National literatures and the world literary process. World literary process. Stages of development of literature
1. The literary process as part of the general historical process. Social conditioning and relative independence of literary development.
2. The problem of national identity of the historical and literary process. General and specific in the development of national literatures.
3. Intraliterary connections. Continuity. Traditions. Innovation.
Bibliography
1) Blagoy D.D.. The literary process and its patterns // D.D. Good. From Cantemir to the present day. – M., 1972. – T.1.
2) Zhirmunsky V.M. Introduction to literary criticism: a course of lectures. – St. Petersburg, 1996.
3) Historical literary process: Problems and methods of study / ed. A.S. Bushmina. – L., 1974.
4) Literary encyclopedic dictionary / under general. ed. V.M. Kozhevnikov and P.A. Nikolaev. – M., 1987.
5) Literary process / ed. G.N. Pospelov. – M., 1981.
6) Literary encyclopedia terms and concepts / ed. A.N. Nikolyukina. – M., 2003.
7) Ozmitel E.K.. Theory of literature. – Frunze, 1986.
8) Palievsky P.V.. Literature and theory. – M., 1978.
9) Pospelov G.N.. Problems of the historical development of literature. – M., 1972.
10) encyclopedic Dictionary young literary critic / comp. IN AND. Novikov. – M., 1988.
The term “Literary process” arose at the turn of the 20-30s. XX century and became widely used since the 60s. The concept itself was formed during the 19th-20th centuries as literature was comprehended as a historically changing integrity (already in the 19th century the terminological expressions “literary evolution” and “ literary life era").
Literary process usually defined as a historical movement of national and world literature, developing in complex connections and interactions; historical existence, functioning and evolution fiction. The literary process at every historical moment includes both the verbal and works of art, and the forms of their social existence: publications, publications, literary criticism, reader reactions, etc.
The fact that the world literary process is part of the socio-historical process, was already realized by the philosophers of the 18th century J. Vico (Italian) and J. Herder (German), subsequently G. Hegel and others.
According to V.E. Khalizeva, the literary process is correlated with stages social development humanity (mythological archaic, antiquity, Middle Ages, modern times, modern times). It is stimulated by the need of writers (not always conscious) to respond to shifts in historical life, participate in it, influence public consciousness. Thus, literature changes in historical time primarily under the influence public life.
Literary scholar E.N. Kupreyanova explains the close relationship of literary development with the development of social consciousness as a whole and with the historical change of its leading forms (religious - in the Middle Ages, philosophical - in XVII-XVIII centuries, scientific and political – in XIX-XX centuries) also by the fact that the main subject of depiction in fiction is the subject of all humanities, including philosophy.
Contemporary literary criticism considers the literary process as conditioned by cultural and historical life. At the same time, it is emphasized that literature “... cannot be studied outside the integral context of culture... and directly correlated with socio-economic and other factors... The literary process is an integral part of the cultural process.”
At the same time, most of scientists note that the development of literature has relative independence and is characterized unevenness(the flowering of art is not in accordance with general development society, evidence of which is Homer’s “Iliad” and “Odyssey”, “The Tale of Igor’s Campaign”, the works of Shakespeare, etc.).
As is known, history itself unfolds unevenly: common path In socio-economic development, some peoples come forward, others lag behind. This unevenness is one of the driving forces historical process. In every major era, a push forward is created in some one region of the world, and under the influence of this push, a corresponding movement arises in other regions. This happens in socio-economic history, and this happens in literary history.
