Realism as an artistic method. Message on the topic "Realism For the literary direction, realism is characterized by

The rise of realism

The general nature of realism

Conclusion

List of references

Introduction:

Relevance:

The essence of realism as applied to literature and its place in the literary process is understood in different ways. Realism is an artistic method, following which the artist depicts life in images that correspond to the essence of the phenomena of life itself and are created by typing the facts of reality. In a broad sense, the category of realism serves to determine the relationship of literature to reality, regardless of the writer's belonging to a particular literary school and trend. The concept of "realism" is equivalent to the concept of life's truth and in relation to the most diverse phenomena of literature.

Objective:

consider the essence of realism as a literary movement in literature.

Tasks:

Explore the general nature of realism.

Consider the stages of realism.

The rise of realism

In the 30s of the XIX century. realism is gaining considerable popularity in literature and art. The development of realism is primarily associated with the names of Stendhal and Balzac in France, Pushkin and Gogol in Russia, Heine and Buchner in Germany. Realism develops initially in the depths of romanticism and bears the stamp of the latter; not only Pushkin and Heine, but also Balzac experience in their youth a strong passion for romantic literature. However, unlike romantic art, realism rejects the idealization of reality and the associated predominance of the fantastic element, as well as an increased interest in the subjective side of man. In realism, the prevailing tendency is to depict a broad social background against which the life of the heroes flows ("The Human Comedy" by Balzac, "Eugene Onegin" by Pushkin, " Dead SoulsGogol, etc.) Realist artists sometimes surpass the philosophers and sociologists of their time in terms of their depth of understanding of social life.

The general nature of realism

“Realism is contrasted, on the one hand, with the directions in which the content is subordinated to self-sufficient formal requirements (conventional formal tradition, canons of absolute beauty, striving for formal acuteness,“ innovation ”); on the other hand, directions that take their material not from real reality, but from the world of fantasy (whatever the origin of the images of this fantasy), or looking for a "higher" mystical or idealistic reality in the images of reality. Realism excludes an approach to art as a free "creative" game and presupposes the recognition of the reality and cognizability of the world. realism is the direction in art in which the nature of art as a special kind of cognitive activity is most clearly expressed. In general, realism is an artistic parallel to materialism. But fiction deals with man and human society, that is, with a sphere that materialist understanding consistently masters only from the point of view of revolutionary communism. Therefore, the materialistic nature of pre-proletarian (non-proletarian) realism remains largely unconscious. Bourgeois realism often finds its philosophical justification not only in mechanical materialism, but in the most diverse systems - from different forms "Bashful materialism" to vitalism and to objective idealism. Only a philosophy that denies the knowability or reality of the external world excludes a realistic attitude. "

To one degree or another, any fiction has elements of realism, since reality, the world of social relations, is its only material. A literary image, completely divorced from reality, is inconceivable, and an image that distorts reality beyond certain limits is devoid of any effectiveness. The inevitable elements of the reflection of reality can, however, be subordinated to other kinds of tasks and so stylized in accordance with these tasks that the work loses any realistic character. Only those works in which the orientation towards the depiction of reality is predominant can be called realistic. This attitude can be spontaneous (naive) or conscious. In general, we can say that spontaneous realism is characteristic of the creativity of pre-class and precapitalist society to the extent that this creativity is not enslaved by an organized religious worldview or does not fall into the captivity of a certain stylizing tradition. realism, on the other hand, as a companion of the scientific outlook, appears only at a certain stage in the development of bourgeois culture.

Since the bourgeois science of society either takes as its guiding thread an arbitrary idea imposed on reality, or remains in the swamp of creeping empiricism, or tries to extend the scientific theories developed in natural science to human history, bourgeois realism cannot yet be fully considered a manifestation of the scientific world outlook. ... The gap between scientific and artistic thinking, sharpened for the first time in the era of romanticism, is by no means eliminated, but only blurred in the era of the dominance of realism in bourgeois art. The limited nature of the bourgeois science of society leads to the fact that in the era of capitalism, artistic ways of understanding socio-historical reality often turn out to be much more effective than the "scientific" ways. Sharp eyesight and realistic honesty of the artist quite often help him to show real reality more faithfully and more fully than the tenets of bourgeois scientific theory that distort it.

Realism includes two points: first, the image of the external features of a particular society and epoch with such a degree of concreteness that gives an impression ("illusion") of reality; secondly, a deeper disclosure of the actual historical content, essence and meaning of social forces through images-generalizations that penetrate beyond the surface. Engels, in his famous letter to Margaret Harkness, formulated these two points as follows: "In my opinion, realism implies, in addition to the veracity of details, the fidelity of the transmission of typical characters in typical circumstances."

But, despite their deep inner connection, they are by no means inseparable from one another. The interconnection of these two moments depends not only on the historical stage, but also on the genre. This connection is strongest in narrative prose. In drama, especially in poetry, it is much less stable. The introduction of stylization, conventional fiction, etc., in itself does not deprive the work of a realistic character, if its main setting is aimed at depicting historically typical characters and situations. So, "Faust" by Goethe, despite the fantasy and symbolism, is one of the greatest creations of bourgeois realism, for the image of Faust gives a deep and true embodiment of certain features of the rising bourgeoisie.

The problem of realism was developed by Marxist-Leninist science almost exclusively as applied to the narrative and dramatic genres, the material for which is "characters" and "positions." As applied to other genres and other arts, the problem of realism remains completely insufficiently developed. In connection with a much smaller number of direct statements by the classics of Marxism that can provide a concrete guiding thread, vulgarization and simplification still reign here to a large extent. “In extending the concept of 'realism' to other arts, two simplifying tendencies should be especially avoided:

1. tendencies to identify realism with external realism (in painting to measure realism by the degree of "photographic" similarity) and

2. tendencies to mechanistically extend to other genres and arts criteria developed in narrative literature, without taking into account the specifics of this genre or art Such a crude simplification in relation to painting is the identification of realism with a direct social plot, which we find, for example, among the Itinerants. The problem of realism in such arts is, first of all, the problem of an image constructed in accordance with the specifics of a given art and filled with realistic content. "

All this applies to the problem of realism in the lyrics. Realistic lyrics are lyrics that truthfully express typical feelings and thoughts. In order to recognize a lyrical work as realistic, it is not enough for what it expresses to be "generally significant", "generally interesting" in general. Realistic lyrics are an expression of feelings and moods, specifically typical of a class and an era.

Stages of development of realism in the XIX century

The formation of realism takes place in European countries and in Russia at practically the same time - in the 20s - 40s of the 19th century. In the literatures of the world, he becomes a leading trend.

True, this simultaneously means that the literary process of this period is irreducible only in a realistic system. Both in European literatures, and - especially - in the literature of the United States, the activities of romantic writers continue in full measure: de Vigny, Hugo, Irving, Poe, etc. Thus, the development of the literary process goes largely through the interaction of coexisting aesthetic systems, and both national literatures and the work of individual writers presupposes the obligatory consideration of this circumstance.

