Literature of the Russian Diaspora. In the Silver Age, Russian culture declared itself as one of the leaders of the world spiritual movement. The Silver Age was cut short. Message literature of the Russian diaspora of the 20th century

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on the topic: "Literature of the Russian Diaspora"

The literature of the Russian diaspora is a branch of Russian literature that arose after 1917 and was published outside the USSR and Russia. There are three periods or three waves of Russian émigré literature. The first wave - from 1918 until the start of World War II, the occupation of Paris - was massive. The second wave arose at the end of World War II (I. Elagin, D. Klenovsky, L. Rzhevsky, N. Morshen, B. Fillipov).

The third wave began after Khrushchev's "thaw" and brought out of Russia the largest writers (A. Solzhenitsyn, I. Brodsky, S. Dovlatov). The greatest cultural and literary significance has the work of writers of the first wave of Russian emigration.

At the same time, in emigration, literature was placed in unfavorable conditions: the absence of a mass reader, the collapse of socio-psychological foundations, homelessness, the need of most writers were bound to undermine the strength of Russian culture. But this did not happen: in 1927, Russian foreign literature began to flourish, great books were written in Russian. In 1930 Bunin wrote: “The decline for last decade didn't happen in my opinion. Of the prominent writers, both foreign and "Soviet", not one seems to have lost his talent, on the contrary, almost all have grown stronger and grown. And besides, here, abroad, several new talents have appeared, undeniable in their artistic qualities and very interesting in terms of the influence of modernity on them.

Having lost their loved ones, their homeland, any support in life, support anywhere, the exiles from Russia received in return the right to creative freedom. This did not reduce the literary process to ideological disputes. The atmosphere of émigré literature was determined not by the political or civic lack of accountability of writers, but by the variety of free creative searches.

In new unusual conditions (“There is neither the element of living life here, nor the ocean of living language that feeds the work of the artist,” B. Zaitsev defined), writers retained not only political, but also inner freedom, creative wealth in opposition to the bitter realities of emigrant existence.

The development of Russian literature in exile went in different directions: the writers of the older generation professed the position of “preserving the covenants”, the younger generation recognized the intrinsic value of the tragic experience of emigration (the poetry of G. Ivanov, the “Parisian note”), writers oriented towards the Western tradition appeared (V. Nabokov , G. Gazdanov). “We are not in exile, we are in messages,” D. Merezhkovsky formulated the “messianic” position of the “seniors”. “Be aware that in Russia or in exile, in Berlin or Montparnasse, human life continues, life with a capital letter, in a Western way, with sincere respect for it, as the focus of all content, all the depth of life in general ... ”, - this was the task of the writer to the writer of the younger generation B. Poplavsky. “Should I remind you once again that culture and art are dynamic concepts,” G. Gazdanov questioned the nostalgic tradition.

The older generation of immigrant writers. The desire to “keep that really valuable thing that spiritualized the past” (G. Adamovich) is at the heart of the work of writers of the older generation who managed to enter literature and make a name for themselves back in pre-revolutionary Russia. The older generation of writers include: Bunin, Shmelev, Remizov, Kuprin, Gippius, Merezhkovsky, M. Osorgin. The literature of the "senior" is represented mainly by prose. In exile, prose writers of the older generation create great books: Arseniev's life(Nobel Prize 1933), Dark alleys Bunin; sun of the dead , Summer of the Lord, Pilgrimage Shmelev; Sivtsev Vrazhek Osorgin; Gleb's journey, Reverend Sergius of Radonezh Zaitsev; Jesus Unknown Merezhkovsky. Kuprin releases two novels Dome of St. Isaac of Dalmatia and Juncker, story Wheel of Time. A significant literary event is the appearance of a book of memoirs living faces Gippius.

Among the poets whose work has developed in Russia, I. Severyanin, S. Cherny, D. Burliuk, K. Balmont, Gippius, Vyach went abroad. Ivanov. They made an insignificant contribution to the history of Russian poetry in exile, losing the palm to young poets - G. Ivanov, G. Adamovich, V. Khodasevich, M. Tsvetaeva, B. Poplavsky, A. Steiger and others. The main motive of the literature of the older generation was the theme nostalgic memory of the lost homeland. The tragedy of exile was opposed by the enormous heritage of Russian culture, the mythologized and poeticized past. The topics most often addressed by prose writers of the older generation are retrospective: longing for "eternal Russia", the events of the revolution and civil war, Russian history, memories of childhood and youth. The meaning of the appeal to "eternal Russia" was given to biographies of writers, composers, biographies of saints: Iv. Bunin writes about Tolstoy ( Liberation of Tolstoy), M. Tsvetaeva - about Pushkin ( My Pushkin), V. Khodasevich - about Derzhavin ( Derzhavin), B. Zaitsev - about Zhukovsky, Turgenev, Chekhov, Sergius of Radonezh (biographies of the same name). Autobiographical books are being created in which the world of childhood and youth, not yet affected by the great catastrophe, is seen “from the other side” idyllic and enlightened: Yves poetizes the past. Shmelev ( Pilgrimage, Summer of the Lord), the events of youth are reconstructed by Kuprin ( Juncker), the last autobiographical book of the Russian nobleman writer is written by Bunin ( Arseniev's life), a journey to the "origins of days" is captured by B. Zaitsev ( Gleb's journey) and Tolstoy ( Nikita's childhood). A special layer of Russian émigré literature is made up of works that assess the tragic events of the revolution and the civil war. These events are interspersed with dreams, visions, leading deep into the people's consciousness, the Russian spirit in Remizov's books Whirlwind Russia, Music teacher, Through the fire of sorrow. Bunin's diaries are full of mournful accusation cursed days. Roman Osorgina Sivtsev Vrazhek reflects the life of Moscow in the war and pre-war years, during the revolution. Shmelev creates a tragic narrative about the Red Terror in the Crimea - an epic sun of the dead, which T. Mann called "a nightmarish document of the era, shrouded in poetic brilliance." Dedicated to understanding the causes of the revolution ice hike R. Gulya, Beast from the abyss E. Chirikova, historical novels Aldanov, who joined the writers of the older generation ( Key, Escape, Cave), three-volume Rasputin V. Nazhivin. Contrasting "yesterday's" and "current", the older generation made a choice in favor of the lost cultural world of old Russia, not recognizing the need to get used to the new reality of emigration. This also determined the aesthetic conservatism of the “senior”: “Is it time to stop following in the footsteps of Tolstoy? - Bunin was perplexed. “Whose footsteps should we follow?”