The other side of the literary process is associated with the dialectic of similarities and differences between literatures different nations and nations. Modern literary criticism reveals both the features of typological similarity of literary evolution among all peoples and nations, and its essential diversity: general, world-historical tendencies of the literary process are manifested in selected literatures differently. In other words, the literary process is directed by two interacting factors: national cultural tradition and the influence of foreign culture. Any development national literature
we can identify both the general (characteristic of all literature) and the special (characteristic only of certain literature). G.N. Pospelov, speaking about the laws of the historical development of literature, argues that different peoples go through in their social life, although not identical, but still similar stages of historical development. And it is natural that at these steps they social life in all its contradictions reveals some general properties . Hence, in the views and ideals of different peoples, some general features
, reflected in works of fiction. Pospelov calls these common features a stage community in the literature of different peoples. As an example of a stage-based community, he cites ancient literature created by the ancient Greeks and Romans. The scientist notes that, despite the political differences in the social life of Greece and Rome, their literature has significant common properties (mythological imagery, poetic form, civic worldview, abstract characteristics of heroes, predetermined resolutions of conflicts, etc.). “Differences in each national literature, at one or another stage of its historical development,” the literary critic further asserts, “arise because the writers who create this national literature usually belong to different social strata and social movements . As a result, they experience different public views
, ideals, ideological aspirations, which, becoming the “prerequisites” of their creativity, are expressed in different artistic ideas and lead to the creation of works that differ in content and form, in their style.” The idea expressed is confirmed by the following example: if Aeschylus and Sophocles created predominantly civil heroic tragedies based on legendary and mythological plots, then Euripides also used these plots, but created tragedies of personal family and everyday passions. The unity of the national and international can be demonstrated by the example of history. Mordovian literature , which in its development, on the one hand, took into account the experience of Russian classics, on the other, was based on traditions oral and poetic creativity
All of the above leads to the conclusion that every national literature has a typological feature that makes it similar to other national literatures, and something special that distinguishes it. Both are in dialectical unity.
According to V.G. Belinsky, “...Each people borrows from another especially that which is alien to its own nationality, giving in exchange to others that which is the exclusive property of its historical life and that is alien to the historical life of others.”
Each nationality has its own special strengths, sides, and virtues with which it enriches the universal world. The originality of each national literature and the originality of each stage in historical development literature opens up opportunities for multilateral and complex connections and interactions in time and space. According to literary critic B.G. Reizov, national literatures live a common life only because they are unlike one another; the originality of some stimulates interest in them from other literatures and develops a system of international connections.
One of the laws of the literary process is the historical continuity or dialectical the relationship between tradition and innovation.
The problem of inheriting progressive and overcoming outdated traditions remains always relevant. According to literary critic A.S. Bushmina, to understand the process of development of literature, it is important to know not only what it takes from centuries past, but also what inheritance it refuses, with what and why it is at odds with this inheritance. Without mastering viable and without overcoming dilapidated traditions and replacing them with new ones dictated by the requirements of modernity, the very concept of a new one is unthinkable. historical stage, about forward movement, progress.
In different periods of the history of literature and literary criticism, the problem of continuity was solved in different ways. Classical theorists, for example, believed that main goal creativity is following the classical patterns of antiquity; Sentimentalists and romantics, on the contrary, solving the problem of continuity, started from the dogmatic norms of classicism. Such approaches to the problem of continuity suffered from a lack of dialectics.
Bushmin A.S. argues that in relation to the past, the nihilistic formula “only rupture, enmity”, proclaimed, for example, by Russian futurists, Proletcultists and supporters of similar views in other literatures, and the epigonic formula “only acceptance, agreement”, which is adhered to by opponents of everything new, are equally unsuitable . The pseudo-innovation of some and the conservatism of others ultimately turn out to be a hopeless argument with history: it goes on as usual, discarding the claims of individuals and groups trying to stop the action objective law historical continuity.
The entry of the tradition of the elders into the creativity of the younger ones represents difficult process. Elements of a consciously or involuntarily perceived literary tradition enter into interaction in the artist’s thinking with his impressions life experience, supplemented by work creative imagination, undergo deep transformation, enter into unique relationships and poetic associations.
A writer's innovation is the combined result of talent, life experience, an interested attitude to the demands of the time, high general culture and professional skill based on knowledge of artistic examples.
Artistic creativity never remains a simple use of ready-made forms. Including tradition, it is at the same time each time a new act of artistic knowledge of reality, carried out in new forms. Searching, creating, improving forms for word artists is always a thought process.
Original work art is a highly integrated system into which elements of tradition are included as its own internal elements.
The interaction of the inherited and the personal in a work of art turns out to be so complex and interpenetrating that it is always difficult to answer the question of what belongs to tradition and what to the author, and the more difficult it is bigger artist, the more powerful his creative power. And not because there is no tradition here or its role was insignificant, but because it was mastered deeply creatively, ceased to be just a tradition, becoming an organic element spiritual development society of a given time.