Speaking about the fact that since the 1930s and 1940s the leading place in literature has been occupied by realist writers, it is impossible not to note that realism itself turns out to be not a frozen system, but a phenomenon in constant development. Already within the 19th century, it became necessary to talk about "different realisms", about the fact that Mérimée, Balzac and Flaubert equally answered the main historical questions that the era prompted them, and at the same time, their works differ in different content and originality forms.

In the 1830s - 1840s, the most remarkable features of realism as a literary trend, giving a multifaceted picture of reality, striving for an analytical study of reality, appeared in the work of European writers (primarily Balzac).

“The literature of the 1830s and 1840s was nourished in many ways by claims about the attractiveness of the century itself. Love for the 19th century was shared, for example, by Stendhal and Balzac, who never ceased to be amazed at its dynamism, diversity and inexhaustible energy. Hence the heroes of the first stage of realism - active, with an inventive mind, not afraid of encountering unfavorable circumstances. These heroes were in many ways associated with the heroic era of Napoleon, although they perceived his duality, developed a strategy for their personal and social behavior. Scott and his historicism inspire Stendhal's heroes to find their place in life and history through mistakes and delusions. Shakespeare forces Balzac to say about the novel "Father Goriot" in the words of the great Englishman "Everything is true" and to see in the fate of the modern bourgeois echoes of the harsh fate of King Lear. "

"Realists second half of XIX centuries will reproach their predecessors for "residual romanticism." It's hard to disagree with such a reproach. Indeed, the romantic tradition is very tangibly represented in the creative systems of Balzac, Stendhal, Merimee. It is no accident that Sainte-Beuve called Stendhal "the last hussar of romanticism." Traits of romanticism are revealed:

- in the cult of exoticism (short stories by Merimee such as "Matteo Falcone", "Carmen", "Tamango", etc.);

- in the addiction of writers to portraying bright individuals and passions of exceptional strength (Stendhal's novel "Red and Black or the short story" Vanina Vanini ");

- in addiction to adventurous plots and the use of elements of fantasy (Balzac's novel "Shagreen Skin" or Merimee's short story "Venus Ilskaya");

- in an effort to clearly divide the characters into negative and positive - bearers of the author's ideals (Dickens's novels). "

Thus, between the realism of the first period and romanticism, there is a complex "kinship" connection, which manifests itself, in particular, in the inheritance of techniques characteristic of romantic art and even individual themes and motives (the theme of lost illusions, the motive of disappointment, etc.).

In Russian historical and literary science, "the revolutionary events of 1848 and the important changes that followed in the socio-political and cultural life of bourgeois society" are considered to be what divides "the realism of foreign countries of the XIX century into two stages - realism of the first and second half of the XIX century. ". In 1848, popular performances turned into a series of revolutions that swept across Europe (France, Italy, Germany, Austria, etc.). These revolutions, as well as the riots in Belgium and England, followed the "French model", as democratic protests against a privileged class and inadequate government, as well as under the slogan of social and democratic reforms. On the whole, 1848 marked one huge revolution in Europe. True, as a result of it, moderate liberals or conservatives came to power everywhere, in some places even more brutal authoritarian rule was established.

This caused general disappointment in the results of the revolutions, and, as a consequence, pessimistic sentiments. Many representatives of the intelligentsia became disillusioned with mass movements, active actions of the people on a class basis and transferred their main efforts to the private world of personality and personal relations. Thus, the general interest was directed to an individual, important in itself, and only secondarily to her relationship with other individuals and the world around her.

The second half of the 19th century is traditionally considered the "triumph of realism." By this time, realism loudly declares itself in the literature of not only France and England, but also a number of other countries - Germany (late Heine, Raabe, Storm, Fontane), Russia ("natural school", Turgenev, Goncharov, Ostrovsky, Tolstoy , Dostoevsky), etc.

At the same time, from the 50s begins new stage in the development of realism, which assumes a new approach to the image of both the hero and the society around him. The social, political and moral atmosphere of the second half of the 19th century "turned" writers towards the analysis of a person who can hardly be called a hero, but in whose fate and character the main signs of the era are refracted, expressed not in a major act, significant act or passion, compressed and intensely conveying global shifts of time, not in a large-scale (both social and psychological) confrontation and conflict, not in typicality brought to the limit, often bordering on exclusivity, but in everyday, everyday life.

The writers who started working at this time, like those who entered literature earlier, but worked during the specified period, for example, Dickens or Thackeray, were certainly guided by a different concept of personality, which was not perceived and reproduced by them as a product of direct interconnection social and psychological-biological principles and rigidly understood determinants. Thackeray's novel "Newcombs" emphasizes the specificity of "human studies" in the realism of this period - the need for understanding and analytical reproduction of multidirectional subtle emotional movements and indirect, not always manifested social connections: "It is difficult to even imagine how many different reasons determines each of our actions or addictions, how often, analyzing my motives, I took one for the other ... ". This phrase Thackeray conveys, perhaps, the main feature of the realism of the era: everything focuses on the image of a person and character, and not circumstances. Although the latter, as it should in realistic literature, “do not disappear,” their interaction with character acquires a different quality, connected with the fact that circumstances cease to be independent, they are increasingly characterologized; their sociological function is now more implicit than it was with the same Balzac or Stendhal.

Due to the changed concept of personality and the "human-centrism" of the entire artistic system (moreover, the "human-center" was not necessarily positive heroconquering social circumstances or dying - morally or physically - in the fight against them), it may seem that the writers of the second half of the century have abandoned the basic principle of realistic literature: dialectical understanding and depiction of the interconnections of character and circumstances and adherence to the principle of socio-psychological determinism. Moreover, some of the brightest realists of this time - Flaubert, J. Eliot, Trollot - in the case when they talk about the environment of the hero of the world, the term "environment" appears, often perceived more static than the concept of "circumstance."

An analysis of the works of Flaubert and J. Eliot convinces us that artists need this “staking out” of the environment primarily in order to make the description of the surrounding hero's environment more plastic. The environment often narratively exists in the inner world of the hero and through him, acquiring a different character of generalization: not posters-sociologized, but psychologized. This creates an atmosphere of greater objectivity of the reproduced. In any case, from the point of view of the reader who trusts more such an objectified narration about the era, since he perceives the hero of the work as a person close to him, the same as himself.

The writers of this period do not in the least forget about another aesthetic setting of critical realism - the objectivity of the reproduced. As you know, Balzac was so concerned about this objectivity that he was looking for ways to bring literary knowledge (understanding) and scientific knowledge closer together. This idea appealed to many realists of the second half of the century. For example, Eliot and Flaubert thought a lot about the use of scientific, and therefore, as it seemed to them, objective methods of analysis. Flaubert thought especially a lot about this, who understood objectivity as synonymous with impassivity and impartiality. However, this was the spirit of the entire realism of the era. Moreover, the creativity of the realists of the second half of the 19th century fell on a period of take-off in the development of natural sciences and the flourishing of experimentation.