The younger generation of writers in exile. A different position was held by the younger “unnoticed generation” of writers in exile (the term of the writer, literary critic V. Varshavsky), who had risen in a different social and spiritual environment, refusing to reconstruct what was hopelessly lost. The “unnoticed generation” included young writers who did not have time to create a strong literary reputation in Russia: V. Nabokov, G. Gazdanov, M. Aldanov, M. Ageev, B. Poplavsky, N. Berberova, A. Steiger, D. Knut , I. Knorring, L. Chervinskaya, V. Smolensky, I. Odoevtseva, N. Otsup, I. Golenishchev-Kutuzov, Yu. Mandelstam, Yu. Terapiano and others. Their fate was different. Nabokov and Gazdanov won all-European, in the case of Nabokov, even world fame. Aldanov, who began actively publishing historical novels in the most famous émigré magazine, Sovremennye Zapiski, joined the "senior" ones. Almost none of the younger generation of writers could earn a living by literary work: Gazdanov became a taxi driver, Knut delivered goods, Terapiano served in a pharmaceutical company, many survived on a penny extra money. Describing the situation of the “unnoticed generation” that lived in small cheap cafes in Montparnasse, V. Khodasevich wrote: “Despair that owns the souls of Montparnasse… feeds and is supported by insults and poverty… At the tables of Montparnasse sit people, many of whom did not dine during the day, and find it difficult to ask in the evening yourself a cup of coffee. In Montparnasse, sometimes they sit until the morning because there is nowhere to spend the night. Poverty deforms creativity itself.” The most acute and dramatic hardships that befell the “unnoticed generation” were reflected in the colorless poetry of the “Parisian note” created by G. Adamovich. An extremely confessional, metaphysical and hopeless "Parisian note" sounds in Poplavsky's collections ( Flags), Otsupa ( Up in the smoke), Steiger ( This life, Two by two is four), Chervinskaya ( Approximation), Smolensky ( Alone), Knut ( Paris nights), A. Prismanova ( Shadow and body), Knorring ( Poems about yourself). If the older generation was inspired by nostalgic motives, then the younger one left the documents of the Russian soul in exile, depicting the reality of emigration. The life of the "Russian monparno" is captured in Poplavsky's novels Apollo Bezobrazov, Home from heaven. Enjoyed great popularity and Romance with cocaine Ageeva. Household prose has also become widespread: Odoevtseva Angel of Death, Isolde, Mirror, Berberova Last and first. A novel from immigrant life.

G. Struve, a researcher of emigrant literature, wrote: “Perhaps the most valuable contribution of writers to the general treasury of Russian literature will have to be recognized different forms non-fiction - criticism, essays, philosophical prose, high journalism and memoir prose. The younger generation of writers made a significant contribution to memoirs: Nabokov Other shores, Berberova Italics mine, Therapiano Meetings, Warsaw The unnoticed generation, V. Yanovsky Fields Champs Elysees, Odoevtseva On the banks of the Neva, On the banks of the Seine, G. Kuznetsova Grasse diary.

Nabokov and Gazdanov belonged to the “unnoticed generation”, but did not share its fate, having not learned either the bohemian-beggarly lifestyle of the “Russian monparnos” or their hopeless attitude. They were united by the desire to find an alternative to despair, exiled restlessness, without participating in the mutual responsibility of memories, characteristic of the "senior". Gazdanov's meditative prose, technically witty and artistically elegant, turned to the Parisian reality of the 1920s and 1960s. At the heart of his attitude is the philosophy of life as a form of resistance and survival. In the first, largely autobiographical novel Evening at Claire's Gazdanov gave a peculiar turn to the theme of nostalgia, traditional for émigré literature, replacing the longing for the lost with the real embodiment of a “beautiful dream”. In novels night roads, Ghost of Alexander Wolf, Return of the Buddha Gazdanov contrasted the calm despair of the “unnoticed generation” with heroic stoicism, faith in the spiritual powers of the individual, in her ability to transform. The experience of the Russian emigrant was refracted in a peculiar way in the first novel by V. Nabokov Masha, in which a journey to the depths of memory, to "delightfully accurate Russia" freed the hero from the captivity of a dull existence. Brilliant characters, victorious heroes who won in difficult, and sometimes dramatic, life situations, Nabokov depicts in his novels An invitation to execution, Gift, Ada, Feat. The triumph of consciousness over the dramatic and miserable circumstances of life - such is the pathos of Nabokov's work, hidden behind the game doctrine and declarative aestheticism. In exile, Nabokov also creates: a collection of short stories Spring in Fialta, world bestseller Lolita, novels Despair, Pinhole camera, King, queen, jack, Look at the harlequins, Pnin, Pale flame and etc.

In an intermediate position between the "senior" and "junior" were poets who published their first collections before the revolution and quite confidently declared themselves back in Russia: Khodasevich, Ivanov, Tsvetaeva, Adamovich. In emigrant poetry they stand apart. Tsvetaeva in exile is experiencing a creative take-off, turning to the genre of the poem, "monumental" verse. In the Czech Republic, and then in France, she wrote Tsar Maiden, Poem of the Mountain, Poem of the End, air poem, Pied Piper, Stairs,New Year's, Room try. Khodasevich publishes his summit collections in exile heavy lyre, european night, becomes a mentor of young poets, united in the Crossroads group. Ivanov, having survived the lightness of early collections, receives the status of the first poet of emigration, publishes poetry books credited to the golden fund of Russian poetry: Poems, Portrait without resemblance, Posthumous diary. A special place in the literary heritage of emigration is occupied by Ivanov's memoirs. Petersburg winters, Chinese shadows, his famous prose poem The decay of the atom. Adamovich publishes program collection Unity, famous essay book Comments.

scattering centers. The main centers of dispersion of Russian emigration were Constantinople, Sofia, Prague, Berlin, Paris, Harbin. The first place of refuge was Constantinople - the center of Russian culture in the early 1920s. Here were the Russian White Guards who fled with Wrangel from the Crimea, who then dispersed throughout Europe. In Constantinople, the weekly Zarnitsa was published for several months, and A. Vertinsky spoke. A significant Russian colony also arose in Sofia, where the journal Russkaya Mysl was published. In the early 1920s, Berlin became the literary capital of the Russian emigration. The Russian diaspora in Berlin before Hitler came to power was 150,000 people. From 1918 to 1928, 188 Russian publishing houses were registered in Berlin, large circulations Russian classics were printed - Pushkin, Tolstoy, works by contemporary authors - Bunin, Remizov, Berberova, Tsvetaeva, the House of Arts was restored (in the likeness of Petrograd), a community of writers, musicians, artists "Spindle" was formed, the "Academy of Prose" worked. An essential feature of Russian Berlin is the dialogue between two branches of culture - foreign and those remaining in Russia. Many Soviet writers leave for Germany: M. Gorky, V. Mayakovsky, Yu. Tynyanov, K. Fedin. “For us, in the field of books, there is no division into Soviet Russia and emigration,” declared the Berlin magazine Russkaya kniga. When the hope of a speedy return to Russia began to fade and an economic crisis began in Germany, the center of emigration moved to Paris, since the mid-1920s, the capital of the Russian diaspora.