CONTROL QUESTIONS:
1. What is the “literary process”?
2. What patterns of the literary process are identified by modern literary scholars?
3. What are traditions and innovation in literature?
4. How is the unity of the national and international manifested in fiction?
Literary process. Basic aspects of studying the literary process. Modern concepts literary process.
The literary process is, firstly, the literary life of a certain country and era; Secondly, centuries-old development literature on a global, worldwide scale.
The literary process in the second meaning of the word is the subject of comparative historical literary criticism. The stages of the literary process are usually thought of as corresponding to those stages of human history that manifested themselves most clearly and completely in Western European countries and especially clearly in the Romanesque countries. In this regard, ancient, medieval and modern literatures are distinguished with their own stages.
The literary process is a change in literary directions.
Conrad said that all nations follow the same literary path.
The literary process is a complex concept. The term itself appeared relatively recently, already in the 20th century, and gained popularity even later, only starting in the 50s and 60s. Before this, attention was paid to some individual aspects of literary relationships, but the literary process was not comprehended in its entirety. In the full sense of the word, it has not been comprehended even today; only the main components of the literary process have been identified, and possible research methodologies have been outlined. To summarize different views, we can say that understanding the literary process involves solving several scientific problems:
1. It is necessary to establish connections between literature and the socio-historical process. Literature, of course, is connected with history, with the life of society, it reflects it to some extent, but it is neither a copy nor a mirror. At some moments, at the level of images and themes, there is a rapprochement with historical reality, at others, on the contrary, literature moves away from it. Understanding the logic of this “attraction-repulsion” and finding transitional links connecting historical and literary processes is an extremely complex task and hardly has a final solution. As such a transitional link “from life to literature,” either religious-symbolic forms or social stereotypes (or, in the terminology of A. A. Shakhov, “social types”), which are formed in society in a certain period and embodied in art, were considered; then the socio-psychological atmosphere in society (in the terminology of Yu. B. Kuzmenko - “social emotions”); then the structure of the aesthetic ideal, reflecting both ideas about a person and aesthetic traditions (for example, this approach is typical for the works of N. A. Yastrebova), etc. There were a lot of concepts, but the mechanism for transforming historical reality into works of art remains a mystery . At the same time, attempts to find this transitional link stimulate the emergence of interesting research, unexpected and original concepts in both domestic and foreign aesthetics. Let’s say, it is the search for these links, both concretely historical and “transhistorical” (in the terminology of P. Bourdieu), that is, of the same type for any moment in history, that gives rise to the concept of “new historicism” - one of the most popular methodologies in modern Western European science. According to the theory of Pierre Bourdieu, the author of this concept, it is useless to “impose” any history general laws, based on today's coordinate system. You need to start from the “historicity of the object,” that is, every time you need to enter into the historical context of a given work. And only by comparing the multitude of data obtained in this way, including the historicity of the researcher himself, can we notice elements of commonality and “overcome” history. P. Bourdieu’s concept is popular today, but, of course, it does not solve all the questions. The search for an adequate methodology continues, and definitive answers are hardly possible.
2. In addition to “external” connections, that is, connections with history, psychology, etc., literature also has a system of internal connections, that is, it constantly correlates itself with its own own history. Not a single writer of any era ever begins to write “with clean slate", he always consciously or unconsciously takes into account the experience of his predecessors. He's writing a certain genre, in which centuries-old literary experience has been accumulated (it is no coincidence that M. M. Bakhtin called the genre “the memory of literature”), he searches for the genre of literature that is closest to himself (epic, lyric, drama) and inevitably takes into account the laws adopted for this type. Finally, he absorbs many of the author’s traditions, correlating his work with one of his predecessors. From all this, internal laws of development of the literary process are formed, which do not directly correlate with the socio-historical situation. For example, the genre of an elegiac poem, permeated with sadness and sometimes tragedy, can manifest itself in different sociohistorical situations, but will always correlate itself with the genre of elegy - regardless of the desire and will of the author.
Therefore, the concept of “literary process” includes the formation of generic, genre and style traditions.
The need to “keep track” of the slow development of architectural forms of literature stretched over centuries gave rise to the large-scale historicism of historical poetics. This science has developed the most generalized picture of the literary process to date and identified 3 large stages in the development of world literature.