This was an important period in the history of science. Biology developed rapidly (in 1859 Charles Darwin's book "The Origin of Species" was published), physiology, the formation of psychology as a science took place. O. Comte's philosophy of positivism became widespread, and later played an important role in the development of naturalistic aesthetics and artistic practice. It was during these years that attempts were made to create a system of psychological understanding of a person.

However, even at this stage in the development of literature, the character of the hero is not conceived by the writer outside of social analysis, although the latter acquires a slightly different aesthetic essence, different from that which was characteristic of Balzac and Stendhal. Certainly in Flaubert's novels. Eliot, Fontane and some others are striking "a new level of representation of the inner world of man, a qualitatively new skill of psychological analysis, which consists in the deepest disclosure of the complexity and unpredictability of human reactions to reality, the motives and causes of human activity."

It is obvious that the writers of this era sharply changed the direction of creativity and led literature (and the novel in particular) in the direction of in-depth psychologism, and in the formula "socio-psychological determinism" the social and psychological were reversed. It is in this direction that the main achievements of literature are concentrated: writers began not only to draw complex inner world literary hero, but to reproduce a well-oiled, well-thought-out psychological "model of character", in it and in its functioning artistically combining the psychological-analytical and the social-analytical. The writers renewed and revived the principle of psychological detail, introduced a dialogue with deep psychological connotations, and found narrative techniques to convey “transitional”, contradictory spiritual movements that were previously inaccessible to literature.

This does not mean at all that realistic literature has abandoned social analysis: the social basis of the reproduced reality and the reconstructed character has not disappeared, although it did not dominate the character and circumstances. It was thanks to the writers of the second half of the 19th century that literature began to find indirect methods of social analysis, in this sense continuing the series of discoveries made by writers of previous periods.

Flaubert, Eliot, the Goncourt brothers and others "taught" literature to enter the social and what is characteristic of the era, characterizes its social, political, historical and moral principles, through the everyday and everyday existence of an ordinary person. The social typification of writers of the second half of the century is the typification of "mass character, repetition." It is not as vivid and obvious as that of the representatives of classical critical realism of the 1830s - 1840s and most often manifests itself through the "parabola of psychologism", when immersion in the inner world of the character ultimately allows one to plunge into the era, into the historical time, as he sees it writer. Emotions, feelings, moods are not of an overtemporal, but of a concrete historical character, although, first of all, everyday life is subjected to analytical reproduction, and not the world of titanic passions. At the same time, the writers often even absolutized the dullness and wretchedness of life, the triviality of the material, the unheroism of the time and the character. That is why, on the one hand, it was an anti-romantic period, on the other, a period of craving for the romantic. Such a paradox, for example, is characteristic of Flaubert, Goncourt, Baudelaire.

There are also other important points associated with the absolutization of the imperfection of human nature and slavish subordination to circumstances: often writers perceived the negative phenomena of the era as a given, as something insurmountable, and even tragically fatal. Therefore, in the work of the realists of the second half of the 19th century, the positive principle is so difficult to express: the problem of the future is of little interest to them, they are “here and now”, in their own time, comprehending it extremely impartially, as an era, if worthy of analysis, then critical.

CRITICAL REALISM

from the Greek. kritike - the art of disassembling, judging and lat. realis - material, real) is a name assigned to the main realistic method of 19th century art, which was also developed in 20th century art. The term "critical realism" emphasizes the critical, accusatory pathos of democratic art in relation to existing reality. This term was proposed by Gorky to distinguish this type of realism from socialist realism. Earlier, the unfortunate term "bourgeois R." was used, but the now accepted one is inaccurate: along with sharp criticism of the noble-bourgeois society (O. Balzak, O. Daumier, N. V. Gogol and "natural school", M. E. Saltykov- Shchedrin, G. Ibsen and others) many. manuf. K. p. embodied the positive beginnings of life, the mood of progressive people, labor and moral traditions of the people. Both began in Russian. literature is represented by Pushkin, I. S. Turgenev, N. A. Nekrasov, N. S. Leskov, Tolstoy, A. P. Chekhov, in the theater - M. S. Schepkin, in painting - "Itinerants", in music - M I. Glinka, composers of The Mighty Handful, PI Tchaikovsky; in foreign literature of the XIX century - Stendhal, C. Dickens, S. Zheromsky, in painting - G. Courbet, in music - G. Verdi, L. Janacek. At the end of the XIX century. the so-called. verism, combining democratic tendencies with some refinement of social issues (for example, the operas by G. Puccini). A characteristic genre of critical realism literature is the socio-psychological novel. On the basis of K. r. developed Russian classical art criticism (Belinsky, Chernyshevsky, Dobrolyubov, Stasov), Ch. the principle of which was the nationality. In critical realism, the formation and manifestation of characters, the fate of people, social groups, individual classes (the ruin of the local nobility, the strengthening of the bourgeoisie, the decomposition of the traditional way of peasant life) are socially substantiated, but not the fate of society as a whole: a change in the social structure and prevailing morality is thought of in one way or another. to another extent as a consequence of the improvement of morality or self-improvement of people, and not as the natural emergence of a new quality as a result of the development of society itself. This is the inherent contradiction in critical realism, in the 19th century. inevitable. In addition to socio-historical and psychological determinism, biological determinism is used as an additional artistic accent (starting with the work of G. Flaubert) in critical realism; in Leo Tolstoy and other writers, it is consistently subordinated to the social and psychological, but, for example, in some works of the literary direction, the head of which, Emil Zola, theoretically substantiated and embodied the principle of naturalism, this type of determination was absolutized, which damaged the realistic principles of creativity ... The historicism of critical realism is usually built on the contrast between the “present century” and the “past century”, on the opposition of generations of “fathers” and “children” (“Duma” by M. Yu. Lermontov, IS Turgenev “Fathers and Sons”, “Saga about Farsights ”by J. Galsworthy and others), ideas about periods of timelessness (for example, by O. Balzak, M. E. Saltykov-Shchedrin, A. P. Chekhov, a number of writers and artists of the early XX century). Historicism in this sense has often hindered an adequate reflection of the past in historical works. In comparison with the production. on the themes of our time, man. There are few artworks that deeply reflect historical events (in literature - the epic "War and Peace" by Tolstoy, in painting - canvases by V.I.Surikov, I, E. Repin, in music - operas by M.P. Mussorgsky, J. . Verdi). In foreign art in the XX century. Critical realism takes on a new quality, approaching different kinds modernism and naturalism. Traditions of classical K. p. develop and enrich J. Galsworthy, H. Wells, B. Shaw, R. Rollan, T. Mann, E. Hemingway, K. Chapek, Lu Xin and others. At the same time, many others. artists, especially in the second floor. XX century, carried away by modernist poetics retreat from the artist. historicism, their social determinism acquires a fatalistic character (M. Frisch, F. Dürrenmatt, G. Fallada, A. Miller, M. Antonioni, L. Buñuel, etc.). To great achievements K. p. cinematography includes the work of directors Ch. Chaplin, S. Kraimer, A. Kuro-sawa; a variety of critical realism was Italian neorealism.