By 1923, 300,000 Russian refugees had settled in Paris. Bunin, Kuprin, Remizov, Gippius, Merezhkovsky, Khodasevich, Ivanov, Adamovich, Gazdanov, Poplavsky, Tsvetaeva, and others live in Paris. The activities of the main literary circles and groups are connected with Paris, the leading position among which was occupied by the Green Lamp. The "Green Lamp" was organized in Paris by Gippius and Merezhkovsky, G. Ivanov became the head of the society. At the meeting of the "Green Lamp" new books, magazines were discussed, the works of Russian writers of the older generation were discussed. The "Green Lamp" united the "senior" and "junior", during all the pre-war years it was the most lively literary center of Paris. Young Parisian writers united in the Nomad group, founded by the philologist and critic M. Slonim. From 1923 to 1924, a group of poets and artists "Through" also gathered in Paris. Parisian emigrant newspapers and magazines were a chronicle of the cultural and literary life of the Russian diaspora. In the cheap cafes of Montparnasse, literary discussions unfolded, a new school emigrant poetry, known as the "Paris note". The literary life of Paris will come to naught with the outbreak of World War II, when, according to Nabokov, "it will become dark in Russian Parnassus." Russian émigré writers will remain loyal to their host country, occupied Paris. The term "Resistance" will arise and take root among Russian emigrants, many of whom will turn out to be its active participants. Adamovich signed up as a volunteer for the front. Writer Z. Shakhovskaya will become a sister in a military hospital. Mother Maria (poetess E. Kuzmina-Karavaeva) will die in a German concentration camp, Gazdanov, Otsup, Knut will join the Resistance. Bunin in the bitter years of the occupation will write a book about the triumph of love and humanity ( Dark alleys).

The eastern centers of dispersion are Harbin and Shanghai. The young poet A. Achair organizes the Churaevka literary association in Harbin. His meetings included up to 1000 people. Over the years of the existence of "Churaevka" in Harbin, more than 60 poetry collections of Russian poets have been published. The Harbin magazine Rubezh published the poets A. Nesmelov, V. Pereleshin, M. Kolosova. An essential direction of the Harbin branch of Russian literature will be ethnographic prose (N. Baikov In the wilds of Manchuria, Great Van, In the wide world). From 1942 literary life shifted from Harbin to Shanghai.

Science Center Russian emigration for a long time was Prague. The Russian People's University was founded in Prague, 5,000 Russian students studied there free of charge. Many professors and university lecturers also moved here. Important role in conservation Slavic culture, the development of science was played by the "Prague Linguistic Circle". The work of Tsvetaeva, who creates her best works in the Czech Republic, is connected with Prague. Before the start of World War II, about 20 Russians went out in Prague literary magazines and 18 newspapers. Among the Prague literary associations are the Skete of Poets, the Union of Russian Writers and Journalists.

Russian scattering also affected Latin America, Canada, Scandinavia, and the USA. The writer G. Grebenshchikov, having moved to the USA in 1924, organized here the Russian publishing house Alatas. Several Russian publishing houses were opened in New York, Detroit, and Chicago.

The main events in the life of the Russian literary emigration. One of the central events in the life of the Russian emigration will be the controversy between Khodasevich and Adamovich, which lasted from 1927 to 1937. Basically, the controversy unfolded on the pages of Parisian newspapers. Last news"(Adamovich was published) and" Revival" (Khodasevich was published). Khodasevich considered the main task of Russian literature in exile to be the preservation of the Russian language and culture. He stood up for craftsmanship, insisted that émigré literature should inherit the greatest achievements of its predecessors, "graft the classic rose" into the émigré wild. Young poets of the Crossroads group united around Khodasevich: G. Raevsky, I. Golenishchev-Kutuzov, Yu. Mandelstam, V. Smolensky. Adamovich demanded from young poets not so much skill as simplicity and truthfulness of "human documents", raised his voice in defense of "drafts, notebooks". Unlike Khodasevich, who countered the dramatic realities of emigration with the harmony of Pushkin's language, Adamovich did not reject the decadent, mournful attitude, but reflected it. Adamovich is the inspirer of the literary school, which entered the history of Russian foreign literature under the name of the "Parisian note" (A. Shteiger, L. Chervinskaya and others). The émigré press, the most prominent emigration critics A. Bem, P. Bitsilli, M. Slonim, as well as V. Nabokov, V. Varshavsky, joined the literary disputes between Adamovich and Khodasevich.

Disputes about literature were also going on among the “unnoticed generation”. Articles by Gazdanov and Poplavsky on the situation of young émigré literature contributed to understanding literary process abroad. In the article Oh young emigrant literature Gazdanov admitted that the new social experience and the status of the intellectuals who left Russia make it impossible to preserve the hierarchical image, the artificially maintained atmosphere of pre-revolutionary culture. The absence of modern interests, the incantation of the past, turns emigration into a "living hieroglyph". Emigrant literature faces the inevitability of mastering a new reality. "How to live? Poplavsky asked in the article About the mystical atmosphere of young literature in emigration. - Die. Smiling, crying, making tragic gestures, passing smiling at great depths, in terrible poverty. Emigration is the perfect setting for this.” The sufferings of Russian émigrés, on which literature must feed, are identical with revelation, they merge with the mystical symphony of the world. Exiled Paris, according to Poplavsky, will become "the seed of the future mystical life”, the cradle of the revival of Russia.

The atmosphere of Russian literature in exile will be significantly influenced by the controversy between the Smenovekhites and the Eurasians. In 1921 a collection was published in Prague Change of milestones(authors N. Ustryalov, S. Lukyanov, A. Bobrischev-Pushkin are former White Guards). The Smenovvekhites called for accepting the Bolshevik regime, for the sake of the motherland, to compromise with the Bolsheviks. The idea of ​​national Bolshevism and the use of Bolshevism for national purposes will be born among the Smenovekhites. Smenovekhovstvo will play a tragic role in the fate of Tsvetaeva, whose husband S. Efron worked for the Soviet special services. In the same 1921, a collection was released in Sofia Exodus to the East. Premonitions and Accomplishments. Eurasian claims. The authors of the collection (P. Savitsky, P. Suvchinsky, Prince N. Trubetskoy, G. Florovsky) insisted on a special intermediate position of Russia - between Europe and Asia, they saw Russia as a country with a messianic destiny. On the Eurasian platform, the magazine Versty was published, in which Tsvetaeva, Remizov, and Bely were published.

Literary and public publications of the Russian emigration. One of the most influential socio-political and literary journals of the Russian emigration was Sovremennye Zapiski, published by the Socialist-Revolutionaries V. Rudnev, M. Vishnyak, and I. Bunakov (Paris, 1920-1939, founder I. Fondaminsky-Bunyakov). The magazine was distinguished by the breadth of aesthetic views and political tolerance. A total of 70 issues of the journal were published, in which the most famous writers Russian abroad. In "Modern notes" saw the light: Luzhin's Defense, An invitation to execution, Gift Nabokov Mitina love and A life Arseniev Bunin, poems by Ivanov, Sivtsev Vrazhek Osorgina, The Road to Calvary Tolstoy, Key Aldanov, Chaliapin's autobiographical prose. The journal gave reviews of the majority of books published in Russia and abroad in almost all branches of knowledge.