Veselovsky called the first stage in the history of poetics the era of syncretism. By modern ideas, this tradition lasts from the ancient Stone Age to the 7-6th century BC. e. in Greece and the first centuries AD. e. in the East.
Veselovsky proceeded from the fact that the most obvious and simple and at the same time the most fundamental difference between archaic consciousness and modern consciousness is its indivisible nature, or syncretism. It permeates everything ancient culture, starting from the direct sensory perceptions of its carriers to their ideological constructs - myths, religion, art.
In general, the poetics of the era of syncretism - and this is its very special place in the history of art - is a time of slow development of basic and primary principles artistic thinking, subjective forms, figurative languages, plot archetypes, genders and genres, everything that will be given by subsequent stages of the development of literature as ready-made forms, without which everything further would be impossible.
The second major stage of the literary process begins in the 6th-5th centuries. BC e. in Greece and the first centuries AD. e. and lasts until the middle - second half of the 18th century. in Europe and the turn of the 19th – 20th centuries. in the East. A generally accepted name for this stage has not been established; its most common definition is rhetorical (others: the era of reflective traditionalism, canonical, eidetic).
What is the literary process?
This term, firstly, denotes the literary life of a certain country and era (in the entirety of its phenomena and facts) and, secondly, the centuries-old development of literature on a global, worldwide scale.
Literary process in the second meaning of the word is the subject of comparative historical literary criticism.
Literary process- the historical movement of national and world literature, developing in complex connections and interactions. The literary process is at the same time the history of the accumulation of aesthetic, spiritual and moral values, and the indirect, but steady expansion of humanistic concepts. Until a certain time, the literary process is relatively closed, national character; in the bourgeois era, with the development of economic and cultural ties, “...one world literature is formed from many national and local literatures.”
The study of the literary process involves the formulation and solution of many complex, complex problems, the main one of which is the clarification of the patterns of transition of some poetic ideas and forms into others, old into new, entailing a change in styles, literary movements, movements, methods, schools, etc. What changes in the substantive form of literature, reflecting a life shift, a new historical situation?
Writers are involved in the literary process with new artistic discoveries that change the principles of studying man and the world. These discoveries are not made in a vacuum. The writer certainly relies on the traditions of both immediate and distant predecessors, participants in the literary process of domestic and foreign literature, in one form or another using all the experience accumulated in artistic development humanity. We can say that the literary process is a struggle artistic ideas, new with old, carrying within itself the memory of the old, the defeated. Each literary direction(the movement) puts forward its leaders and theorists, declaring new creative principles and refuting the old ones, as exhausted by literary development.
So, in the 17th century. in France, the principles of classicism were proclaimed, strict rules of “poetic art” were established in contrast to the willfulness of baroque poets and playwrights. But at the beginning of the 19th century. Romantics sharply opposed all the norms and rules of classicism, declaring that rules are crutches and genius does not need them (see Romanticism). Soon the realists rejected the subjectivism of the romantics, putting forward the demand for an objective, truthful depiction of life. But even within one school (direction, trend) there is a change of stages. “So, for example, in Russian classicism the role of the initiator was played by Kantemir, whose work ended in the very beginning of the 40s. XVIII century In the works of M. V. Lomonosov, A. P. Sumarokov, V. K. Trediakovsky, classicism received its most complete and widespread development at the end of the first and beginning of the second half of the century, and, finally, in the works of G. R. Derzhavin, which has already passed V early XIX c., classicism reaches its completion and ceases to exist as a definite literary movement" “The change of stages of classicism was determined by the rapprochement of literature with reality” (L. I. Timofeev).
