Slide 1

Slide description:

Slide 2

Slide description:

Slide 3

Slide description:

Slide 4

Slide description:

Slide 5

Slide description:

Slide 6

Slide description:

Slide 7

Slide description:

Slide 8

Slide description:

Slide 9

Slide description:

Nikolai Gumilev GUMILEV Nikolai Stepanovich (1886, Kronstadt - 1921, ca. Petrograd) - poet. Son of a naval doctor. Moving with his father, he studied at gymnasiums in St. Petersburg and Tiflis. He became interested in Marxism and even promoted it. In 1903 he settled in Tsarskoye Selo. Gumilyov, under the influence of symbolism, moved away from socialist ideas and became disgusted with politics. Having written poetry since the age of 12, Gumilyov, realizing himself as a poet, saw the meaning of life only in poetry. In 1905, the first collection of Gumilyov’s poems, “The Conquistador’s Path,” was published. Gumilyov studied poorly, but in 1906 he graduated from high school and went to Paris: he studied at the Sorbonne, studied painting and literature, and published Russian. magazine "Sirius". In 1908 he entered the Faculty of Law at St. Petersburg University, and then transferred to the Faculty of History and Philology. In 1910 he married A. Akhmatova.

Slide 10

Slide description:

Slide 11

Slide description:

Slide 12

Slide description:

Slide 13

Slide description:

From his early youth, Nikolai Gumilyov attached exceptional importance to the composition of a work and its plot completeness. The poet called himself a “master of fairy tales,” combining in his poems dazzlingly bright, rapidly changing pictures with extraordinary melody and musicality of narration. From his early youth, Nikolai Gumilyov attached exceptional importance to the composition of a work and its plot completeness. The poet called himself a “master of fairy tales,” combining in his poems dazzlingly bright, rapidly changing pictures with extraordinary melody and musicality of narration. A certain fabulousness in the poem “Giraffe” appears from the first lines: The reader is transported to the most exotic continent - Africa. The human imagination simply cannot comprehend the possibility of such beauty existing on Earth. The poet invites the reader to look at the world differently, to understand that “the earth sees many wonderful things,” and a person, if desired, is able to see the same thing. The poet invites us to clear ourselves of the “heavy fog” that we have been breathing in for so long, and to realize that the world is huge and that there are still paradises left on Earth. Addressing a mysterious woman, about whom we can only judge from the position of the author, the lyrical hero conducts a dialogue with the reader, one of the listeners of his exotic fairy tale. A woman, immersed in her worries, sad, does not want to believe in anything - why not the reader? Reading this or that poem, we willy-nilly express our opinion about the work, criticize it to one degree or another, do not always agree with the poet’s opinion, and sometimes do not understand it at all. Nikolai Gumilyov gives the reader the opportunity to observe the dialogue between the poet and the reader (listener of his poems) from the outside. A ring frame is typical for any fairy tale. As a rule, where the action begins is where it ends. However, in this case, it seems that the poet can talk about this exotic continent again and again, paint lush, bright pictures of a sunny country, revealing more and more new, previously unseen features in its inhabitants. The ring frame demonstrates the poet’s desire to talk about “heaven on Earth” again and again in order to make the reader look at the world differently. In his fabulous poem, the poet compares two spaces, distant on the scale of human consciousness and very close on the scale of the Earth. The poet says almost nothing about the space that is “here”, and this is not necessary. There is only a “heavy fog” here, which we inhale every minute. In the world where we live, there is only sadness and tears left. This leads us to believe that heaven on Earth is impossible. Nikolai Gumilyov is trying to prove the opposite: “...far, far away, on Lake Chad // An exquisite giraffe wanders.”

