovsky) and “Youth” (editor V. P. Kataev) was constantly growing.

A real shock for millions of Soviet people was the publication of A. I. Solzhenitsyn’s short story “One Day in the Life of Ivan Denisovich.” It should be noted that Khrushchev supported the publication of this book and even publicly approved its nomination for the Lenin Prize. However, the A.I. Prize Solzhenitsyn was not awarded, and Khrushchev himself did not return to this issue.

4. Social thought. Standard of living

In the 2nd half of the 1960s. The dissident movement begins to grow in the country. It became widespread among the intelligentsia of large cities. The concept of “dissidence” included various manifestations. Cultural figures who tried to openly express their doubts became dangerous for the country's leadership; very often they were imprisoned or deported outside the USSR. In 1965, writers A.D. Sinyavsky and Yu.M. Daniel were convicted of publishing their works in the West. In 1974, A.I. Solzhenitsyn was deprived of Soviet citizenship and forcibly expelled from the USSR. Film director A. A. Tarkovsky, director Yu. P. Lyubimov, writer V. A. Nekrasov, poet I. A. Brodsky, cellist M. L. Rostropovich and others found themselves abroad.

The ideology of neo-Stalinism was also opposed by the “village” prose of V. P. Astafiev and B. A. Mozhaev. The books and films of V. M. Shukshin occupied a special place in the culture of those years.

Another specific feature of the culture of the 1960s-1970s was the so-called. "tape revolution" Recordings of songs, as well as satirical speeches, played at home, were practically uncontrollable and became widespread. Recognized leaders were bards V. S. Vysotsky, B. Sh. Okudzhava, A. A. Galich and others. Elements of a special youth pop culture appeared and were consolidated.

Since the mid-1970s. inflation began. The shortage had a profound impact on popular consciousness. At the same time, official propaganda waged an intensified fight against “materialism.”

In the 1970-1980s. among the writers one should highlight F. A. Iskander, poets I. A. Brodsky, N. M. Korzhavin, A. A. Galich, directors A. A. Tarkovsky, Yu. P. Lyubimov, A. A. German, T. E. Abuladze, S. N. Parajanov, Mikhalkov brothers and others.

Great changes took place in literature and art. A significant phenomenon was the return to the Soviet people of the works of the authors of the “Russian Abroad”: philosophers N. A. Berdyaev and V. D. Solovyov, writers D. S. Merezhkovsky, M. A. Aldanov, I. A. Bunin and V. D. Nabokov , poets N. S. Gumilyov and I. A. Brodsky and many others. Many works by Nobel Prize winner in literature A. Solzhenitsyn began to be published, primarily “The Gulag Archipelago” and the historical epic “The Red Wheel”. The so-called “informal” press began to appear.

5. Painting

1) art school;

2) school or institute.

He completed his studies with a large thematic painting and then became a member of the Union of Artists. The state was the main customer and buyer of his works. The main style was the so-called socialist realism (socialist realism), or social art.

In Soviet painting of the late 1950s - early 60s. the “severe style” was established. The source of inspiration for the masters of the “severe style” was the life of ordinary people, which they conveyed in a sublimely poetic spirit. The images in the paintings “Our Everyday Life” (1960) by P. F. Nikonov and “Rafters” (1961) by N. A. Andronov are generalized and laconic.

Some masters, in contrast to the themes imposed by socialist realism, turned to other genres:

1) portrait;

2) landscape;

3) still life.

N. S. Khrushchev criticized abstract artists and formalists at exhibitions. In particular, the sculptor E. Neizvestny, having no idea either about his works or about the author himself. The meeting between E. N. Neizvestny and N. S. Khrushchev went down in history. The artist, a combat commander of the Patriotic War, took off his shirt in front of the head of state and showed terrible scars from wounds on his back. Khrushchev was amazed and embarrassed.

6. In the circles of the creative intelligentsia

In the circles of the creative intelligentsia - writers, artists, filmmakers (later they were called "sixties") - opposition to official art was formed.

Already at the end of the 1950s. There was a group of artists passionate about European and American surrealism. They fully declared themselves in the 2nd half of the 60s and in the 70s. XX century Each artist developed his own, easily recognizable set of image-signs.

Vladimir Borisovich Yankilevsky(born in 1938) graduated from the art studio at the Moscow Printing Institute. His works - "Kafka's Atmosphere" (1969), a series of engravings "Mutations" (1970s) and others - are puzzles made up of various icons that evoke associations with tables, diagrams, graphs, etc. Later, Yankilevsky began to create three-dimensional objects.

Ilya Iosifovich Kabakov(born in 1933) chose a different visual “vocabulary” for his works: pictures for children’s books, stands, wall newspapers, posters. However, in the artist’s compositions they lose their usual functions, and the viewer is invited to come up with a different purpose for them.

Son of E. L. Kropivnitsky Lev Evgenievich Kropivnitsky(1922–1994) and V. I. Nemukhin(born in 1925) used abstract expressionist techniques in their work. In addition, Lev Kropivnitsky illustrated books. During these same years, the talented artist and friend of V. S. Vysotsky, M. M. Shemyakin, was expelled from the country.

Masters of different generations, who until now had only dreamed of freedom of expression, now enthusiastically indulged in experiments in the spirit of modern Western artistic movements. Soviet artists who worked outside the framework of official art gained fame in the West, as their works were purchased mainly by foreigners. Western critics called these masters “nonconformists” (from the English “dissenters”). At the 1962 exhibition in the Moscow Manege, N. S. Khrushchev subjected the “nonconformists” to harsh criticism.

After the exhibition, the “nonconformists” went underground: they organized displays of their works in private apartments, sometimes in clubs and cafes.

The next major performance of the “nonconformists” was an exhibition on a vacant lot in the Moscow district of Belyaevo (1974). City authorities, in the presence of foreign journalists, dispersed it with the help of bulldozers (it went down in history under the name “Bulldozer Exhibition”). The event received international publicity, and two weeks later, with the permission of the authorities, a new outdoor exhibition was held in Izmailovo. Since then, at official exhibitions until the mid-1980s. a greater variety of themes, traditions, and performance styles was allowed.

In the 1980-90s. Russian art developed parallel to Western art. Private galleries emerged (M. A. Gelman, A. Salakhova, etc.), supporting “non-traditional” forms of art.

7. Architecture and sculpture

And in the 1970-80s. a variety of shapes, styles, and materials have become popular. Titanium and glass structures are appearing; architects are especially fond of the historical style.

Literary and social situation

Presentation on the topic: Russian literature of the 1950s-80s

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