An even more complex picture is presented by the evolution of critical realism in Russian XIX literature in: A. S. Pushkin, N. V. Gogol, I. A. Goncharov, I. S. Turgenev, F. M. Dostoevsky, A. P. Chekhov. It's about not just about different artistic individualities: the character of realism itself, knowledge of man and the world is changing and deepening. The “Natural School,” which opposed romanticism and created masterpieces of realistic art, was already perceived in the second half of the century as a kind of canon that fettered literary development. Deepening psychological analysis in L. N. Tolstoy and F. M. Dostoevsky designated new stage realism in comparison with the “natural school”. It should be emphasized that, unlike the development of technology in the history of art and literature, new artistic discoveries do not cross out the old ones. Firstly, because great works created on the basis of the “old” principles of human studies continue to live in new generations of readers. Secondly, because these “old” principles themselves find life in new eras. For example, folklore in “The Quiet Don” by M. A. Sholokhov or the principles of the enlighteners of the 18th century. (see Enlightenment) in the dramaturgy of the German writer of socialist realism B. Brecht. And finally, thirdly: even when the experience of predecessors is rejected in sharp polemics, the writer still absorbs some part of this experience. Thus, the achievements of psychological realism of the 19th century. (Stendhal, Dostoevsky, L. Tolstoy) were prepared by the romantics (see Romanticism), their close attention to the individual and his experiences. In new discoveries, the memory of the previous ones seems to live on.
An important role for understanding the literary process is played by the study of the influence of foreign literature on literary process domestic (for example, the importance of J. G. Byron or I. F. Schiller for the development of literature in Russia) and Russian literature to foreign ones (Tolstoy, Dostoevsky, Chekhov, M. Gorky in the literatures of the world).
The literary process is revealed very clearly in the history of different genres. Thus, if we consider the development of the novel on a European scale, we can trace the change artistic methods and directions (currents). For example, the novel by M. Cervantes “Don Quixote” is typical for the Renaissance, “Robinson Crusoe” by D. Defoe - for the Age of Enlightenment, “Cathedral Notre Dame of Paris» V. Hugo - for the era of romanticism, the novels of Stendhal, O. de Balzac, C. Dickens, I. S. Turgenev, L. N. Tolstoy, F. M. Dostoevsky, N. G. Chernyshevsky represent a critical realism XIX V. And a completely new stage (and new types) of the novel is put forward by the literature of socialist realism: “ Quiet Don"M. A. Sholokhov or "The Seventh Cross" by A. Zegers, "Communists" by L. Aragon. It is essential to emphasize here that the literary process in different countries akh goes through similar stages and the development of genre, method, style reflects these stages.
The term “literary process” can confuse a person unfamiliar with its definition. Because it is not clear what kind of process this is, what caused it, what it is connected with and according to what laws it exists. In this article we will examine this concept in detail. We will pay special attention to the literary process of the 19th and 20th centuries.
What is the literary process?
This concept means:
- creative life in the totality of facts and phenomena of a particular country in a particular era;
- literary development in a global sense, including all centuries, cultures and countries.
When using the term in the second meaning, the phrase “historical-literary process” is often used.
In general, the concept describes historical changes in world and national literature, which, as they develop, inevitably interact with each other.
In the course of studying this process, researchers solve many complex problems, among which the main one is the transition of some poetic forms, ideas, trends and directions to others.
Writers' influence
Writers are also included in the literary process, who with their new artistic techniques and experiments with language and form change the approach to describing the world and people. However, the authors do not make their discoveries out of nowhere, since they necessarily rely on the experience of their predecessors, who lived both in his country and abroad. That is, the writer uses almost all of humanity’s artistic experience. From this we can conclude that there is a struggle between new and old artistic ideas, and each new literary direction puts forward its own creative principles, which, relying on traditions, nevertheless challenge them.
Evolution of directions and genres
The literary process, therefore, includes the evolution of genres and trends. So, in the 17th century French writers instead of baroque, which welcomed the willfulness of poets and playwrights, they proclaimed classicist principles that presupposed adherence to strict rules. However, already in the 19th century, romanticism appeared, rejecting all rules and proclaiming the freedom of the artist. Then realism arose, expelling subjective romanticism and putting forward its own demands for works. And the change in these directions is also part of the literary process, as are the reasons for which they occurred and the writers who worked within their framework.
Don't forget about genres. Thus, the novel, the largest and most popular genre, has survived more than one change in artistic movements and directions. And in every era it has changed. For example, shining example The Renaissance novel “Don Quixote” is completely different from “Robinson Crusoe”, written during the Enlightenment, and both of them are unlike the works of O. de Balzac, V. Hugo, and Charles Dickens.