Since 1937, the publishers of Sovremennye Zapiski also began publishing the monthly journal Russkiye Zapiski (Paris, 1937-1939, ed. P. Milyukov), which published works by Remizov, Achair, Gazdanov, Knorring, and Chervinskaya. literature Russian emigration

The main printed organ of the writers of the "unnoticed generation", who for a long time did not have their own publication, was the magazine "Numbers" (Paris, 1930-1934, ed. Otsup). For 4 years, 10 issues of the magazine were published. "Numbers" became the mouthpiece of the ideas of the "unnoticed generation", the opposition to the traditional "Modern Notes". "Numbers" cultivated the "Parisian note" and published Ivanov, Adamovich, Poplavsky, Bloch, Chervinskaya, Ageev, Odoevtseva. Poplavsky defined the meaning of the new journal as follows: "Numbers" is an atmospheric phenomenon, almost the only atmosphere of unlimited freedom where one can breathe new person". The magazine also published notes on cinema, photography, and sports. The magazine was distinguished by high, at the level of pre-revolutionary publications, the quality of printing.

Among the most famous newspapers of the Russian emigration is the organ of the republican-democratic association "Latest News" (Paris, 1920-1940, ed. P. Milyukov), the monarchist expression of the idea of ​​the white movement "Renaissance" (Paris, 1925-1940, ed. P. Struve ), the newspapers "Link" (Paris, 1923-928, ed. Milyukov), "Days" (Paris, 1925-1932, ed. A. Kerensky), "Russia and the Slavs" (Paris, 1928-1934, ed. Zaitsev ) and etc.

fate and cultural heritage writers of the first wave of Russian emigration - an integral part of Russian culture of the 20th century. , a brilliant and tragic page in the history of Russian literature.

Second wave of emigration (1940s - 1950s)

The second wave of emigration, generated by the Second World War, was not as massive as the emigration from Bolshevik Russia. With the second wave of the USSR, prisoners of war, displaced persons - citizens driven by the Germans to work in Germany - leave. Most of the emigrants of the second wave settled in Germany (mainly in Munich, which had numerous emigrant organizations) and in America. By 1952 there were 452 thousand former citizens of the USSR in Europe. 548 thousand Russian emigrants arrived in America by 1950.

Among the writers brought out of their homeland with the second wave of emigration were I. Elagin, D. Klenovsky, Yu. Ivask, B. Narcissov, I. Chinnov, V. Sinkevich, N. Narokov, N. Morshen, S. Maksimov, V. Markov, B. Shiryaev, L. Rzhevsky, V. Yurasov, and others. Those who left the USSR in the 1940s faced severe trials. This could not but affect the attitude of writers: the most common themes in the work of writers of the second wave are the hardships of the war, captivity, the horrors of the Bolshevik terror.

In émigré poetry of the 1940s-1950s, political themes prevail: Elagin writes political feuilletons in verse, Morshen publishes anti-totalitarian poems ( Seal, On the evening of November 7). Criticism most often calls Yelagin the most prominent poet of the second wave. He called civic consciousness, refugee and camp themes, the horror of machine civilization, and urban fantasy the main "nodes" of his work. In terms of social sharpness, political and civic pathos, Elagin's poems turned out to be closer to Soviet wartime poetry than to the "Paris note".

Ivask, Klenovsky, Sinkevich turned to philosophical, meditative lyrics. Religious motives sound in Ivask's verses. Acceptance of the world - in the collections Sinkevich The coming of the day, Herb flowering, I live here. Optimism and harmonious clarity marked the lyrics of D. Klenovsky (books Palette, trace of life, Towards the sky,Touch, Departing sails, Singing burden, Warm evening e R, Last thing). Chinnov, T. Fesenko, V. Zavalishin, and I. Burkin also made a significant contribution to émigré poetry.

Heroes who did not get used to Soviet reality are depicted in the books of prose writers of the second wave. The tragic fate of Fedor Panin in Yurasov's novel Parallax. S. Markov argues with Sholokhov upturned virgin soil in the novel Denis Bushuev. TO camp theme address B. Filippov (stories Happiness, Humans, In the taiga,Love, Motif from "La Bayadère"), L. Rzhevsky (story Bunker Girl (Between two stars)). Scenes from the life of besieged Leningrad are depicted by A. Darov in the book Blockade, Shiryaev writes about the history of Solovki ( Inextinguishable Lampada). Rzhevsky's books stand out Dina and Two lines of time, which tells about the love of an elderly man and a girl, about overcoming misunderstanding, life tragedy, barriers in communication.

Most of the writers of the second wave of emigration were published in the New Journal published in America and in the journal Grani.

Third wave of emigration (1960-1980s)

With the third wave of emigration from the USSR, representatives of the creative intelligentsia mainly left. The emigrant writers of the third wave, as a rule, belonged to the generation of the "sixties", an important role for this generation was played by the fact of its formation in the war and post-war period. The "children of war", who grew up in an atmosphere of spiritual uplift, pinned their hopes on Khrushchev's "thaw", but it soon became obvious that the "thaw" did not promise fundamental changes in the life of Soviet society. The beginning of the curtailment of freedom in the country is considered to be 1963, when N. S. Khrushchev visited an exhibition of avant-garde artists in the Manege. The mid-1960s - a period of new persecution of creative intelligentsia and, above all, writers. In 1966, V. Tarsis became the first writer to be sent abroad.

In the early 1970s, the intelligentsia, cultural and scientific figures, including writers, began to leave the USSR. Many of them were deprived of Soviet citizenship (A. Solzhenitsyn, V. Aksenov, V. Maksimov, V. Voinovich and others). With the third wave of emigration, the following went abroad: Aksenov, Yu. Aleshkovsky, Brodsky, G. Vladimov, V. Voinovich, F. Gorenstein, I. Huberman, S. Dovlatov, A. Galich, L. Kopelev, N. Korzhavin, Yu. Kublanovskiy, E. Limonov, V. Maksimov, Y. Mamleev, V. Nekrasov, S. Sokolov, A. Sinyavskiy, Solzhenitsyn, D. Rubina and others. Aksenov, Dovlatov, Aleshkovsky and others), to France (Sinyavsky, Rozanova, Nekrasov, Limonov, Maksimov, N. Gorbanevskaya), to Germany (Voinovich, Gorenstein).

The writers of the third wave found themselves in exile in completely new conditions, they were largely not accepted by their predecessors, they were alien to the "old emigration". Unlike the emigrants of the first and second waves, they did not set themselves the task of “preserving culture” or capturing the hardships experienced in their homeland. Completely different experiences, worldviews, even different languages ​​prevented the emergence of ties between generations. The Russian language in the USSR and abroad has undergone significant changes over 50 years, the work of representatives of the third wave was formed not so much under the influence of Russian classics, but under the influence of American and Latin American literature popular in the 1960s, as well as the poetry of M. Tsvetaeva, B. Pasternak, prose by A. Platonov. One of the main features of Russian emigrant literature of the third wave will be its gravitation towards the avant-garde, postmodernism. At the same time, the third wave was quite heterogeneous: writers of a realistic direction (Solzhenitsyn, Vladimov), postmodernists (Sokolov, Mamleev, Limonov), anti-formalist Korzhavin ended up in emigration. Russian literature of the third wave in emigration, according to Korzhavin, is a "tangle of conflicts": "We left in order to be able to fight each other."