Conclusion

As noted earlier, realism is a literary movement on a global scale. Another notable feature of realism is that it has a long history. In the late XIX and XX centuries, the work of such writers as R. Rollan, D. Golusorsi, B. Shaw, E. M. Remark, T. Dreiser and others gained worldwide fame. Realism continues to exist right up to the present time, remaining the most important form of world democratic culture.

LIST OF REFERENCES

1. V.V. Sayanov Romanticism, realism, naturalism - L. - 1988.

2. E.A. Anichkov Realism and new trends. - M .: Science. - 1980.

3. M.E. Elizarova History foreign literature XIX century - M. - 1964.

4. P. S Kogan Romanticism and Realism in European Literature of the XIX century. - M. - 1923

5. F. P. Schiller From the history of realism of the XIX century. in the West - M. - 1984.

Realism is a literary trend in which the surrounding reality is portrayed concretely historically, in the variety of its contradictions, and "typical characters act in typical circumstances." Literature is understood by realist writers as a textbook of life. Therefore, they strive to comprehend life in all its contradictions, and a person - in psychological, social and other aspects of his personality. Features common to realism: Historicism of thinking. The focus is on the regularities operating in life, due to cause-and-effect relationships. Fidelity to reality becomes the leading criterion of artistry in realism. A person is portrayed in interaction with the environment in reliable life circumstances. Realism shows the influence of the social environment on spiritual world man, the formation of his character. Characters and circumstances interact with each other: character is not only conditioned (determined) by circumstances, but also affects them (changes, opposes). In works of realism, deep conflicts are presented, life is given in dramatic collisions. Reality is given in development. Realism depicts not only the already established forms of social relations and types of characters, but also reveals the emerging, forming a tendency. The nature and type of realism depends on the socio-historical situation - in different epochs it manifests itself in different ways. In the second third of the XIX century. increased critical attitude of writers to the surrounding reality - and to the environment, society, and to man. A critical understanding of life, aimed at denying its individual aspects, gave rise to the name realism of the 19th century. critical. The greatest Russian realists were L.N. Tolstoy, F.M. Dostoevsky, I.S. Turgenev, M.E. Saltykov-Shchedrin, A.P. Chekhov. The depiction of the surrounding reality, of human characters from the point of view of the progressiveness of the socialist ideal, created the basis of socialist realism. The first work of socialist realism in Russian literature is considered the novel by M. Gorky "Mother". A. Fadeev, D. Furmanov, M. Sholokhov, A. Tvardovsky worked in the spirit of socialist realism.

15. French and English realistic novel (by choice).

French novel Stendhal (the literary pseudonym of Henri Marie Beil) (1783-1842). In 1830 Stendhal finished the novel "Red and Black", which marked the onset of the writer's maturity. The plot of the novel is based on real events connected with the court case of a certain Antoine Berthe. Stendhal learned about them by looking through the chronicles of the Grenoble newspaper. As it turned out, sentenced to death young man, the son of a peasant, who decided to make a career, became a tutor in the family of the local rich man Misha, but, caught in a love affair with the mother of his pupils, lost his job. Failures awaited him later. He was expelled from the theological seminary, and then from the service in the Parisian aristocratic mansion de Cardone, where he was compromised by his relationship with the owner's daughter and especially by a letter from Madame Misha, at whom the desperate Berté shot in the church and then tried to commit suicide. attracted the attention of Stendhal, who conceived a novel about the tragic fate of a talented plebeian in France during the Restoration. However, the real source only awakened the creative imagination of the artist, who was always looking for opportunities to confirm the truth of fiction with reality. Instead of the petty ambitious, the heroic and tragic personality of Julien Sorel appears. The facts undergo no less metamorphosis in the plot of the novel, which recreates the typical features of an entire era in the main laws of its historical development.

English novel. Valentina Ivasheva ENGLISH REALISTIC NOVEL OF THE XIX CENTURY IN ITS MODERN SOUND

The book by Valentina Ivasheva (1908-1991), Doctor of Philology, traces the development of the English realistic novel from the end of the 18th to the end of the 19th century. - from the works of J. Austen, W. Godwin and to the novels of George Eliot and E. Trollope. The author shows that new and peculiar that was introduced into its development by each of the classics of critical realism: Dickens and Thackeray, Gaskell and Bronte, Disraeli and Kingsley. The author traces how the legacy of the classics of the "Victorian" novel is being reinterpreted in modern England.

Realism - a trend in literature and art, which aims to faithfully reproduce reality in its typical features. The reign of realism followed the era of romanticism and preceded symbolism.

There is an opinion that realism originated in ancient times. There are several periods of realism:

"Antique Realism"
"Realism of the Renaissance"
"Realism of the 18th-19th centuries" (here, in the middle of the 19th century, it reached its highest power in connection with which the term Epoch of Realism appeared)
"Neorealism (realism of the XX century)"

Realism, according to the generally accepted opinion, is a concrete historical method in which the motives of the heroes' actions are determined by the circumstances in which this hero exists.

Realism is based on the idea of \u200b\u200bdeterminism, the influence of the environment on a person. Realistic literature achieves artistic truth, that is, the complete adequacy of the narrative to its object. The classification of the realistic method is based on what content motives are recreated in the work. There is social realism, where the dominant principle is the real circumstances that determine the entire structure of the corresponding literary text, there is the realism of characters, where characters "compete" with the circumstances; there is psychological realism, where in the first place is the reproduction of the inner essence of the psychology of the actor. In grotesque realism, grotesque or satirical convention determines the style of the work, while not depriving the character of the logic of self-movement, corresponding to the logic of life.

In Russian realism, two main types have developed over the course of 200 years: critical and social. These terms were not entirely successful, because objective difficulties arise in comparison. The terminological designation of critical realism is based on the pathos of the work, its critical orientation, that is, the subjective side of the content, in the other case, the main substantive moment of the method is a certain ideological system, where the word "socialist" prevails. These are sizes of different sizes, and if we bear in mind the true theoretical aesthetics, then one should compare the phenomena that are characteristic of the originality of the creative principles of the reflection of life themselves, and not the ideological or subjective-emotional introduction by the author of his sympathies and antipathies into literary texts.

Realism in literature is a trend, the main feature of which is a truthful depiction of reality and its typical features without any distortion and exaggeration. This literary movement originated in the 19th century, and its adherents sharply opposed the sophisticated forms of poetry and the use of various mystical concepts in works.

