1 of 25
Presentation on the topic: Acmeism is a literary trend in Russia
slide number 1
Description of the slide:
slide number 2
Description of the slide:
slide number 3
Description of the slide:
slide number 4
Description of the slide:
Dictionary: acmeism is a modernist trend (the highest degree, peak, flowering time) - which arose in the early twentieth century in Russia, declaring a concrete-sensory perception of the outside world, returning the word to its original, and not symbolic meaning. N. Gumilyov: “I proclaim the intrinsic value of the phenomena of life…” Romance and heroics are the basis of the poet's worldview. A. Akhmatova: “Is an ordinary detail significant?” The depth of psychologism is achieved with the help of a detail that becomes a sign of a heightened feeling. J. Mandelstam: "Clear rhythms with courageous pressure approached the spoken language and sincere intonation."
slide number 5
Description of the slide:
Purpose: concrete-sensory perception of the external world, rejection of the nebula of symbolism. The current is aimed at reviving a person's thirst for life, returning a sense of its beauty. Exotic themes, love, nature, emotional experiences of a person. Attention to the word. Description detail. The desire to give the word an extremely precise, clear meaning. The main artistic means: metaphors, an oxymoron for a bright, major image of reality and giving a more capacious meaning to a detail. Features of acmeism
slide number 6
Description of the slide:
The birth of a new poetry ... The term "acmeism" was proposed in 1912 by N. Gumilyov 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, headed by Nikolai Gumilyov and Sergey Gorodetsky. In the autumn of 1912, a decision was made to create a new poetic trend - acmeism.
slide number 7
Description of the slide:
Acmeism consisted of 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 Nikolay Stepanovich (1886-1921) Gorodetsky Sergey Mitrofanovich (1884-1967)
slide number 8
Description of the slide:
The legacy of the acmeists N. S. Gumilyov - "The legacy of symbolism and acmeism" (1913) S. M. Gorodetsky - "Some currents in modern Russian poetry" (1913) O. E. Mandelstam - article "Morning of acmeism" (1913) An important feature The poetry of acmeists are solid moral guidelines, installation on traditional universal values: faith, honor, conscience, duty, kindness, love. Check yourself! - Who is in the photos?
slide number 9
Description of the slide:
slide number 10
Description of the slide:
Music by 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 drew. He began writing poetry from childhood. The first book "Yar" (late 1906) reflected the poet's interest in folk art, in the reproduction of 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 received so enthusiastically. How I loved you, my dear, My Russia, mother of freedom, When, languishing under the whip, Your great people were silent. In what blind and wild faith I waited for your Sunday! And now the doors of all prisons have fallen, I see your triumph. You are as majestic on a holiday, As before in slave poverty, When both your honor and glory were Crucified on the cross. Russia
slide number 11
Description of the slide:
In the verses 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 news 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 near, When enemies, when friends, Like chains, breaking fronts, Exclaim: "Your truth!" How I love you, Russia, When above the world your people Raised fire tablets, Tablets of eternal freedoms. One of the merits of S. Gorodetsky is the introduction of children's folklore into Russian literature. In the 1910s and 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 a true friend and colleague of his entire creative life, his wife Anna Alekseevna Gorodetskaya (Nymph), to whom he dedicated the poem "Afterword" (1947). In 1956, after a long break, Gorodetsky's name reappeared in the central press, and a book of selected works was published. Gorodetsky died in June 1967 at the age of 84.