Slide 14

Slide description:

Slide 15

Slide description:

SONG OF THE LAST MEETING My chest grew so helplessly cold, But my steps were light. I put the Glove from my left hand on my right hand. It seemed like there were a lot of steps, but I knew there were only three! Among the maples, an autumn whisper asked: “Die with me! I am deceived by my dull, changeable, evil fate.” I answered: “Dear, dear - And me too. I will die with you!” This is the song of the last meeting. I looked at the dark house. Only in the bedroom the candles were burning with an indifferent yellow fire. SONG OF THE LAST MEETING My chest grew so helplessly cold, But my steps were light. I put the Glove from my left hand on my right hand. It seemed like there were a lot of steps, but I knew there were only three! Among the maples, an autumn whisper asked: “Die with me! I am deceived by my dull, changeable, evil fate.” I answered: “Dear, dear - And me too. I will die with you!” This is the song of the last meeting. I looked at the dark house. Only in the bedroom the candles were burning with an indifferent yellow fire. “This couplet contains the whole woman,” M. Tsvetaeva spoke about Akhmatova’s Song of the Last Meeting

Slide 16

Slide description:

Slide 17

Slide description:

Slide 18

Slide description:

Description of the presentation by individual slides:

1 slide

Slide description:

2 slide

Slide description:

Acmeism (from the Greek akme - the highest degree of something, flowering, maturity, peak, edge) is one of the modernist movements in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.

3 slide

Slide description:

The Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of Acmeism, the magazine and publishing house "Hyperboreas"), immediately acted as a single group. They gave their union the significant name “Workshop of Poets.” The Acmeists published 10 issues of their magazine “Hyperborea” (editor M.L. Lozinsky), as well as several almanacs of the “Workshop of Poets”.

4 slide

Slide description:

Basic principles of Acmeism: liberation of poetry from symbolist appeals to the ideal, returning it to clarity; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give a word a certain, precise meaning; objectivity and clarity of images, precision of details; appeal to a person, to the “authenticity” of his feelings; poeticization of the world of primordial emotions, primitive biological natural principles;

5 slide

Slide description:

Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. G. Ivanov claimed the role of the “seventh Acmeist,” but such a point of view was protested by A. Akhmatova: “There were six Acmeists, and there never was a seventh.” At the meetings of the “Workshop”, specific issues were resolved; it was a school for mastering poetic skills, a professional association.

6 slide

Slide description:

7 slide

Slide description:

Anna Akhmatova Anna Akhmatova (pseudonym of Gorenko Anna Andreevna; 1889-1966), according to her confession, wrote her first poem at the age of 11, and first appeared in print in 1907. Her first collection of poetry, Evening, was published in 1912. Anna Akhmatova belonged to the group of Acmeists, but her poetry, dramatically intense, psychologically profound, extremely laconic, alien to self-valued aesthetics, in essence did not coincide with the programmatic guidelines of Acmeism. The connection between Akhmatova’s poetry and the traditions of Russian classical lyric poetry, primarily Pushkin’s, is obvious. Of the modern poets, I. Annensky and A. Blok were closest to her.

8 slide

Slide description:

Anna Akhmatova's creative activity lasted almost six decades. During this time, her poetry experienced a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her creative career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of themes and ideas that are present in the early lyrics, which was especially clearly expressed in the poetic cycle “Wind of War” (1941-1945), in “Poem without a Hero” (1940-1945). 1962). Speaking about her poems, Anna Akhmatova stated: “For me, they contain a connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country. I am happy that I lived during these years and saw events that had no equal.”

Slide 9

Slide description:

Nikolai Gumilev Gumilyov Nikolai Stepanovich (1886-1921), Russian poet. In the 1910s one of the leading representatives of Acmeism. The poems are characterized by an apology for a “strong man” - a warrior and a poet, decorativeness, and sophistication of poetic language (collections “Romantic Flowers”, 1908, “Bonfire”, 1918, “Pillar of Fire”, 1921). Translations. Shot as a participant in a counter-revolutionary conspiracy; in 1991, the case against Gumilyov was dropped for lack of evidence of a crime.