The two largest writers of the realistic trend who worked in exile are Solzhenitsyn and Vladimov. Solzhenitsyn creates an epic novel in exile red wheel, in which he refers to the key events of Russian history of the 20th century. Vladimov publishes novel General and his army, which also applies to historical theme: at the center of the novel are the events of the Great Patriotic War who canceled the ideological and class confrontation within Soviet society. Dedicates his novel to the fate of the peasant family Seven days of creation V. Maksimov. V. Nekrasov, who received the Stalin Prize for the novel In the trenches of Stalingrad, publishes after exit Notes of onlookers, Little sad story.

The work of Aksenov, deprived of Soviet citizenship in 1980, reflects the Soviet reality of the 1950s-1970s, the evolution of his generation. novel Burn gives a panorama of post-war Moscow life, brings to the fore the heroes of the 1960s - a surgeon, writer, saxophonist, sculptor and physicist. Aksyonov also acts as a chronicler of the generation in Moscow saga.

In the work of Dovlatov, there is a rare combination of a grotesque worldview with a rejection of moral invectives and conclusions, which is not typical for Russian literature. His stories and novels continue the tradition of portraying the "little man". In his short stories, he conveys the lifestyle and attitude of the generation of the 1960s, the atmosphere of bohemian gatherings in Leningrad and Moscow kitchens, Soviet reality, the ordeals of Russian emigrants in America. Written in exile foreigner Dovlatov ironically depicts an emigrant existence. Queens 108th Street, depicted in foreigner, - a gallery of caricatures of Russian emigrants.

Voinovich tries himself in the genre of dystopia abroad - in the novel Moscow 2042, in which a parody of Solzhenitsyn is given and the agony of Soviet society is depicted.

Sinyavsky publishes in exile Walks with Pushkin, In the shadow of Gogol.

Sokolov, Mamleev, Limonov belong to the postmodern tradition. Sokolov's novels School for fools, Between dog and wolf, rosewood are sophisticated verbal structures, they reflected the postmodern attitude to the game with the reader, the displacement of time plans. The marginality of the text is in the prose of Mamleev, who has now regained his Russian citizenship. Most famous works Mamleeva - Wings of Terror, drown my head,eternal home, Voice from Nothing. Limonov imitates social realism in the story We had a great era denies the establishment in the books It's me - Eddie, Diary of a Loser, Teen Savenko, Young scoundrel.

A prominent place in the history of Russian poetry belongs to Brodsky, who received the Nobel Prize in 1987 for "the development and modernization of classical forms." In exile, he publishes poetry collections and poems.

Isolated from the "old emigration", representatives of the third wave opened their own publishing houses, created almanacs and magazines. One of the most famous magazines of the third wave, "Continent", was created by Maximov and published in Paris. The magazine "Syntax" (M. Rozanova, Sinyavsky) was also published in Paris. The most famous American publications are the New American and Panorama newspapers, and the Kaleidoscope magazine. In Israel, the magazine "Time and Us" was founded, in Munich - "Forum". In 1972, the Ardis publishing house began to work in the USA, and I. Efimov founded the Hermitage publishing house. At the same time, such publications as “New Russian word"(New York), "New Journal" (New York), "Russian Thought" (Paris), "Frontiers" (Frankfurt am Main).