slide number 12
Description of the slide:
The music of Osip Mandelstam… “For the 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 is dear to us because it never mixed various plans and treated the otherworldly with great restraint. Osip Mandelstam
slide number 13
Description of the slide:
Music by Osip Mandelstam Born on January 3, 1891. in Warsaw in the family of a master tanner, a small merchant. A year later, the family settled in Pavlovsk, then in 1897 moved to live in St. Petersburg. Here ends one of the best Petersburg educational institutions- Tenishevsky commercial school, which gave him solid knowledge in humanities This is where his passion for poetry began. In 1907, Mandelstam left for Paris, listened to lectures at the Sorbonne, met N. Gumilyov... Leningrad I returned to my city, familiar to tears, To veins, to children's swollen glands. You're back here, so swallow the fish oil of the Leningrad river lanterns, Get to know 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 By which I will find the voices of the dead. I live on a black staircase, and a bell torn with meat strikes my temple, And all night long I wait for dear guests, Moving the door chains with shackles. 1930
slide number 14
Description of the slide:
Interest in literature, history, philosophy leads him to the University of Heidelberg. Mandelstam's literary debut took place in 1910, when five of his poems were published in the Apollon magazine. During these years, he was fond of the ideas and work of symbolist poets. In the autumn of 1933 he writes the poem "We live without feeling the country under us ...", for which he was arrested in May 1934. Only Bukharin's defense softened the sentence - they sent him to Cherdyn-on-Kama, where he stayed for two weeks, fell ill, and ended up in the hospital. He was sent to Voronezh, where he worked in newspapers and magazines, on the radio. Stage was sent 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 the hospital barracks in the camp. The poet's wife, Nadezhda Mandelstam, and some of the poet's trusted friends preserved his poems, which in the 1960s had the opportunity to be published. Nothing needs to be said, Nothing should be taught, And the dark animal soul is sad and good: It does not want to teach anything, It does not know how to speak at all And it swims like a young dolphin Through the gray abysses of the world.
slide number 15
Description of the slide:
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 Tsarskoye Selo, where Anya studied at the Mariinsky Gymnasium. She was fluent in French, read Dante in the original. Anya Gorenko met her future husband, poet Nikolai Gumilyov, when she was still a fourteen-year-old girl. Later, a correspondence arose between them, and in 1909 Anna accepted Gumilyov's official offer to become his wife. On April 25, 1910, they got married in the Nicholas Church in the village of Nikolskaya Sloboda near Kyiv. After the wedding, the young went on a honeymoon trip, having stayed in Paris all spring. Akhmatova's active literary activity began in the 1910s. At this time, the aspiring poetess met Blok, Balmont, Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 the first collection of poems "Evening" was published.
slide number 16
Description of the slide:
Alien prisoner! 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? Let him blaspheme and dishonor me, I hear his stifled 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, there was a break 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 is plundered, sold ..."
slide number 17
Description of the slide:
Music by Anna Akhmatova... December 1922 was marked by a new turn in Akhmatova's personal life. She moved in with art historian Nikolai Punin, who later became her third husband. The 1920s were marked by a new poetic rise of Akhmatova: the publication of the poetry collections Anno Domini and Plantain, which cemented her fame as an outstanding Russian poetess. Akhmatova's new poems were no longer published. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna. In the early 1930s, her son Lev Gumilyov was repressed, having survived three arrests and spent 14 years in the camps. All these years, Anna Andreevna patiently fussed about 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 nevertheless 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. Increasingly, 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, And you don’t even dare to 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 it.
slide number 18
Description of the slide:
Music by Anna Akhmatova... In the 1960s, Akhmatova finally received worldwide recognition. Her poems have appeared in translations into Italian, English and French, her poetry collections began to appear abroad. In 1962, Akhmatova was awarded the Etna-Taormina International Poetry Prize in connection with the 50th anniversary of her poetic activity. She did not complain about her age, and she 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 cardiology sanatorium near Moscow. Akhmatova was buried at the Komarovsky cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. And you, my friends of the last call! To mourn you, my life is spared. Above your memory, do not be ashamed of a weeping willow, But shout your names to the whole world! Yes, there are names! After all, it doesn't matter - you are with us! .. All on your knees, everyone! Crimson light poured out! And Leningraders again go through the smoke in rows - The living with the dead: for the glory of the dead there are none.