10 slide

Slide description:

Having declared a new direction - Acmeism - the heir of symbolism, which had completed “its path of development,” Gumilev called on poets to return to the “thingness” of the world around them (article “The Legacy of Symbolism and Acmeism,” 1913). Gumilyov’s first acmeistic work is considered to be the poem “The Prodigal Son,” included in his collection “Alien Sky” (1912). Critics noted his virtuoso mastery of form: according to Bryusov, the meaning of Gumilyov’s poems “is much more in how he speaks than in what he says.” The next collection “Quiver” (1916), the dramatic fairy tale “Child of Allah” and the dramatic poem “Gondla” (both 1917) testify to the strengthening of the narrative principle in Gumilyov’s work.

11 slide

Slide description:

Osip Mandelstam Osip Emilievich Mandelstam (1891-1938) first appeared in print in 1908. Mandelstam was among the founders of Acmeism, but occupied a special place in Acmeism. Most of the poems of the pre-revolutionary period were included in the collection “Stone” (first edition - 1913, second, expanded - 1916). Early Mandelstam (before 1912) gravitated toward the themes and images of the Symbolists. Acmeistic tendencies were most clearly manifested in his poems about world culture and architecture of the past (“Hagia Sophia”, “Notre-Dame”, “Admiralty” and others). Mandelstam proved himself to be a master of recreating the historical flavor of the era (“Petersburg stanzas”, “Dombey and Son”, “Decembrist” and others). During the First World War, the poet wrote anti-war poems (“The Menagerie”, 1916).

12 slide

Slide description:

The poems written during the years of the revolution and civil war reflected the difficulty of the poet’s artistic comprehension of the new reality. Despite ideological hesitations, Mandelstam looked for ways to creatively participate in a new life. His poems of the 20s testify to this. New features of Mandelstam’s poetry are revealed in his lyrics of the 30s: a tendency towards broad generalizations, towards images that embody the forces of the “black soil” (the cycle “Poems 1930-1937”). Articles on poetry occupy a significant place in Mandelstam's work. The most complete presentation of the poet’s aesthetic views was placed in the treatise “Conversation about Dante”.

Slide 13

Slide description:

Sergei Gorodetsky Sergei Mitrofanovich Gorodetsky (1884-1967). Father is an active state councilor and writer, author of works on archeology and folklore. He studied at the Faculty of History and Philology of St. Petersburg University, where he became friends with A. Blok in 1903 and began writing poetry under the strong influence of his poetics; He also did painting. For involvement in the revolutionary movement in 1907, he spent some time in the Kresty prison. His interest in folklore, in particular children's folklore, which he inherited from his father, played a decisive role in the poet acquiring his own poetic voice.

Slide 14

Slide description:

Gorodetsky’s literary fate was decided one evening in January 1906, when he read Vyach on the “tower”. Ivanov, in the presence of V. Bryusov, wrote poems that were later included in his first book, “Yar” (1907; published at the end of 1906). “Yar” enjoyed exceptional success among readers and evoked enthusiastic responses from critics, who were captivated by the youthful power of stylized “pagan” songs. The bright debut complicated Gorodetsky’s further literary development: he either tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated by youth and the sensual joys of life, or he made attempts to expand the range of his creativity and break the stereotypes of readers’ ideas. In the collection “Perun” (1907), the violent elements of Yarila are opposed by modern man, “city children, stunted flowers.” But none of the subsequent collections reached the level or success of “Yari”: “Wild Will” (1908), “Rus” (1910), “Willow” (1914) went almost unnoticed.

15 slide

Slide description:

Mikhail Zenkevich Mikhail Alexandrovich Zenkevich (1891-1973). He studied at the Saratov gymnasium and was taken under police supervision for his connections with the Bolsheviks. In St. Petersburg in 1915 he graduated from the Faculty of Law and attended lectures on philosophy in Berlin. He began publishing in a Saratov magazine as an author of political poetry. In 1908, his “pretentious but imaginative” poems appeared in the capital’s magazines “Spring” and “Education”, and then in “Apollo”, after which N. Gumilyov attracted him to the newly created “Workshop of Poets”.