Literature

1. Gul R. I took Russia away. New York, 1984-1989

2 Glad John Conversations in exile. M., 1991

3. Mikhailov O. Literature of the Russian abroad. M., 1995

4. Struve G. Russian literature in exile. Paris - M., 1996

5. Agenosov V. Literature of the Russian diaspora (1918-1996). M., 1998

6. Russian Paris. M., 1998

7. Modern Russian diaspora. M., 1998

8. Menegaldo E. Russians in Paris. 1919-1939. M., 2001

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22. Russian literature abroad of the first wave of emigration: nests of dispersion, names, works, main development trends (analysis of 1-2 works of your choice). LITERATURE OF THE RUSSIAN ABROAD.
Russian literature abroad is a branch of Russian literature that emerged after 1917 and was published outside the USSR and Russia. There are three periods or three waves of Russian émigré literature. The first wave - from 1918 until the start of World War II, the occupation of Paris - was massive. The second wave arose at the end of World War II (I. Elagin, D. Klenovsky, L. Rzhevsky, N. Morshen, B. Fillipov). The third wave began after Khrushchev's "thaw" and carried out the largest writers (A. Solzhenitsyn, I. Brodsky, S. Dovlatov) outside Russia. The greatest cultural and literary significance is the work of the writers of the first wave of Russian emigration. THE FIRST WAVE OF EMIGRATION (1918-1940) The concept of "Russian abroad" arose and took shape after the October Revolution of 1917, when refugees began to leave Russia en masse. After 1917, about 2 million people left Russia. In the centers of dispersion - Berlin, Paris, Harbin - "Russia in miniature" was formed, which retained all the features of Russian society. Russian newspapers and magazines were published abroad, schools and universities were opened, the Russian Orthodox Church . But despite the preservation of all the features of Russian pre-revolutionary society by the first wave of emigration, the situation of the refugees was tragic. In the past, they had the loss of a family, homeland, social status, a way of life that collapsed into oblivion, in the present - a cruel need to get used to an alien reality. The hope for a quick return did not come true, by the mid-1920s it became obvious that Russia could not be returned and could not be returned to Russia. The pain of nostalgia was accompanied by the need for hard physical labor, everyday disorder; most of the emigrants were forced to enlist in the Renault factories or, which was considered more privileged, to master the profession of a taxi driver. Russia left the flower of the Russian intelligentsia. More than half of the philosophers, writers, artists were expelled from the country or emigrated. Religious philosophers N. Berdyaev, S. Bulgakov, N. Lossky, L. Shestov, L. Karsavin found themselves outside their homeland. F. Chaliapin, I. Repin, K. Korovin, famous actors M. Chekhov and I. Mozzhukhin, ballet stars Anna Pavlova, Vatslav Nijinsky, composers S. Rakhmaninov and I. Stravinsky became emigrants. Among the famous writers emigrated: Iv. Bunin, Iv. Shmelev, A. Averchenko, K. Balmont, Z. Gippius, Don Aminado, B. Zaitsev, A. Kuprin, A. Remizov, I. Severyanin, A. Tolstoy, Teffi, I. Shmelev, Sasha Cherny. Young writers also went abroad: M. Tsvetaeva, M. Aldanov, G. Adamovich, G. Ivanov, V. Khodasevich. Russian literature, which responded to the events of the revolution and the civil war, depicting the pre-revolutionary way of life that had collapsed into oblivion, turned out to be one of the spiritual strongholds of the nation in emigration. The national holiday of the Russian emigration was Pushkin's birthday. At the same time, in emigration, literature was placed in unfavorable conditions: the absence of a mass reader, the collapse of socio-psychological foundations, homelessness, the need of most writers were bound to undermine the strength of Russian culture. But this did not happen: in 1927, Russian foreign literature began to flourish, great books were written in Russian. In 1930, Bunin wrote: “In my opinion, there has been no decline over the past decade. Of the prominent writers, both foreign and "Soviet", not one seems to have lost his talent, on the contrary, almost all have grown stronger and grown. And besides, here, abroad, several new talents have appeared, undeniable in their artistic qualities and very interesting in terms of the influence of modernity on them. Having lost their loved ones, their homeland, any support in life, support anywhere, the exiles from Russia received in return the right to creative freedom. This did not reduce the literary process to ideological disputes. The atmosphere of émigré literature was determined not by the political or civic lack of accountability of writers, but by the variety of free creative searches. In new unusual conditions (“There is neither the element of living life here, nor the ocean of living language that feeds the work of the artist,” B. Zaitsev defined), writers retained not only political, but also inner freedom, creative wealth in opposition to the bitter realities of emigrant existence. The development of Russian literature in exile went in different directions: writers of the older generation professed the position of “preserving the covenants”, the younger generation recognized the intrinsic value of the tragic experience of emigration (poetry of G. Ivanov, “Parisian note”), writers oriented towards the Western tradition appeared (V. Nabokov , G. Gazdanov). “We are not in exile, we are in messages,” D. Merezhkovsky formulated the “messianic” position of the “seniors”. “Be aware that in Russia or in emigration, in Berlin or Montparnasse, human life continues, life with a capital letter, in a Western way, with sincere respect for it, as the focus of all content, all the depth of life in general ...” , - such was the task of the writer to the writer of the younger generation B. Poplavsky. “Should I remind you once again that culture and art are dynamic concepts,” G. Gazdanov questioned the nostalgic tradition. Literary and public publications of the Russian emigration. One of the most influential socio-political and literary journals of the Russian emigration was Sovremennye Zapiski, published by the Social Revolutionaries V. Rudnev, M. Vishnyak, I. Bunakov (Paris, 1920–1939, founder I. Fondaminsky-Bunyakov). The magazine was distinguished by the breadth of aesthetic views and political tolerance. A total of 70 issues of the magazine were published, in which the most famous writers of the Russian diaspora were published. In "Modern Notes" saw the light: Luzhin's Defense, Invitation to Execution, Nabokov's Gift, Mitin's Love and Life of Arsenyev Bunin, Ivanov's poems, Osorgin's Sivtsev Vrazhek, Tolstoy's Path Through the Torments, Aldanov's Key, Chaliapin's autobiographical prose. The journal gave reviews of the majority of books published in Russia and abroad in almost all branches of knowledge. Since 1937, the publishers of Sovremennye Zapiski also began to publish the monthly journal Russian Notes (Paris, 1937–1939, ed. P. Milyukov), which published works by Remizov, Achair, Gazdanov, Knorring, Chervinskaya. The main printed organ of the writers of the "unnoticed generation", who for a long time did not have their own publication, was the magazine "Numbers" (Paris, 1930-1934, ed. Otsup). For 4 years, 10 issues of the magazine were published. "Numbers" became the mouthpiece of the ideas of the "unnoticed generation", the opposition to the traditional "Modern Notes". "Numbers" cultivated the "Parisian note" and published Ivanov, Adamovich, Poplavsky, Bloch, Chervinskaya, Ageev, Odoevtseva. Poplavsky defined the meaning of the new journal in this way: "Numbers" is an atmospheric phenomenon, almost the only atmosphere of unlimited freedom where a new person can breathe. The magazine also published notes on cinema, photography, and sports. The magazine was distinguished by high, at the level of pre-revolutionary publications, the quality of printing. Among the most famous newspapers of the Russian emigration is the organ of the republican-democratic association "Latest News" (Paris, 1920-1940, ed. P. Milyukov), the monarchist expression of the idea of ​​the white movement "Renaissance" (Paris, 1925-1940, ed. P. Struve ), the newspapers "Link" (Paris, 1923–928, ed. Milyukov), "Days" (Paris, 1925–1932, ed. A. Kerensky), "Russia and the Slavs" (Paris, 1928–1934, ed. Zaitsev ) and others. The fate and cultural heritage of the writers of the first wave of Russian emigration is an integral part of Russian culture of the 20th century, a brilliant and tragic page in the history of Russian literature. In an intermediate position between the "senior" and "junior" representatives of the emigration were poets who published their first collections before the revolution and quite confidently declared themselves back in Russia: Khodasevich, Ivanov, Tsvetaeva, Adamovich. In emigrant poetry they stand apart. Tsvetaeva in exile is experiencing a creative take-off, turning to the genre of the poem, "monumental" verse. In the Czech Republic, and then in France, she wrote the Tsar Maiden, the Poem of the Mountain, the Poem of the End, the Poem of the Air, the Pied Piper, the Staircase, the New Year's, the Attempt of the Room. Khodasevich published his top collections in exile, Heavy Lyre, European Night, and became a mentor to young poets who united in the Crossroads group. Ivanov, having survived the lightness of early collections, receives the status of the first poet of emigration, publishes poetry books credited to the golden fund of Russian poetry: Poems, Portrait without resemblance, Posthumous diary. A special place in the literary heritage of the emigration is occupied by Ivanov's memoirs Petersburg Winters, Chinese Shadows, his famous prose poem The Disintegration of the Atom. scattering centers. The main centers of dispersion of Russian emigration were Constantinople, Sofia, Prague, Berlin, Paris, Harbin. The first place of refuge was Constantinople - the center of Russian culture in the early 1920s. Here were the Russian White Guards who fled with Wrangel from the Crimea, who then dispersed throughout Europe. In Constantinople, the weekly Zarnitsa was published for several months, A. Vertinsky spoke. A significant Russian colony also arose in Sofia, where the journal Russkaya Mysl was published. In the early 1920s, Berlin became the literary capital of the Russian emigration. The Russian diaspora in Berlin before Hitler came to power was 150,000 people. From 1918 to 1928, 188 Russian publishing houses were registered in Berlin, Russian classics were printed in large numbers - Pushkin, Tolstoy, works by contemporary authors - Bunin, Remizov, Berberova, Tsvetaeva, the House of Arts was restored (in the likeness of Petrograd), a commonwealth of writers, musicians, artists "Spindle", the "Academy of Prose" worked. An essential feature of Russian Berlin is the dialogue of two branches of culture - foreign and those remaining in Russia. Many Soviet writers leave for Germany: M. Gorky, V. Mayakovsky, Y. Tynyanov, K. Fedin. “For us, in the field of books, there is no division into Soviet Russia and emigration,” declared the Berlin magazine Russkaya kniga. When the hope of a speedy return to Russia began to fade and the economic crisis began in Germany, the center of emigration moved to Paris, from the mid-1920s - the capital of the Russian diaspora. By 1923, 300,000 Russian refugees had settled in Paris. Bunin, Kuprin, Remizov, Gippius, Merezhkovsky, Khodasevich, Ivanov, Adamovich, Gazdanov, Poplavsky, Tsvetaeva, and others live in Paris. The activities of the main literary circles and groups are connected with Paris, the leading position among which was occupied by the Green Lamp. The "Green Lamp" was organized in Paris by Gippius and Merezhkovsky, G. Ivanov became the head of the society. At the meeting of the "Green Lamp" new books, magazines were discussed, the works of Russian writers of the older generation were discussed. The "Green Lamp" united the "senior" and "junior", during all the pre-war years it was the most lively literary center of Paris. Young Parisian writers united in the Nomad group, founded by the philologist and critic M. Slonim. From 1923 to 1924, a group of poets and artists "Through" also gathered in Paris. Parisian emigrant newspapers and magazines were a chronicle of the cultural and literary life of the Russian diaspora. In the cheap cafes of Montparnasse, literary discussions unfolded, a new school of émigré poetry, known as the "Parisian note", was created. The literary life of Paris will come to naught with the outbreak of World War II, when, according to Nabokov, "it will become dark in Russian Parnassus." Russian émigré writers will remain loyal to their host country, occupied Paris. The term "Resistance" will arise and take root among Russian emigrants, many of whom will turn out to be its active participants. Adamovich signed up as a volunteer for the front. The writer Z. Shakhovskaya will become a nurse in a military hospital. Mother Maria (poetess E. Kuzmina-Karavaeva) will die in a German concentration camp, Gazdanov, Otsup, Knut will join the Resistance. Bunin in the bitter years of the occupation will write a book about the triumph of love and humanity (Dark Alleys). The eastern centers of dispersion are Harbin and Shanghai. The young poet A. Achair organizes the literary association "Churaevka" in Harbin. His meetings included up to 1000 people. Over the years of the existence of "Churaevka" in Harbin, more than 60 poetry collections of Russian poets have been published. Poets A. Nesmelov, V. Pereleshin, M. Kolosova were published in the Harbin magazine "Frontier". An essential direction of the Harbin branch of Russian literature will be ethnographic prose (N. Baikov In the wilds of Manchuria, Great Wang, Across the wide world). From 1942 literary life shifted from Harbin to Shanghai. Prague was the scientific center of the Russian emigration for a long time. The Russian People's University was founded in Prague, 5,000 Russian students studied there free of charge. Many professors and university lecturers also moved here. An important role in the preservation of Slavic culture and the development of science was played by the Prague Linguistic Circle. The work of Tsvetaeva, who creates her best works in the Czech Republic, is connected with Prague. Before the outbreak of World War II, about 20 Russian literary magazines and 18 newspapers were published in Prague. Among the Prague literary associations are the Skete of Poets, the Union of Russian Writers and Journalists. Russian scattering also affected Latin America, Canada, Scandinavia, and the USA. The writer G. Grebenshchikov, having moved to the USA in 1924, organized the Russian publishing house "Alatas" here. Several Russian publishing houses were opened in New York, Detroit, and Chicago.