slide number 19
Description of the slide:
Music by Nikolai Gumilev One of the leading acmeist poets was Nikolai Stepanovich Gumilev. In reality, his work was much wider and more varied, and his life was unusually interesting, although it ended tragically. Nikolai Stepanovich Gumilyov 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 Tsarskoye Selo. The October Revolution caught Gumilyov abroad, where he was sent in May 1917. In May 1918 he returned to revolutionary Petrograd. PHONE Unexpected and bold Female voice in the phone - How many sweet harmonies In this voice without a body! Happiness, your benevolent step Doesn't always pass by: Louder than the seraphim's lute You're on the phone too!
slide number 20
Description of the slide:
Music by Nikolai Gumilyov She I know a woman: silence, Bitter fatigue from words, Lives in the mysterious flicker of Her dilated pupils. Her soul is greedily open Only to the copper music of the verse, Before life, valley and joyful, Arrogant and deaf. Inaudible and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her. When I crave self-will And 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 paradise. He was captured by the then tense literary atmosphere. 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. Gumilev tragically ended in August 1921. For many years it was officially stated that the poet was shot for participating in a counter-revolutionary conspiracy.
slide number 21
Description of the slide:
Music by Nikolai Gumilyov * * * You spoke empty words, And the girl blossomed, Here she combs her golden curls, In festive fun. Now, to all church requirements, Pray for yours. You became her sun, became her sky, You became her gentle rain. Eyes darken, smelling thunderstorms. Her sigh is uneven and frequent. She still brings roses, But you want, and life will give. Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically denies the Symbolists, and sometimes he is 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 number 22
Description of the slide:
slide number 23
Description of the slide:
The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to the past literary epochs, the broadest aesthetic associations, "longing for world culture".
Description of the slide:
Homework 1. Thu. pp. 137-159 2. Answer in writing according to the options: - the life path of A. Akhmatova; - J. Mandelstam's life path; - Teffi's life path. "Literature Grade 11" textbook, M., "Enlightenment" 2011 Article "The variety of artistic individualities of the poetry of the Silver Age" L.A. Smirnova, M., Enlightenment, 2010 Co-author - Anna Vasilyeva, student of GBOU 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
Description of the presentation on individual slides:
1 slide
Description of the slide:
2 slide
Description of the slide:
Acmeism (from the Greek akme - the highest degree of something, flourishing, maturity, peak, point) is one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to the extremes of symbolism.
3 slide
Description of the slide:
Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of acmeism, the magazine and publishing house "Hyperborey"), immediately acted as a single group. They gave their union the significant name of the “Workshop of Poets”. Acmeists published 10 issues of their journal "Hyperborea" (editor Lozinsky M.L.), as well as several almanacs "Workshop of Poets".
4 slide
Description of the slide:
The basic principles of acmeism: the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give the word a specific, precise meaning; objectivity and clarity of images, sharpness of details; an appeal to a person, to the "authenticity" of his feelings; poetization of the world of primordial emotions, the primitive biological natural principle;
5 slide
Description of the slide:
Acmeism consisted of six of the 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 A. Akhmatova protested this point of view: "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, professional association.
6 slide
Description of the slide:
7 slide
Description of the slide:
Anna Akhmatova Anna Akhmatova (pseudonym Anna Andreevna Gorenko; 1889-1966) wrote her first poem at the age of 11, she 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 concise, devoid of intrinsically valuable aestheticism, in essence did not coincide with program settings acmeism. The connection between Akhmatova's poetry and the traditions of Russian classical lyrics, especially Pushkin's, is obvious. Of the modern poets, I. Annensky and A. Blok were closest to her.
8 slide
Description of the slide:
The creative activity of Anna Akhmatova lasted almost six decades. During this time, her poetry has undergone a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of topics and ideas that are present in her early lyrics, which was especially clearly expressed in the poetic cycle “The Wind of War” (1941-1945), in “A Poem without a Hero” (1940- 1962). Speaking about her poems, Anna Akhmatova stated: “For me, in them there is a connection with time, with new life my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.