16 slide

Slide description:

One of the first books published under the brand of this circle was “Wild Porphyry” (1912) by M. Zenkevich. The words of Baratynsky chosen as the title from the poem “The Last Death” clarified the pathos of the “primitive” poems of M. Zenkevich, with their prophecies of an impending cosmic catastrophe, a return to the original chaos, when the earth will take revenge on the person who insulted it. The natural philosophical and natural science themes of the collection brought him closer to another poet of the “left flank of Acmeism” - V. Narbut. Fellow craftsmen welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted the “scientific nature”; Vyacheslav Ivanov, who understood the meaning of “geological and paleontological pictures” more deeply than others, wrote: “Zenkevich was captivated by matter and was horrified by it.” The fascination with material nature and frank physiological descriptions, deliberate anti-aestheticism, led to the fact that the subsequent works of M. Zenkevich could not always be passed by censorship, and the author himself sometimes refused to read them publicly. Over time, I also switched more and more to translation work.

Valentin Innokentievich Krivich (real name Annensky) (1880-1936) - son of the poet Innokenty Fedorovich Annensky, a lawyer by training, served as an official in St. Petersburg, lived almost his entire life in Tsarskoe Selo. He made his debut in 1902 in the “Literary and Artistic Collection”, then sometimes published poems and literary reviews in metropolitan magazines. The only collection of poems, “Flower Grasses” (1912), was read and reviewed in manuscript by In. Annensky (the poet’s father), noting the “true taste” and “some bending” in tone, akin to his own lyrics, but I. Bunin and A. Blok had a much greater influence on V. Krivich’s work. After the death of his father, he was engaged in disassembling his archive and publishing the creative heritage of In. Annensky for publication, wrote the work “I. Annensky according to family memories." His most significant poems were created in the 1920s and for the most part remained unpublished.

1 of 25

Presentation on the topic: Acmeism - a literary movement in Russia

Slide no. 1

Slide description:

Slide no. 2

Slide description:

Slide no. 3

Slide description:

Slide no. 4

Slide description:

Dictionary: Acmeism is a modernist movement (the highest degree, peak, blooming time) that arose at the beginning of the twentieth century in Russia, declaring a concrete sensory perception of the outside world, returning the word to its original, not symbolic, meaning. N. Gumilyov: “I proclaim the intrinsic value of the phenomena of life...” Romance and heroism are the basis of the poet’s worldview. A. Akhmatova: “Is an everyday detail significant?” The depth of psychologism is achieved with the help of a detail, which becomes a sign of heightened feelings. J. Mandelstam: “Clear rhythms with courageous pressure approached colloquial language and soulful intonation.”

Slide no. 5

Slide description:

Goal: concrete sensory perception of the external world, rejection of the vagueness of symbolism. The current is aimed at reviving a person’s thirst for life, returning the feeling of its beauty. Exotic themes, love, nature, human emotional experiences. Attention to the word. Detailed description. The desire to give a word an extremely precise, clear meaning. Basic artistic means: metaphors, oxymorons for a bright, major image of reality and giving a more capacious meaning to details. Features of Acmeism

Slide no. 6

Slide description:

The birth of a new poetry... The term “Acmeism” was proposed in 1912 by N. Gumilev and S. M. Gorodetsky, who regards the struggle between symbolism and Acmeism as a struggle “for this world, sounding, colorful, having shape, weight and time, for our planet Earth." In 1911, the association “Workshop of Poets” was founded, whose leaders were Nikolai Gumilyov and Sergei Gorodetsky. In the fall of 1912, a decision was made to create a new poetic movement - Acmeism.