Realism as an artistic method was formed in the 20-30s of the 19th century. At this time, for the first time in the history of mankind, a world system of economic communication was formed, significant democratic processes were taking place, the sphere of social production covered all aspects of reality, attracting ever wider social strata of the population.

Correspondingly, the subject of art research also expanded: people were introduced to it and acquired social significance and aesthetic value as broad social processes. So are the subtle nuances of human psychology, people's life, nature, the world of things. Experiencing profound changes and the main object of artistic research - a person, and the social bond acquired a general, worldwide character.

There was not a single corner in the spiritual world that had no social significance and was not interested in art. All these changes have led to the emergence of a new type of artistic concept of the world - realism.

The phenomena of reality, like man himself, appeared in the art of realism in all its complexity and completeness, in all the richness of aesthetic properties, complicated and enriched by social practice.

Realism is based on the principle of historicism, specifically on the historical understanding and portrayal of human characters. Typification inherent in realism as a means of identifying the essential social qualities of a person and the circumstances of formation and activity.

The art of realism has in its development a huge gallery of social types, having reproduced the diversity and complexity of social relations and connections of society in a new historical period - the era of political and economic planning of capitalism. It should be noted that realism originated in the country where capitalism was established first of all - England and France. The founders of Western European realism were W. Scott and C. Dickens, F. Stendhal and O. where Balzac. Realism made a powerful impact on the public consciousness of the era. He contributed to the establishment of a materialistic view of man, the essence of which is defined as "the totality of all social relations."

The realistic type of creativity is based not on a priori rules and a scheme, but on penetration into the laws of social reality (it is the subject of art). The realist artist learns the characters and phenomena of life in motion, understands them as the results of reality, which develops: and thinks by the laws of this reality.

The realism of the time of capitalism took shape under the conditions of the growing authority of science and culture in general. However, studies of mainly natural objects were of a scientific nature. The scientific worldview, which comprehends both the attitude of man to nature and the social relations of people, had not yet taken shape. Therefore, the worldview orientation of science in solving problems artistic creation largely boiled down to the perception, assimilation, and the use of a complex of that idea and value that characterizes natural-scientific materialism. It was this aesthetics, the model of which was a book from natural history, the equality of all phenomena of life in front of the artist's eye, that directed realism towards naturalism.

Socio-historical analysis, on which realism is based, makes it possible for art to comprehensively embrace human life in society, to make life itself an object, the way of life of modern society, that is, all the wealth of life circumstances that affect a person's lot. These include upbringing and education, social, political, cultural, family and other relationships and a bunch of people. At the same time, realism provides for an artistic analysis of society in all its socio-cultural plane, embodied in a life-filled human individuality.

Second half of the 19th century marked by the growing crisis of capitalist society and the ripening of the rebellious spirit of the proletariat. Therefore, the tendency of the development of the artistic process is characterized by the subsequent development of art, associated with both democratic and revolutionary forces, and decadent, modernist currents, which changed each other very often. These processes appeared at the end of the 19th century. only as a trend. But already at the beginning of the XX century. artistic life has become extremely diverse and extremely contradictory, which is confirmed by the complexity of the socio-historical day.

Socialist realism is a creative method that took shape at the beginning of the 20th century. as a reflection of the processes of development of artistic culture during the socialist revolution, as an expression of the social-class concept of the world and man. In the 1920s, new conditions were created in Russia, conflicts unknown in historical practice, a dramatic collision arose, and therefore a new hero and a new audience appeared.

The need arose not only for a political, philosophical, but also for an artistic understanding of the process of the victory of the socialist revolution in Russia and the ways of building a socialist society. It should be borne in mind that the victory of the revolution in Russia brought to life a new art, and not the artistic method itself. It is extremely important to record the period of development of the new art between the revolutionary 1917 and 1934, which took place in the pan-European modern discourse, and the next period, after the First Congress of Soviet Writers (1934). The congress adopted a new artistic program of socialist art and a definitely new artistic method "socialist realism", its principles and objectives.

In the first period, there is an active development of art, not associated with any ideological restrictions; he is full of searches for new funds artistic expression, which could most fully convey to the audience the pathos of the new idea. Considering the specifics of the development of art and the artistic method, one should note the conditions that have developed precisely in Russia. After all, the period 1917-1921. in Ukraine, Georgia or, for example, in Armenia, it needs a separate analysis, since it is not identical with the socio-political situation in Russia. The art of socialist realism has a half-century history, it has had a significant impact on the share of world culture.

Direction signs

Realism in 19th century literature can be distinguished by clear indications. The main one is the artistic depiction of reality in images familiar to the layman, which he regularly encounters in real life. Reality in works is considered as a means of a person's knowledge of the world around him and himself, and the image of each literary character is worked out in such a way that the reader can recognize himself, a relative, a colleague, or an acquaintance in it. In the novels and stories of the realists, art remains life-affirming, even if the plot is characterized by a tragic conflict. Another feature of this genre is the desire of writers to consider the surrounding reality in its development, and each writer tries to discover the emergence of new psychological, social and social relations.

Features of this literary movement

Realism in literature, which replaced romanticism, has the characteristics of art, seeking truth and finding it, seeking to transform reality.

Literary characters in the works of realist writers made discoveries after much thought and dreams, after analyzing subjective perceptions of the world. This feature, which can be distinguished by the author's perception of time, determined features realistic literature of the early twentieth century from the traditional Russian classics.

Realism in the 19th century

Such representatives of realism in literature as Balzac and Stendhal, Thackeray and Dickens, Jord Sand and Victor Hugo, in their works most clearly reveal the theme of good and evil, and avoid abstract concepts and show the real life of their contemporaries. These writers make it clear to readers that evil lies in the way of life of bourgeois society, capitalist reality, people's dependence on various material values. For example, in Dickens's novel Dombey and Son, the owner of the company was not inherently callous and callous. It's just that he had such character traits due to the presence of big money and the ambition of the owner, for whom profit becomes the main achievement in life. Realism in literature is devoid of humor and sarcasm, and the characters' images are no longer the ideal of the writer himself and do not embody his cherished dreams. From the works of the 19th century, the hero practically disappears, in whose image the ideas of the author are visible. This situation is especially clearly seen in the works of Gogol and Chekhov.

However, this literary trend is most clearly manifested in the works of Tolstoy and Dostoevsky, who describe the world as they see it. This was also expressed in the image of the characters with their own merits and weaknesses, the description of the mental anguish of literary heroes, a reminder to readers of the harsh reality, which cannot be changed by one person.