9 slide
Description of the slide:
Nikolai Gumilev Nikolai Stepanovich Gumilev (1886-1921), Russian poet. In the 1910s one of the leading representatives of acmeism. The poems are characterized by an apology " strong man"- a warrior and a poet, decorativeness, 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 dismissed for lack of corpus delicti.
10 slide
Description of the slide:
Declaring a new direction - acmeism - the heir of symbolism, which ended "its own path of development", Gumilev called on poets to return to the "thingness" of the world around him (article "The legacy of symbolism and acmeism", 1913). Gumilev's first acmeist work is considered to be the poem "The Prodigal Son", included in his collection "Alien Sky" (1912). Criticism noted the virtuosity of form: according to Bryusov, the meaning of Gumilyov's poems "is much more in how he says than in what he says." The next collection "Quiver" (1916), dramatic fairy tale"Child of Allah" and the dramatic poem "Gondla" (both 1917) testify to the strengthening of the narrative principle in Gumilev's work.
11 slide
Description of the slide:
Osip Mandelstam Osip Emilievich Mandelstam (1891-1938) first appeared in print in 1908. Mandelstam was one of 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" (the first edition - 1913, the second, expanded - 1916). The early Mandelstam (before 1912) gravitates towards the themes and images of the Symbolists. Acmeist tendencies were most clearly manifested in his poems about world culture and architecture of the past ("Hagia Sophia", "Notre-Dame", "Admiralty" and others). Mandelstam showed himself as 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
Description of the slide:
The poems written during the years of the revolution and the civil war reflected the difficulty of the poet's artistic understanding of the new reality. Despite ideological hesitation, Mandelstam was looking for ways to creatively participate in a new life. This is evidenced by his poems of the 20s. New features of Mandelstam's poetry are revealed in his lyrics of the 1930s: an attraction to broad generalizations, to images embodying the forces of the "chernozem" (the cycle "Poems of 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".
13 slide
Description of the slide:
Sergei Gorodetsky Sergei Mitrofanovich Gorodetsky (1884-1967). Father is a real state councilor and writer, author of works on archeology and folklore. He studied at the historical and philological faculty of St. Petersburg University, where he became friends with A. Blok in 1903, began to write poetry under the strong influence of his poetics; also took up painting. For involvement in the revolutionary movement in 1907, he spent some time in the Kresty prison. Interest in folklore, in particular - children's, inherited from his father, played a decisive role in finding the poet's own poetic voice.
14 slide
Description of the slide:
Gorodetsky's literary fate was decided in one evening in January 1906, when he read on the "tower" Vyach. Ivanov in the presence of V. Bryusov, poems that were later included in his first book, Yar (1907; published at the end of 1906). "Yar" enjoyed exceptional success with the reader, evoked enthusiastic responses from critics, captivated by the young power of stylized "pagan" songs. A bright debut hindered further literary development of Gorodetsky: either he tried to consolidate the image of a savage poet, an ingenuous pantheist, intoxicated with youth and sensual joys of life, or he made attempts to expand the range of his work, to break the stereotypes of readers' ideas. In the collection "Perun" (1907), the violent elements of Yarila are opposed modern man, "city children, stunted flowers". But none of the subsequent collections reached the level or success of "Yari": "Wild Will" (1908), "Rus" (1910), "Iva" (1914) went almost unnoticed.
15 slide
Description of the slide:
Mikhail Zenkevich Mikhail Alexandrovich Zenkevich (1891-1973). He studied at the Saratov gymnasium, was taken under the supervision of the police for his connection with the Bolsheviks. In Petersburg in 1915 he graduated Faculty of Law, listened to lectures on philosophy in Berlin. He began to publish in a Saratov magazine as an author of political poetry. In 1908, in the capital's magazines "Spring" and "Obrazovanie", and then in "Apollo", his "artsy, but figurative" poems appeared, after which N. Gumilyov attracted him to the newly created "Workshop of Poets".