Slide no. 7

Slide description:

Acmeism included six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. Akhmatova Anna Andreevna (1889-1966) Mandelstam Osip Emilievich (1891-1938) Gumilyov Nikolai Stepanovich (1886-1921) Gorodetsky Sergei Mitrofanovich (1884-1967)

Slide no. 8

Slide description:

The legacy of the Acmeists N. S. Gumilev - “The Legacy of Symbolism and Acmeism” (1913) S. M. Gorodetsky - “Some trends in modern Russian poetry” (1913) O. E. Mandelstam - article “The Morning of Acmeism” (1913) An important feature Acmeist poetry has strong moral guidelines, an orientation towards traditional universal human values: faith, honor, conscience, duty, goodness, love. Check yourself! - Who is in the photographs?

Slide no. 9

Slide description:

Slide no. 10

Slide description:

Music of Gorodetsky Sergei Mitrofanovich Gorodetsky was born on January 5, 1884 in St. Petersburg. In 1902 he entered the Faculty of History and Philology of St. Petersburg University. He enthusiastically studied Slavic languages, art history, Russian literature, and painted. He started writing poetry since childhood. The first book, "Yar" (late 1906), reflected the poet's interest in folk art, in reproducing ancient Slavic mythology in forms close to modern literature and brought him fame. This theme is continued by the second collection of poems “Perun” (1907), which was no longer met with such enthusiasm. How I loved you, dear, My Russia, the mother of freedoms, When, languishing under the lash, Your great people were silent. In what blind and wild faith I waited for your Sunday! And now the doors of all the prisons have fallen, I see your triumph. You are as majestic on this holiday as before in slave poverty, When both your honor and glory were crucified on the cross. Russia

Slide no. 11

Slide description:

In the poems of the Acmeists one could hear... (Continuation of the poem) About the eternal peace of the entire universe, About will, brotherhood and love You sang selflessly To the peoples dying in blood. As the sun rises from the east, So the message comes from you, That there is an end to the cruel war, There is a living truth in people. And a day more beautiful than paradise is approaching, When enemies, when friends, like chains breaking fronts, will exclaim: “Your truth!” How I love you, Russia, When your people raised the Tablets of fire over the world, Tablets of eternal freedoms. One of the merits of S. Gorodetsky is the introduction of children's folklore into Russian literature. In the 1910-1920s, he wrote many books for children, collected children's drawings, and hatched plans to create his own children's newspaper. In 1945, Gorodetsky suffered a heavy loss - the death of his faithful friend and comrade-in-arms throughout his creative life, his wife Anna Alekseevna Gorodetskaya (Nymph), to whom he dedicated the poem “Afterword” (1947). In 1956, after a long break, the name of Gorodetsky reappeared in the central press, and a book of selected works was published. Gorodetsky died in June 1967 at the age of 84.

Slide no. 12

Slide description:

Music by Osip Mandelstam... “For Acmeists, the conscious meaning of the word... The same beautiful form as music for the Symbolists... Love existing things and your being more than yourself - this is the highest commandment of Acmeism... The Middle Ages are dear to us because it never mixed different plans and to the otherworldly was treated with great restraint.” Osip Mandelstam

Slide no. 13

Slide description:

Music by Osip Mandelstam Born January 3, 1891 in Warsaw in the family of a master tanner and a small merchant. A year later, the family settled in Pavlovsk, then in 1897 they moved to St. Petersburg. Here he graduated from one of the best St. Petersburg educational institutions - the Tenishevsky Commercial School, which gave him solid knowledge in the humanities, and this is where his passion for poetry began. In 1907, Mandelstam went to Paris, listened to lectures at the Sorbonne, met N. Gumilev... Leningrad I returned to my city, familiar to tears, to the veins, to the swollen glands of children. You have returned here, so quickly swallow the fish oil of Leningrad river lanterns, quickly recognize the December day, where the yolk is mixed with the ominous tar. Petersburg! I don't want to die yet! You have my phone numbers. Leningrad! I still have addresses where I can find the voices of the dead. I live on the black stairs, and a bell torn out with meat strikes my temple, And all night long I wait for dear guests, Moving the shackles of the door chains. 1930

Slide no. 14

Slide description:

Interest in literature, history, and philosophy leads him to Heidelberg University. Mandelstam's literary debut took place in 1910, when his five poems were published in the Apollo magazine. During these years, he became interested in the ideas and creativity of symbolist poets. In the fall of 1933 he wrote the poem “We live without feeling the country beneath us...”, for which he was arrested in May 1934. Only Bukharin’s defense commuted the sentence - he was sent to Cherdyn-on-Kama, where he stayed for two weeks, fell ill, and was hospitalized. He was sent to Voronezh, where he worked in newspapers and magazines, and on the radio. He was sent by stage to the Far East. In the transit camp on the Second River (now within the boundaries of Vladivostok) on December 27, 1938, O. Mandelstam died in a hospital barracks in the camp. The poet's wife Nadezhda Mandelstam and some of the poet's trusted friends preserved his poems, which became possible to publish in the 1960s. There is no need to talk about anything, Nothing should be taught, And the dark animal soul is both sad and good: It doesn’t want to teach anything, It can’t speak at all, And it swims like a young dolphin Through the gray abysses of the world.

Slide no. 15

Slide description:

Music by Anna Akhmatova... Anna Andreevna Akhmatova was born in the south of Russia, in Odessa on June 11, 1889 in the Gorenko family. Two years later, the Gorenko couple moved to Tsarskoe Selo, where Anya studied at the Mariinsky Gymnasium. She spoke excellent French and read Dante in the original. Anya Gorenko met her future husband, poet Nikolai Gumilev, when she was still a fourteen-year-old girl. Later, correspondence arose between them, and in 1909 Anna accepted Gumilyov’s official proposal to become his wife. On April 25, 1910, they got married in the St. Nicholas Church in the village of Nikolskaya Sloboda near Kiev. After the wedding, the newlyweds went on their honeymoon, staying in Paris all spring. Since the 1910s, Akhmatova’s active literary activity began. At this time, the aspiring poetess met Blok, Balmont, and Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 her first collection of poems, “Evening,” was published.

Slide no. 16

Slide description:

The prisoner is a stranger! I don’t need someone else’s, I’m tired of counting my own. So why is it such a joy to see these cherry lips? Even though he blasphemes and dishonors me, I hear his muffled groan in his words. No, he will never make me Think that he is passionately in love with another. And I will never believe that it is possible, After heavenly and secret love, Again laugh and cry anxiously And curse my kisses. 1917 Music by Anna Akhmatova... In March, Anna Andreevna accompanied Nikolai Gumilyov abroad, where he served in the Russian Expeditionary Force. And already in the next 1918, when he returned from London, a break occurred between the spouses. In the autumn of the same year, Akhmatova married V.K. Shileiko, a scientist and translator of cuneiform texts. The poetess did not accept the October Revolution. For, as she wrote, “everything was plundered, sold...”

Slide no. 17

Slide description:

Music by Anna Akhmatova... December 1922 was marked by a new turn in Akhmatova’s personal life. She moved in with art critic Nikolai Punin, who later became her third husband. The 1920s were marked by a new poetic rise for Akhmatova: the release of the poetry collections "Anno Domini" and "Plantain", which secured her fame as an outstanding Russian poetess. They stopped publishing new poems by Akhmatova. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna. In the early 1930s, her son Lev Gumilyov, who survived three arrests and spent 14 years in camps, was repressed. All these years, Anna Andreevna patiently worked for the release of her son, as well as for her friend, the poet Osip Mandelstam, who was arrested at the same time. But if Lev Gumilyov was subsequently rehabilitated, then Mandelstam died in 1938 in a transit camp on the way to Kolyma. Later, Akhmatova dedicated her great and bitter poem “Requiem” to the fate of thousands and thousands of prisoners and their unfortunate families. …………………………… And the heart only asks for a quick death, Cursing the slowness of fate. More and more often the western wind brings Your reproaches and Your prayers. But do I dare to return to you? Under the pale sky of my homeland I only know how to sing and remember, But don’t you dare remember me. So the days go by, multiplying sorrows. How can I pray to the Lord for you? You guessed it: my love is such that even you couldn’t kill her.