Russian literature of the 19th century
Literary process of the 19th century. presents a rather complex picture. At this time, evolution occurs and representatives of this direction are N.V. Gogol, A.S. Pushkin, I.S. Turgenev, I.A. Goncharov, F.M. Dostoevsky and A.P. Chekhov. As you can see, the work of these writers is very different, however, they all belong to the same movement. At the same time, literary criticism in this regard speaks not only about the artistic individuality of writers, but also about changes in realism itself and the method of knowing the world and man.
At the beginning of the 19th century, romanticism was replaced by the “natural school”, which already in the middle of the century began to be perceived as something preventing further literary development. F. Dostoevsky and L. Tolstoy begin to attach increasing importance to psychologism in their works. This became a new stage in the development of realism in Russia, and the “natural school” became outdated. However, this does not mean that the techniques of the previous movement are no longer used. On the contrary, the new absorbs the old, partially leaving it in its original form, partially modifying it. However, we should not forget about the influence foreign literature into Russian, as well as, indeed, domestic literature into foreign.
Western literature of the 19th century
The literary process of the 19th century in Europe included two main directions - romanticism and realism. Both of them became a reflection historical events this era. Let us remind you that at this time factories are opening, construction is taking place. railways etc. At the same time, the Great French revolution, which led to uprisings throughout Europe. These events, of course, are reflected in literature, but completely with different positions: Romanticism seeks to escape reality and create its own perfect world; realism - analyze what is happening and try to change reality.
Romanticism, which arose at the end of the 18th century, gradually became obsolete around the middle of the 19th century. But realism, which was just emerging at the beginning of the 19th century, was gaining momentum by the end of the century. Realistic direction comes out of realism and declares itself around the age of 30-40.
The popularity of realism is explained by its social orientation, which was in demand by the society of that time.
Russian literature of the 20th century
Literary process of the 20th century. very complex, intense and ambiguous, especially for Russia. This is due, first of all, to emigrant literature. Writers who found themselves expelled from their homeland after the 1917 revolution continued to write abroad, continuing the literary traditions of the past. But what is happening in Russia? Here, the motley variety of directions and trends, called the Silver Age, is forcibly narrowed to the so-called socialist realism. And all attempts by writers to move away from it are brutally suppressed. However, works were created but not published. Among such writers are Akhmatova, Zoshchenko, and from later antagonist authors - Alexander Solzhenitsyn, Venedikt Erofeev, etc. Each of these writers was a continuer of the literary traditions of the early 20th century, before the advent of socialist realism. The most interesting in this regard is the work “Moscow - Petushki”, written by V. Erofeev in 1970 and published in the West. This poem is one of the first examples of postmodern literature.
Until the end of the existence of the USSR, practically no works were published that were not related to socialist realism. However, after the collapse of the power, the dawn of book publishing literally began. Everything that was written in the 20th century but was prohibited is published. New writers appear, continuing the traditions of literature Silver Age, prohibited and foreign.
Western literature of the 20th century
The Western literary process of the 20th century is characterized by a close connection with historical events, in particular with the First and Second World Wars. These events greatly shocked Europe.
In the literature of the 20th century, two major trends stand out - modernism and postmodernism (emerging in the 70s). The first includes such movements as existentialism, expressionism, and surrealism. It developed most brightly and intensively in the first half of the 20th century, then gradually losing ground to postmodernism.
Conclusion
Thus, the literary process is the totality of the works of writers and historical events in their development. This understanding of literature makes it possible to understand by what laws it exists and what influences its evolution. The beginning of the literary process can be called the first work created by humanity, and its end will come only when we cease to exist.
The literary process of the era as a set of newly created (including masterpieces of verbal art, and mediocre, epigonic, mass literature), their publications and discussions (primarily literary criticism), creative programs, acts of literary struggle. The functioning of previously created works as an aspect of the literary process of a given era. The interaction of fiction with other types of art, its connections with non-artistic forms of culture (rites and rituals, everyday life with their corresponding objectivity and behavior), religious consciousness, currents of philosophical thought, socio-political movements as facets of the literary process in each era.