As a rule, realism in literature also affected the fate of representatives of the Russian nobility, as can be judged by the works of I.A.Goncharov. So, the characters of the heroes in his works remain contradictory. Oblomov is a frank and gentle person, however, due to his passivity, he is not able to change his life for the better. Another character in Russian literature possesses similar qualities - the weak-willed but gifted Boris Raysky. Goncharov managed to create the image of the "antihero" typical of the 19th century, which was noticed by critics. As a result, the concept of "Oblomovism" appeared, referring to all passive characters, whose main features were laziness and lack of will.

Critical realism - in Marxist literary criticism, the designation of the artistic method that precedes socialist realism. It is considered as a literary trend that developed in the capitalist society of the 19th century.

It is generally accepted that critical realism reveals the conditionality of the circumstances of a person's life and his psychology by the social environment (novels by O. Balzac, J. Eliot). In Soviet times, the materialist aesthetics of V.G.Belinsky, N.G. Chernyshevsky, N.A.Dobrolyubov were used to substantiate critical realism in Russia. Maxim Gorky recognized the last great representative of critical realism in A.P. Chekhov. From Gorky himself, according to official Soviet ideas, the countdown of a new artistic method - socialist realism - began.

Psychologism in literature is a complete, detailed and deep depiction by means of fiction of the inner world of a literary hero: his feelings, emotions, desires, thoughts and experiences. According to A. B. Esin, psychologism is "a fairly complete, detailed and deep depiction of feelings, thoughts, experiences of a fictional person (literary character) with the help of specific means of fiction." Lit.- Esin A.B. Psychologism of Russian classical literature. M., 1988. It can be said that all the richest world literature consists of two large directions - the development of the psychologism of the heroes in their attitude to the world and other people and the development of internal psychologism aimed at analyzing their own inner world, their soul. So, considering the works that we studied up to the tenth grade, the representatives of the first direction include the works of IS Turgenev "Asya", "Notes of a Hunter", the second - "Hero of Our Time", "Mtsyri" by M.Yu. Lermontov. Turgenev achieved the highest skill in portraying the characters of his heroes, revealing the inner world of the heroes through actions and deeds. Even in childhood, reading "Mumu", you understand that only a courageous person with a strong character could make such a terrible decision - to drown the closest and dearest creature so that Mumu would not be torn apart by an angry and cruel crowd. In "A Hero of Our Time" Lermontov's ability to reveal the secrets of the inner world of a person (Pechorin) is striking, to express emotional experiences as accurately and vividly as a person cannot do in everyday, ordinary life.

In this regard, there are three main forms of psychological depiction, to which all the specific methods of reproducing the inner world of literary heroes are reduced: direct, indirect and summative. The first two forms were theoretically identified by I.V. Strakhov: “The main forms of psychological analysis can be divided into the image of characters“ from the inside, ”that is, through artistic knowledge of the inner world of the characters, expressed through internal speech, images of memory and imagination; on the psychological analysis "from the outside", expressed in the psychological interpretation by the writer of the expressive features of speech, speech behavior, mimicry and other means of external manifestation of the psyche. " The depiction of characters "from the inside" is called the direct form, and "from the outside" is called indirect, since in it we learn about the hero's inner world not directly, but through the external symptoms of his psychological state.

A.B. Yesin writes: “But the writer has one more opportunity, another way to inform the reader about the thoughts and feelings of the character - by naming, extremely brief designation of the processes that take place in the inner world. We will call this method summary-designating. A.P. Skaftymov wrote about this technique, comparing the features of the psychological depiction of Stendhal and Tolstoy: “Stendhal predominantly follows the path of verbal designation of feelings. Feelings are named, but not shown. ”Thus, the same psychological state can be reproduced using different forms of psychological representation. You can, for example, say: "I was offended by Karl Ivanovich for waking me up" - this will be a summary-designating form. You can depict external signs of resentment: tears, frowning eyebrows, stubborn silence, etc. - this is an indirect form. Or it is possible, as Tolstoy did, to reveal the inner state with the help of the direct form of a psychological image: “Suppose,” I thought, “I am small, but why does he disturb me? Why doesn't he hit the flies near Volodya's bed? How many are there? No, Volodya is older than me, and I am the least of all: that's why he tortures me. Only about that and thinks all my life, - I whispered, - how can I make trouble. He sees very well that he woke me up and frightened me, but he shows as if he does not notice ... a nasty person! And the robe, and the cap, and the tassel - how disgusting! " Lit.- A.B. Esin. Analysis principles and techniques literary work... A textbook for students and teachers of philological faculties, language teachers. Most often in the works of writers whom we habitually call psychologists - Lermontov, Tolstoy, Chekhov, Dostoevsky, Maupassant and others, as a rule, all forms are used for psychological depiction, although the leading role in psychologism is still played by the direct form - the direct recreation of the processes of a person's inner life. Psychological image techniques include psychological analysis and introspection. Both of these methods consist in the fact that the complex mental states of the heroes are decomposed into their components and thereby explained, become clear to the reader. Psychological analysis is used in third-person storytelling, introspection in both the first and third person. With self-analysis, psychological storytelling in the first person takes on the character of a confession, which enhances the reader's impression. This narrative form is used mainly when there is one main character in the work, whose consciousness and psyche are watched by the author and the reader, and the rest of the characters are secondary, and their inner world is practically not depicted, ("Childhood", "Adolescence" and "Youth "Leo Tolstoy and others).

In psychological analysis, third-person storytelling has its advantages. This art form allows the author, without any restrictions, to introduce the reader into the inner world of the character and show him in the most detailed and deepest way. For the author, there are no secrets in the soul of the hero - he knows everything about him, can trace internal processes, explain the connection between impressions, thoughts, experiences. At the same time, the author can psychologically interpret the external behavior of the hero, his facial expressions and plasticity, etc. “Fearing ridicule, I buried my best feelings in the depths of my heart. They died there, ”Pechorin says about himself. But, thanks to the author, we understand that not all Pechorin's “best feelings” have died. He suffers when Bela dies, at the moment of parting with Vera his heart "painfully squeezes." "In psychologism, one of the secrets of the long historical life of the literature of the past: speaking about the human soul, it speaks with each reader about himself."

The rise of realism

In the 30s of the XIX century. realism is gaining considerable popularity in literature and art. The development of realism is primarily associated with the names of Stendhal and Balzac in France, Pushkin and Gogol in Russia, Heine and Buchner in Germany. Realism develops initially in the depths of romanticism and bears the stamp of the latter; not only Pushkin and Heine, but also Balzac experience in their youth a strong passion for romantic literature. However, unlike romantic art, realism refuses to idealize reality and the associated predominance of the fantastic element, as well as an increased interest in the subjective side of man. In realism, the dominant tendency is to depict a broad social background against which the life of the heroes proceeds ("The Human Comedy" by Balzac, "Eugene Onegin" by Pushkin, "Dead Souls" by Gogol, etc.). Realist artists sometimes surpass the philosophers and sociologists of their time in their depth of understanding of social life.