The literature of the Russian diaspora is made up of three waves of Russian emigration. The emigration of the first wave is a tragic page in Russian culture. This is a unique phenomenon both in terms of its mass character and in terms of its contribution to world culture. The mass exodus from Soviet Russia began already in 1919. More than 150 writers and more than 2 million people left. In 1922, by order of the State Political Directorate (GPU), more than 160 religious and philosophical writers (N. Berdyaev, N. Lossky, S. Frank, I. Ilyin, F Stepun, L. Shestov), ​​prose writers and critics (M. Osorgin, Y. Aikhenvald and others), doctors, university professors. The flower of Russian literature left Russia: I. Bunin, A. Kuprin (later returned), B. Zaitsev, I. Shmelev, A. Tolstoy (returned in 1923), D. Merezhkovsky, 3. Gippius, K. Balmont , I. Severya-nin, Vyach. Ivanov and others. The emigration of the first wave preserved all the main features of Russian society, represented, according to Z. Gippius, "Russia in miniature."

The main centers of Russian emigration in Europe were Berlin (mostly playwrights and theatrical figures settled here), Prague (professors, artists, poets), Paris (which became the capital of Russian culture). In the East, emigrants were received by Shanghai, Harbin (S. Gusev-Orenburgsky, S. Petrov-Skitalets, A. Vertinsky, N. Baikov).

In the literature of the first wave of emigration, two generations were clearly distinguished: the older one, whose representatives were formed as writers on Russian soil, they were known to the Russian reader, had their own established style, and were widely published not only in Russia. These are almost all symbolists, except for A. Blok, V. Bryusov and the returned A. Bely (3. Gippius, K. Balmont, D. Merezhkovsky), futurists (I. Severyanin, N. Otsup), ac-meists (G. Ivanov , G. Adamovich), realists (I. Bunin, I. Shmelev, B. Zaitsev, A. Kuprin, A. Tolstoy, M. Osorgin). Groups formed around them, circles of writers of the younger, so-called "unnoticed" generation. These are those who in Russia were still beginning their formation, printing individual works, but did not have time to develop as a writer or poet with his own style. Some of them grouped around Bunin, forming a "Bunin circle" (G. Kuznetsova, L. Zurov). Others united around Khodasevich, creating the Crossroads group. They focused on strict forms (neoclassicism). This is Yu. Terapiano, Vl. Smolensky, N. Berberova, D. Knut, Yur. Mandelstam.

Around G. Adamovich and G. Ivanov, the Paris Note group (I. Odoevtseva, B. Poplavsky, A. Ladinsky) formed. The main thing in creativity is simplicity: no complex metaphors, no detail, only the most general, even abstract. They continued acmeism, although they also turned to the experience of symbol sheets. Themes are love, death, pity. material from the site

The members of the "Kochevye" group (headed by M. Slonim) tried to experiment with the word and form. They inherited the traditions of futurism, especially those of V. Khlebnikov (A. Ginker, A. Prismanova, V. Mamchenko).

The main theme of creativity at the very beginning of emigration (1918-1920) was the "explosion of anti-Soviet passions." I. Bunin's "Cursed Days" is published, a book of notes and diary entries by a person who saw the first post-war years from the inside. In a number of places, it echoes M. Gorky's "Untimely Thoughts" (about Asiaticism and savagery in the Russian man, about the guilt of the intelligentsia, which for so long accustomed the people to the idea that he was a sufferer and a passion-bearer, for so long brought up hatred in him that now she herself is horrified by the fruits, about the atrocities of soldiers and commissars, etc.).

In the Silver Age, Russian culture declared itself as one of the leaders of the world spiritual movement. silver Age was interrupted by political, military and social upheavals of 1917-1920. But a powerful cultural movement could not disappear in one moment only from external unfavorable circumstances. The Silver Age has not disappeared. It was torn apart, and most of it continued to exist in the culture of "Russia 2", as the Russian emigration of the years is sometimes called.

The second wave emerged at the end of World War II. The third wave began after Khrushchev's "thaw" and carried out of Russia the largest writers (A. Solzhenitsyn, I. Brodsky, S. Dovlatov). The most cultural and literary significance is the work of the writers of the first wave of Russian emigration.