16 slide
Description of the slide:
One of the first books published under the brand name of this circle is "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 offended her. The natural-philosophical and natural-science themes of the collection brought him closer to another poet of the "left flank of acmeism" - V. Narbut. Fellows in the workshop welcomed the “Adamism” of the “free hunter” and his commitment to the “earth”; Bryusov reservedly noted "scientific"; 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.” Passion for 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. Also, over time, more and more switched to translation work.
slide 1
Description of the slide:
slide 2
Description of the slide:
slide 3
Description of the slide:
slide 4
Description of the slide:
Slide 5
Description of the slide:
slide 6
Description of the slide:
Slide 7
Description of the slide:
Slide 8
Description of the slide:
Slide 9
Description of the slide:
Nikolai Gumilyov GUMILEV Nikolai Stepanovich (1886, Kronstadt - 1921, around Petrograd) - poet. The son of a naval doctor. Moving with his father, he studied at the gymnasiums of 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 was filled with disgust for politics. Writing poetry from the age of 12, Gumilyov, realizing himself a poet, saw the meaning of life only in poetry. In 1905, Gumilev's first collection of poems, The Path of the Conquistador, was published. Gumilyov studied poorly, but in 1906 he graduated from the gymnasium and left for Paris: he studied at the Sorbonne, studied painting and literature, published Russian. magazine "Sirius". In 1908 he entered legal department Petersburg, un-ta, and then moved to the Faculty of History and Philology. In 1910 he married A. Akhmatova.
slide 10
Description of the slide:
Slide 11
Description of the slide:
slide 12
Description of the slide:
slide 13
Description of the slide:
Nikolai Gumilyov from early youth attached exceptional importance to the composition of the work, its plot completeness. The poet called himself a "master of a fairy tale", combining in his poems dazzlingly bright, rapidly changing pictures with an extraordinary melody and musicality of the narration. Nikolai Gumilyov from early youth attached exceptional importance to the composition of the work, its plot completeness. The poet called himself a "master of a fairy tale", combining in his poems dazzlingly bright, rapidly changing pictures with an extraordinary melody and musicality of the narration. A certain fabulousness in the poem "Giraffe" is manifested from the first lines: The reader is transported to the most exotic continent - Africa. The human imagination simply does not fit the possibility of the existence of such beauties 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 cleanse ourselves of the "heavy fog" that we have been inhaling for so long, and to realize that the world is huge and that there are still paradises on Earth. Turning to a mysterious woman, whom we can only judge from the position of the author, the lyrical hero is in dialogue with the reader, one of the listeners of his exotic tale. A woman immersed in her worries, sad, does not want to believe in anything - why not a 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. Ring framing is typical for any fairy tale. As a rule, where the action began, it ends there. However, in this case, one gets the impression that the poet can talk about this exotic continent again and again, draw magnificent, vivid 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 fairy-tale poem, the poet compares two spaces, distant on the scale of human consciousness and very close on the scale of the Earth. About the space that is "here", the poet says almost nothing, and this is not necessary. There is only a "heavy fog" that we inhale every minute. In the world we live in, only sadness and tears remain. This leads us to believe that heaven on Earth is impossible. Nikolai Gumilyov tries to prove the opposite: "... far, far away, on Lake Chad // An exquisite giraffe roams."