Stages of development of realism in the XIX century

The formation of critical realism takes place in European countries and in Russia at practically the same time - in the 20s - 40s of the 19th century. In the literatures of the world, he becomes a leading trend.

True, this also means that the literary process of this period is irreducible only in a realistic system. Both in European literatures, and - especially - in the literature of the United States, the activity of romantic writers continues in full measure. Thus, the development of the literary process goes largely through the interaction of coexisting aesthetic systems, and the characterization of both national literatures and the creativity of individual writers presupposes that this circumstance must be taken into account.

The literature of the 1830s and 1840s was nourished in many ways by claims of the attractiveness of the century itself. Love for the 19th century was shared, for example, by Stendhal and Balzac, who never ceased to be amazed at its dynamism, diversity and inexhaustible energy. Hence the heroes of the first stage of realism - active, with an inventive mind, not afraid of encountering unfavorable circumstances. These heroes were in many ways associated with the heroic era of Napoleon, although they perceived his duality, developed a strategy for their personal and social behavior. Scott and his historicism inspire Stendhal's heroes to find their place in life and history through mistakes and delusions. Shakespeare makes Balzac say about the novel "Father Goriot" in the words of the great Englishman "Everything is true" and see in the fate of the modern bourgeois echoes of the harsh fate of King Lear.

The realists of the second half of the 19th century will reproach their predecessors for "residual romanticism." It's hard to disagree with such a reproach. Indeed, the romantic tradition is very tangibly represented in the creative systems of Balzac, Stendhal, Merimee. It is no coincidence that Sainte-Beuve called Stendhal "the last hussar of romanticism." Traits of romanticism are revealed

- in the cult of exoticism (novels by Merimee such as "Matteo Falcone", "Carmen", "Tamango", etc.);

- in the addiction of writers to portraying bright individuals and passions of exceptional strength (Stendhal's novel "Red and Black or the short story" Vanina Vanini ");

- in his addiction to adventurous plots and the use of elements of fantasy (Balzac's novel "Shagreen Skin" or Merimee's short story "Venus Ilskaya");

- in an effort to clearly divide the characters into negative and positive - bearers of the author's ideals (Dickens's novels).

Thus, between the realism of the first period and romanticism, there is a complex "kinship" relationship, which manifests itself, in particular, in the inheritance of techniques characteristic of romantic art and even individual themes and motives (the theme of lost illusions, the motive of disappointment, etc.).

In Russian historical and literary science, "the revolutionary events of 1848 and the important changes that followed in the socio-political and cultural life of bourgeois society" are considered to be what divides "the realism of foreign countries of the XIX century into two stages - realism of the first and second half of the XIX century. "(" History of Foreign Literature of the XIX century / Edited by Elizarova M.Ye. - M., 1964). In 1848, popular performances turned into a series of revolutions that swept across Europe (France, Italy, Germany, Austria, etc.). These revolutions, as well as the riots in Belgium and England, followed the "French model", as democratic protests against a privileged class and inadequate government, as well as under the slogan of social and democratic reforms. On the whole, 1848 marked one huge revolution in Europe. True, as a result of it, moderate liberals or conservatives came to power everywhere, in some places even more brutal authoritarian rule was established.

At the same time, a new stage in the development of realism begins in the 1950s, which presupposes a new approach to depicting both the hero and the society around him. The social, political and moral atmosphere of the second half of the 19th century "turned" writers towards the analysis of a person who can hardly be called a hero, but in whose fate and character the main signs of the era are refracted, expressed not in a major act, significant act or passion, compressed and intensely conveying global shifts of time, not in a large-scale (both in social and psychological) confrontation and conflict, not in typicality brought to the limit, often bordering on exclusivity, but in everyday, everyday life. The writers who began working at this time, as well as those who entered literature earlier, but worked during the specified period, for example, Dickens or Thackeray, were certainly guided by a different concept of personality. Thackeray's novel "Newcombs" emphasizes the specificity of "human studies" in the realism of this period - the need for understanding and analytical reproduction of multidirectional subtle emotional movements and indirect, not always manifested social connections: "It is difficult to even imagine how many different reasons determine each of our actions or addictions, how often, analyzing my motives, I took one thing for another ... ". This phrase Thackeray conveys, perhaps, the main feature of the realism of the era: everything focuses on the image of a person and character, and not circumstances. Although the latter, as it should in realistic literature, “do not disappear,” their interaction with character acquires a different quality, connected with the fact that circumstances cease to be independent, they are increasingly characterologized; their sociological function is now more implicit than it was with the same Balzac or Stendhal.

Due to the changed concept of personality and the “human-centrism” of the entire artistic system (moreover, “the person is the center” was not at all necessarily a positive hero, conquering social circumstances or dying - morally or physically - in the fight against them), it may seem that the writers of the second half centuries abandoned the basic principle of realistic literature: dialectical understanding and portrayal of the relationship between character and circumstances and adherence to the principle of socio-psychological determinism. Moreover, some of the brightest realists of this time - Flaubert, J. Eliot, Trollot - in the case when they talk about the environment of the hero of the world, the term "environment" appears, often perceived more static than the concept of "circumstance."

An analysis of the works of Flaubert and J. Eliot convinces us that artists need this “staking out” of the environment primarily in order to make the description of the surrounding hero's environment more plastic. The environment often narratively exists in the inner world of the hero and through him, acquiring a different character of generalization: not poster-sociologized, but psychologized. This creates an atmosphere of greater objectivity of the reproduced. In any case, from the point of view of the reader who trusts more such an objectified narration about the era, since he perceives the hero of the work as a person close to him, the same as himself.

The writers of this period do not in the least forget about another aesthetic setting of critical realism - the objectivity of the reproduced. As you know, Balzac was so concerned about this objectivity that he looked for ways to bring literary knowledge (understanding) and scientific knowledge closer together. This idea appealed to many realists of the second half of the century. For example, Eliot and Flaubert thought a lot about the use of scientific, and therefore, as it seemed to them, objective methods of analysis. Flaubert thought especially a lot about this, who understood objectivity as a synonym for dispassion and impartiality. However, this was the spirit of the entire realism of the era. Moreover, the creativity of the realists of the second half of the 19th century fell on a period of take-off in the development of natural sciences and the flourishing of experimentation.

However, even at this stage in the development of literature, the character of the hero is not conceived by the writer outside of social analysis, although the latter acquires a slightly different aesthetic essence, different from that which was characteristic of Balzac and Stendhal. Certainly in Flaubert's novels. Eliot, Fontane and some others are striking "a new level of depiction of the inner world of a person, a qualitatively new skill of psychological analysis, which consists in the deepest disclosure of the complexity and unpredictability of human reactions to reality, motives and causes of human activity" (History of World Literature. Vol. 7. - M., 1990).