Slide no. 18

Slide description:

Music by Anna Akhmatova... In the 1960s, Akhmatova finally gained worldwide recognition. Her poems appeared in translations in Italian, English and French, and her poetry collections began to be published abroad. In 1962, Akhmatova was awarded the International Poetry Prize "Etna-Taormina" - in connection with the 50th anniversary of poetic activity. She did not complain about her age, and took old age for granted. In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiological sanatorium near Moscow. Akhmatova was buried at the Komarovskoye cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. And you, my friends of the last call! In order to mourn you, my life has been spared. Do not freeze over your memory like a weeping willow, But shout your names to the whole world! What names are there! After all, it doesn’t matter - you are with us!.. Everyone on your knees, everyone! Crimson light poured out! And the Leningraders again walk through the smoke in rows - The living with the dead: for glory there are no dead.

Slide no. 19

Slide description:

Music by Nikolai Gumilyov One of the leading Acmeist poets was Nikolai Stepanovich Gumilyov. In reality, his work was much broader and more varied, and his life was extremely interesting, although it ended tragically. Nikolai Stepanovich Gumilev was born on April 3, 1886 in Kronstadt, where his father worked as a military doctor. Soon his father retired, and the family moved to Tsarskoe Selo. The October Revolution found Gumilyov abroad, where he was sent in May 1917. In May 1918 he returned to revolutionary Petrograd. PHONE An unexpected and bold female voice on the phone, - How many sweet harmonies are in this voice without a body! Happiness, your favorable step does not always pass by: Louder than the lute of the seraphim You are even in the telephone receiver!

Slide no. 20

Slide description:

Music by Nikolai Gumilev She I know a woman: silence, Bitter fatigue from words, Lives in the mysterious flicker of Her dilated pupils. Her soul is open greedily Only to the copper music of verse, Before life, long and joyful, Arrogant and deaf. Silent and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her. When I thirst for self-will And I am bold and proud - I go to her To learn wise sweet pain In her languor and delirium. She is bright in the hours of languor and holds lightning in her hand, and her dreams are clear, like shadows on the fiery sand of heaven. He was captured by the tense literary atmosphere of that time. Gumilyov recognized Soviet power, despite the fact that he was in difficult personal conditions of existence and that the country was in a state of ruin. But the life of N.S. Gumilyov's life was tragically cut short in August 1921. For many years it was officially stated that the poet was shot for participating in a counter-revolutionary conspiracy.

Slide no. 21

Slide description:

Music by Nikolai Gumilyov * * * You spoke empty words, And the girl blossomed, She was scratching her golden curls, She was cheerful in a festive way. Now, to all church needs, he goes to pray for yours. You became her sun, you became her sky, you became her gentle rain. The eyes darken, sensing thunderstorms. Her sigh is uneven and frequent. She still brings roses, But if you want, she will give her life. Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically rejects the Symbolists, and sometimes he becomes so close to their work that it is difficult to guess that all these wonderful poems belong to one poet. The poet lived a very bright, but short life.

Slide no. 22

Slide description:

Slide no. 23

Slide description:

Basic principles of Acmeism: - liberation of poetry from symbolist appeals to the ideal, returning it to clarity; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give a word a specific, precise meaning; - objectivity and clarity of images, precision of details; - appeal to a person, to the “authenticity” of his feelings; - poeticization of the world of primordial emotions, primitive biological natural principles; - a echo of past literary eras, the broadest aesthetic associations, “longing for world culture.”