The literary process (the second meaning of the term) on a world-historical scale as a specific part of the socio-historical process. Experiences in correlating the development of literature with socio-economic formations. The specificity of the stages of literary creativity as cultural phenomena. Stages of development
verbal art. Folklore and mythological archaics. Ancient literatures, a special place in their ranks of European ancient literature. Medieval literature. The controversial distinction between ancient and medieval literatures outside Western Europe. Common features ancient and medieval literatures (synthesis of artistic and extra-artistic functions, traditional forms, the predominance of canonical genres and anonymity of creativity, instability of texts, lack of differentiation between translated and original literature). Literature of modern times in Western Europe and beyond; their personal character and intense historical dynamics; orientation of poets and writers towards the renewal of literature; their understanding of previous literature as a guide for original (innovative) solutions to modern creative problems. Distinction by scientists (S.S. Averintsev, A.V. Mikhailov, etc.) of three stages of literary development: ritual-mythological archaic (pre-reflective traditionalism); orientation of literature towards rhetorical culture (reflective traditionalism); free from genre and style canons, individual and personal creativity.
National and regional specificity of literature, determined by ethnic characteristics and paths of cultural and historical development of peoples and their groups. Repetitive and unique in the literature of different countries and regions. S. S. Averintsev on the difference between the paths of Middle Eastern literature and ancient Greek literature. Geographical boundaries of the Renaissance and specifics cultural development Western and eastern regions as debatable problems of modern historical science and art criticism. The uniqueness of the Western European Renaissance. The works of N. I. Conrad and their discussion by historians and literary scholars. D. S. Likhachev on the significance of the Pre-Renaissance in the literature of the Eastern European region.
The main literary and artistic movements of modern times (from the Renaissance to realism and modernism). V. M. Zhirmunsky about international literary movements. D. S. Likhachev on the change of “great styles” in art and literature. Styles of traditional, canonical genres. Individual styles and stylistic trends in the literature of modern times. The term poetics as a designation for a set of artistic ideas and forms, creative principles, theoretical and literary concepts, characteristic either of a large-scale creative individual, or of a group of writers, or of national literature at a certain stage of its development. Distinguishing the concepts of “artistic system” (an international and globally significant phenomenon) and “direction” (a group of writers from a certain country, united by a creative program).
Types of artistic reflection of life, the concept of creative method. The consolidation of this term in Soviet criticism of the early 30s. and further development of the corresponding concept. Realism as a creative method. Engels' definition of realism. The predominance of historically abstract principles of life reproduction in the literature of antiquity, the Middle Ages, and modern times (XVI-XVIII centuries). Realism in the broad sense (universal) in the literature of the Renaissance and Enlightenment. Realism of the 19th-20th centuries, its connection with the expansion of the subject area of literature, with the increased interest of writers in everyday life, everyday life, the “microenvironment”, the inner world of man, with the rooting of psychologism in art.
Specifics of the literary process in the 20th century. Modernism in avant-garde and “neo-traditionalist” variants. The ideological and artistic diversity of modernist literature, many directions within its framework. Socialist realism as a trend in Soviet literature, which took shape in the 30s. and his future fate. Renewal of realistic traditions in the literature of different countries and regions throughout the 20th century.
Recurrence of elements of literary creativity (themes, motifs, event patterns, compositional “moves”, etc.) in a large historical time and cultural-geographical space. The concept of topics.
Sources of commonality (repetition) in the literary development of different countries and regions. Convergence on the basis of cultural and historical development (typological convergence, convergence). Moments of similarity arising from international contacts (influences and borrowings). Interaction of literatures located at the same and different stages of cultural and historical development. Expanding and strengthening connections between the literatures of different countries and peoples as history moves forward. International literary connections as the most important source of enrichment of national literatures, as a condition for the full and broad identification of their original features.
World literature as a set of unique literatures different regions, countries, peoples, fruitfully in contact with each other. The active influence of Western European literature on the literature of other regions as a feature of the culture of modern times. Accelerated development of literature (G. D. Gachev) in a number of
countries and regions. The threat of denationalization of literature in the process of its accelerated development and the further strengthening of its originality through the creative combination of other people's experience with one's own.
Evolution meaningfully significant forms(genre, plot, subject-shaped, stylistic), verbal and artistic motives, literary consciousness and theoretical principles as the subject of historical poetics. A. N. Veselovsky as the creator of this scientific discipline. M. M. Bakhtin, D. S. Likhachev, S. S. Averintsev on the evolution of attitudes and forms of literary creativity. Modern problems of historical poetics and prospects for its development.