It is obvious that the writers of this era sharply changed the direction of creativity and led literature (and the novel in particular) in the direction of in-depth psychologism, and in the formula "socio-psychological determinism" the social and psychological were reversed. It is in this direction that the main achievements of literature are concentrated: writers began not only to draw the complex inner world of a literary hero, but to reproduce a well-oiled, well-thought-out psychological "model of character", in it and in its functioning, artistically combining psychological-analytical and social-analytical. The writers renewed and revived the principle of psychological detail, introduced a dialogue with a deep psychological connotation, and found narrative techniques for conveying "transitional" contradictory spiritual movements that were previously inaccessible to literature.

This does not mean at all that realistic literature has abandoned social analysis: the social basis of the reproduced reality and the reconstructed character has not disappeared, although it did not dominate the character and circumstances. It was thanks to the writers of the second half of the 19th century that literature began to find indirect ways of social analysis, in this sense continuing the series of discoveries made by writers of previous periods.

Flaubert, Eliot, the Goncourt brothers and others "taught" literature to enter the social and what is characteristic of the era, characterizes its social, political, historical and moral principles, through the everyday and everyday existence of an ordinary person. The social typification of writers of the second half of the century is the typification of “mass character, repetition” (History of World Literature. Vol. 7. - M., 1990). It is not as vivid and obvious as in the representatives of classical critical realism of the 1830s - 1840s and most often manifests itself through the “parabola of psychologism”, when immersion in the inner world of the character ultimately allows one to plunge into the era, into historical time, as he sees it writer. Emotions, feelings, moods are not of an over-temporal nature, but of a concrete historical character, although, first of all, ordinary everyday existence is subjected to analytical reproduction, and not the world of titanic passions. At the same time, the writers often even absolutized the dullness and wretchedness of life, the triviality of the material, the unheroism of the time and the character. That is why, on the one hand, it was an anti-romantic period, on the other, a period of craving for the romantic. This paradox, for example, is characteristic of Flaubert, Goncourt, Baudelaire.

There is another important point associated with the absolutization of the imperfection of human nature and slavish subordination to circumstances: often writers perceived the negative phenomena of the era for granted, as something insurmountable, and even tragically fatal. Therefore, in the work of the realists of the second half of the 19th century, the positive principle is so complexly expressed: the problem of the future is of little interest to them, they are "here and now", in their own time, comprehending it extremely impartially, as an era, if worthy of analysis, then critical.

As noted earlier, critical realism is a literary movement on a global scale. Another notable feature of realism is that it has a long history. In the late XIX and XX centuries, the work of such writers as R. Rollan, D. Golusorsi, B. Shaw, E. M. Remark, T. Dreiser and others gained worldwide fame. Realism continues to exist right up to the present time, remaining the most important form of world democratic culture.

Realism

1) Literary and artistic direction, which finally took shape by the middle of the 19th century. and approved the principles of analytical comprehension of reality, as well as its vital reproduction in fiction... Realism sees its main task in revealing the essence of life phenomena through the image of heroes, situations and circumstances, "taken from reality itself." Realists strive to trace the chain of causes and effects of the described phenomena, to find out which external (socio-historical) and internal (psychological) factors influenced a particular course of events, to determine in the human character not only individual, but also typical features formed under the influence of a common the atmosphere of the era (along with realism, the idea of \u200b\u200bsocially conditioned human types arises).

The analytical beginning in the realism of the XIX century. combined:

with a powerful critical pathos aimed at flaws in the social structure;
with a desire for generalizations regarding the laws and trends of public life;
with close attention to the material side of existence, realized as in detailed descriptions the appearance of the characters, the characteristics of their behavior, way of life, and in the wide use of artistic details;
with the study of personality psychology (psychologism).

Realism of the XIX century. gave birth to a whole galaxy of writers of world importance. To her, in particular, belong Stendhal, P. Merimee, O. de Balzac, G. Flaubert, C. Dickens, W. Thackeray, Mark Twain, I. S. Turgenev, I. A. Goncharov, N. Nekrasov, F .M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov and others.

2) The artistic direction in art (including in literature), based on the principle of life truthful reflection of reality. Affirming the crucial importance of literature as a means of a person's knowledge of himself and the world around him, realism is not at all limited to external plausibility in reproducing facts, things, human characters, but seeks to reveal the laws that operate in life. Therefore, realistic art also uses such methods of artistic expression as myth, symbol, grotesque. By itself, the selection of certain phenomena of reality, predominant attention to certain characters, the principles of their depiction - all this is connected with the literary position of the author, his individual skill. The absence of any bias, genuine artistic freedom helped realists see life in its ambiguity, complexity, and contradiction. The character of a person is revealed in connection with the surrounding reality, society, environment. The frequently used terms "sociological realism" or "psychological realism" are inaccurate, since it is sometimes extremely difficult to determine which kind of realism a particular writer belongs to.

3) The artistic method, following which the artist depicts life in images that correspond to the essence of the phenomena of life itself. Asserting the importance of literature as a means of a person's knowledge of himself and the world around him, realism strives for a deep knowledge of life, for a wide coverage of reality. In a narrower sense, the term "realism" designates the direction, with the greatest consistency embodied the principles of life truthful reflection of reality.

4) Literary direction, in which the surrounding reality is depicted specifically historically, in the variety of its contradictions, and "typical characters operate in typical circumstances."

Literature is understood by realist writers as a textbook of life. Therefore, they strive to comprehend life in all its contradictions, and a person - in psychological, social and other aspects of his personality.

Features common to realism: Material from the site

Historicism of thinking.
The focus is on the regularities operating in life, due to cause-and-effect relationships.
Fidelity to reality becomes the leading criterion of artistry in realism.
A person is portrayed in interaction with the environment in certain life circumstances. Realism shows the influence of the social environment on the spiritual world of a person, the formation of his character.
Characters and circumstances interact with each other: the character is not only conditioned (determined) by the circumstances, but also affects them (changes, opposes).
In works of realism, deep conflicts are presented; life is given in dramatic collisions. Reality is given in development. Realism depicts not only the already established forms of social relations and types of characters, but also reveals emerging, forming a tendency.
The nature and type of realism depends on the socio-historical situation - in different epochs it manifests itself in different ways.

In the second third of the XIX century. increased critical attitude of writers to the surrounding reality - and to the environment, society, and to man. A critical understanding of life, aimed at denying its individual aspects, gave rise to the name realism of the 19th century. critical.

The largest Russian realists were L.N. Tolstoy, F.M.Dostoevsky, I.S.Turgenev, M.E. Saltykov-Shchedrin, A.P. Chekhov.

The depiction of the surrounding reality, of human characters from the point of view of the progressiveness of the socialist ideal, created the basis of socialist realism. The first product of socialist realism in Russian literature is considered the novel by M. Gorky "Mother". A. Fadeev, D. Fur-manov, M. Sholokhov, A. Tvardovsky worked in the spirit of socialist realism.

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