Slide 14
Description of the slide:
slide 15
Description of the slide:
THE SONG OF THE LAST MEETING So helplessly my chest grew cold, But my steps were light. I put on the Glove from my left hand on my right hand. It seemed that there were many steps, And I knew that there were only three of them! Between the maples an autumn whisper Asked: "Die with me! I will be deceived by my dull, changeable, evil fate." I answered: "Darling, dear - And so am I. I'll die with you!" This is the song of the last meeting. I looked at the dark house. Only in the bedroom candles burned with an indifferent yellow fire. THE SONG OF THE LAST MEETING So helplessly my chest grew cold, But my steps were light. I put on the Glove from my left hand on my right hand. It seemed that there were many steps, And I knew that there were only three of them! Between the maples an autumn whisper Asked: "Die with me! I will be deceived by my dull, changeable, evil fate." I answered: "Darling, dear - And so am I. I'll die with you!" This is the song of the last meeting. I looked at the dark house. Only in the bedroom candles burned with an indifferent yellow fire. “In this couplet - the whole woman,” M. Tsvetaeva spoke about Akhmatova’s Song of the Last Meeting
slide 16
Description of the slide:
Slide 17
Description of the slide:
Slide 18
Description of the slide:
Valentin Innokentievich Krivich (real name Annensky) (1880-1936) - the son of the poet Innokenty Fedorovich Annensky, a lawyer by education, served as an official in St. Petersburg, lived almost all his life in Tsarskoye Selo. He made his debut in 1902 in the "Literary and Artistic Collection", then sometimes published poems and literary reviews in the capital's magazines. The only collection of poems "Flower Grass" (1912) managed to read and review the manuscript by Ying. Annensky (the poet's father), noting the "true taste" and "some bending" in tone, related to his own lyrics, but I. Bunin and A. Blok had a much greater influence on the work of V. Krivich. After the death of his father, he was engaged in dismantling his archive and publishing the creative heritage of Ying. Annensky for publication, wrote the work “I. Annensky according to family memories. The most significant poems were created by him in the 1920s and for the most part remained unpublished.
To use the preview of presentations, create a Google account (account) and sign in: https://accounts.google.com
Slides captions:
Acmeism Performed 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. Acmeists proclaimed materiality, objectivity of themes and images, the accuracy of the word.
As a literary trend, 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 consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. AT different time G. Adamovich, N. Bruni, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, S. Radlov, V. Khlebnikov took part in the work of the "Workshop of Poets". At the meetings of the "Workshop", in contrast to the meetings of the Symbolists, specific issues were resolved: "Workshop" was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathized with acmeism developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community, G. Adamovich and G. Ivanov continued and developed many 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. Gumilyov and S. Gorodetsky: in their opinion, symbolism in crisis is being replaced by a direction that generalizes the experience of predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of controversy, N. Gumilyov picked up accidentally thrown words and christened 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 that reflects the appearance of all contemporary Russian poetry.
A. Akhmatova's acmeism had a different character, devoid of attraction to exotic plots and colorful imagery. The originality of the creative manner of Akhmatova as a poet of the acmeist direction is the imprint of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays a whole spiritual structure. In delicately drawn details, Akhmatova, as Mandelstam remarked, gave "all the enormous complexity and psychological richness of the Russian novel of the 19th century." The poetry of A. Akhmatova was greatly influenced by the work of In. Annensky, whom Akhmatova considered "a harbinger, an omen, of what happened to us later." The material density of the world, the psychological symbolism, 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 with the fact that it is empty. Among the acmeists, Mandelstam was distinguished by an unusually sharply 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 the 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 shied away from in theory (A. Blok blamed the acmeists for their absence), received a tense sound in the work of N. Gumilyov, A. Akhmatova, O. Mandelstam. The acmeistic period of these poets did not last long, 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 in the center of attention of symbolism, were not specially pointed out by the acmeists. The main accomplishment of acmeism as a literary trend is the change in scale, the humanization of the literature of the turn of the century that deviated towards the gigantomania. The proportionality of a person to the world, subtle psychology, colloquial intonation, the search for a full-fledged word were proposed by the acmeists in response to the transcendent nature of the symbolists. The stylistic wanderings of the symbolists and futurists were replaced by exactingness to a single word, “chains of difficult forms”, religious and philosophical quests were replaced by a balance of metaphysics and the “local”. The acmeists preferred the poet’s difficult service to the world to the idea of “art for the sake of art” (the human and creative path of A. Akhmatova became the highest expression of such service).