Slide description:

Homework 1. Thu. pp. 137-159 2. Answer in writing according to the options: - life path of A. Akhmatova; - life path of J. Mandelstam; - Teffi's life path. “Literature 11th grade” textbook, M., “Enlightenment” 2011 Article “Diversity of artistic individualities of Silver Age poetry” L.A. Smirnova, M., “Enlightenment”, 2010 Co-author - Anna Vasilyeva, student of State Budgetary Educational Institution Secondary School No. 71 http://ruspoeti.ru/aut/gorodetskij/4824/ http://mandelshtam.velchel.ru/ http://mandelshtam. velchel.ru/index.php?cn 5. http://www.stihi-us.ru/1/Ahmatova/4.htm https://www.google.ru/webhp?sourceid=chrome-instant

To use presentation previews, create a Google account and log in to it: https://accounts.google.com

Slide captions:

Acmeism Completed by: Biketov E. Kropachev O.

The concept of Acmeism Acmeism is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. The Acmeists proclaimed materiality, objectivity of themes and images, and precision of words.

As a literary movement, Acmeism did not last long - about two years (1913–1914). The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”. Acmeism counted the six most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At different times, the following took part in the work of the “Workshop of Poets”: G. Adamovich, N. Bruni, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, S. Radlov, V. Khlebnikov. At the meetings of the “Workshop,” in contrast to the meetings of the Symbolists, specific issues were resolved: “The Workshop” was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathize with Acmeism developed differently: N. Klyuev subsequently declared his non-involvement in the activities of the commonwealth, G. Adamovich and G. Ivanov continued and developed many of the principles of Acmeism in emigration; Acmeism did not have any effect on V. Khlebnikov noticeable influence.

The formation of Acmeism is closely connected with the activities of the “Workshop of Poets”, the central figure of which was the organizer of Acmeism N. Gumilyov. The term acmeism was proposed in 1912 by N. Gumilev and S. Gorodetsky: in their opinion, symbolism, which was experiencing a crisis, is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of controversy; N. Gumilev picked up randomly thrown words and dubbed a group of poets close to him Acmeists. The gifted and ambitious organizer of Acmeism dreamed of creating a “direction of directions” - a literary movement reflecting the appearance of all contemporary Russian poetry.

A. Akhmatova’s acmeism had a different character, devoid of any attraction to exotic subjects and colorful imagery. The originality of Akhmatova’s creative style as a poet of the Acmeistic movement is the imprinting of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays an entire spiritual structure. In elegantly depicted details, Akhmatova, as Mandelstam noted, gave “all the enormous complexity and psychological richness of the Russian novel of the 19th century.” A. Akhmatova’s poetry was greatly influenced by the work of In. Annensky, whom Akhmatova considered “a harbinger, an omen, of what later happened to us.” The material density of the world, psychological symbolism, and the associativity of Annensky’s poetry were largely inherited by Akhmatova.

Mandelstam's Acmeism is “the complicity of beings in a conspiracy against emptiness and non-existence.” The overcoming of emptiness and non-existence takes place in culture, in the eternal creations of art: the arrow of the Gothic bell tower reproaches the sky for being empty. Among the Acmeists, Mandelstam was distinguished by an unusually keenly developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”; all mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the “inflation of sacred words” among the Symbolists.

Questions of religion and philosophy, which Acmeism shunned in theory (A. Blok blamed the Acmeists for their absence), received intense resonance in the works of N. Gumilyov, A. Akhmatova, O. Mandelstam. The Acmeistic period of these poets lasted relatively short, after which their poetry went far into the realm of the spirit, intuitive revelations, and mystery. However, the titanic questions of the spirit, which were the focus of symbolism, were not specifically emphasized by the Acmeists. The main achievement of Acmeism as a literary movement is the change in scale, the humanization of turn-of-the-century literature that had veered towards gigantomania. The proportionality of a person to the world, subtle psychology, conversational intonation, the search for a full-fledged word were proposed by the Acmeists in response to the supra-worldliness of the Symbolists. The stylistic wanderings of the Symbolists and Futurists were replaced by a strictness towards a single word, “chains of complex forms”, and religious and philosophical quests were replaced by a balance between metaphysics and the “here”. The Acmeists preferred the difficult service of the poet in the world to the idea of ​​“art for art’s sake” (the highest expression of such service was the human and creative path of A. Akhmatova).