The concept of "Russian abroad" arose and took shape after the October Revolution of 1917, when refugees began to leave Russia en masse. After 1917, about 2 million people left Russia. In the centers of dispersion - Berlin, Harbin, Paris - "Russia in miniature" was formed, which retained all the features of Russian society. By the mid-1920s, it became obvious that Russia could not be returned and could not be returned to Russia..

The desire to “keep that really valuable thing that inspired the past” is at the heart of the work of writers of the older generation, who managed to enter literature and make a name for themselves back in pre-revolutionary Russia. In exile, prose writers of the older generation create great books: the Nobel Prize in 1933.

The main theme of the literature of the older generation was the theme of nostalgic memory of the lost homeland. The most frequently used themes are - longing for "eternal Russia"; - events of the revolution and civil war; - Russian history; - Memories of childhood and youth.

Contrasting "yesterday's" and "current", the older generation made a choice in favor of the lost cultural world of old Russia, not recognizing the need to get used to the new reality of emigration. This also determined the aesthetic conservatism of the “senior”: “Is it time to stop following in the footsteps of Tolstoy?” Bunin was perplexed. “And whose footsteps should we follow?”

Test yourself. 1. How many periods of Russian emigrant literature do you know? List the dates for these periods. 2. What centers of dispersion of Russian emigration do you know? What is the difference? 3. From what year does the heyday of Russian foreign literature begin? What kind of books are being created? 4. What are the names of writers and poets who emigrated abroad? 5. What views did writers and poets of the older generation adhere to in literature? What is the aesthetic conservatism of the "senior" expressed in? 6. Who was called the “overlooked generation”?

“Perhaps the most valuable contribution of writers to the general treasury of Russian literature will have to be recognized as various forms of non-fiction” - G. Struve (researcher of émigré literature) Criticism Essayist philosophical prose High journalism Memoir prose

Emigrants have always been against the authorities in their homeland, but they have always passionately loved their homeland and fatherland and dreamed of returning there. They kept the Russian flag and the truth about Russia. Truly Russian literature, poetry, philosophy and faith continued to live in Foreign Russia. The main goal was for everyone to “bring a candle to the homeland”, to preserve Russian culture and the unspoiled Russian Orthodox faith for the future free Russia.

Test yourself! 1. What is the main motive of the works of writers of the younger generation of emigrants? 2. What forms of non-fiction did emigre writers bring to Russian literature? 3. Explain the term "intermediate position" of some poets. Name these poets. 4. What was the purpose of the immigrant writers?

Read excerpts from Irina Odoevtseva’s book “On the Banks of the Neva” and answer the question: “How does Blok appear to readers in her memoirs: “Of course, Blok, like all of us, and perhaps even more than all of us, is swamped with work. He's almost a director Alexandrinsky Theater and treats his duties so honestly that he delves into everything resolutely, lectures the actors on Shakespeare, analyzes their roles with them, and so on. True, the actors idolize him. Monakhov said the other day: “We play only for Alexander Alexandrovich. For us, his praise is the highest reward.” “Of course, Blok is swamped with work. Besides, he himself carries firewood to the third floor and splits it himself, he is such a white-handed gentleman. And at home he has a continuous hell, not a "quiet hell", but with slamming doors, shouting for the whole house and female tantrums. Lyubov Dmitrievna, Blok's wife, and his mother cannot stand each other and quarrel from morning to night. They are now all settled together. And Blok loves them both more than anything in the world. Block puzzle. Nobody understands him. They judge him wrongly ... It seems to me that I have figured it out. Blok is not at all a decadent, not a symbolist, as he is considered. Block romantic. A romantic of the purest water, and besides - a German romantic ... German blood is strongly felt in him and is reflected in his appearance. Yes, Blok is a romantic with all the advantages and disadvantages of romanticism. For some reason, no one understands this, but this is the key, the key to his work and his personality.

The emigrants formed a unique community abroad. Its exclusivity consisted in the super-task that history set before the refugees from Russia: “Not a single emigration ... received such an imperative order to continue and develop the work of its native culture as foreign Russia.” The preservation and development of Russian culture in the traditions of the Silver Age and puts emigration in the 20th x - 30-ies in the position of a cultural phenomenon. Neither the second nor the third waves of emigration from Russia set common cultural and national goals.

In terms of composition, the group of “unreliable” deportees (the first wave of emigration) consisted entirely of the intelligentsia, mainly the intellectual elite of Russia: professors, philosophers, writers, and journalists. The emigrant newspapers called this action a "generous gift" for Russian culture abroad. Abroad, they became the founders of historical and philosophical schools, modern sociology, and important trends in biology, zoology, and technology. The “generous gift” to the Russian diaspora turned into a loss for Soviet Russia of entire schools and trends, primarily in historical science, philosophy, cultural studies, and other humanities.

The expulsion of 1922 was the largest state action of the Bolshevik authorities against the intelligentsia after the revolution. But not the latest. The stream of expulsions, departures and simply flight of the intelligentsia from the Soviet Union dried up only by the end of the 20s, when an “iron curtain” of ideology fell between the new world of the Bolsheviks and the entire culture of the old world. By 1925 - 1927 the composition of "Russia 2" was finally formed. In emigration, the proportion of professionals and people with higher education exceeded the pre-war level.

The active continuation of the spiritual traditions of the Silver Age was also facilitated by the high proportion of cultured people in the emigration. A unique situation has arisen: there is no state, no government, no economy, no politics, but there is culture. The collapse of the state does not entail the death of the nation! Only the death of a culture means the disappearance of a nation!

This ephemeral "Russia 2", having no capital, no government, no laws, kept only one thing - the preservation of the former culture of Russia in a foreign cultural, foreign environment. In this, the emigration saw the only historical meaning of what had happened, the meaning of their existence. “We are not in exile. We are in the message,” said D.S. Merezhkovsky. The task of preserving the culture of the vanished old Russia has grown into the mission of the Russian emigration.

In a situation of national “dispersion”, the Russian language turned out to be the main sign of belonging to the departed Russia. Newspapers, magazines, books - all this was the only effective way to preserve and transmit cultural traditions. Newspapers, magazines, books - have become the most effective means of uniting emigration.

To establish some semblance of a national spiritual life, it was necessary creative association. The spiritual life of emigration began to gather around small intellectual points of gravity: publishing houses, educational and educational institutions. Emigrant libraries and archives quickly formed.

Among the libraries, the library to them was especially distinguished. I.S. Turgenev in Paris. It was founded back in 1875 by I.S. Turgenev himself with the support of the singer Pauline Viardot. In the 1920s and 1930s, the Turgenev Library experienced its second heyday. Its funds received not only books and magazines published in exile, but also literature, documents, letters, and diaries exported from Russia.

In the Turgenev Library, its own museum began to be completed with paintings donated by artists, with personal belongings of Chaliapin, Bunin, Lifar, Nijinsky, Benois. The disaster came in 1940 when the German army occupied Paris. Most of the library stock was taken to Germany. The exported funds disappeared, their fate is still unknown. After World War II, the Turgenev Library in Paris was restored, albeit on a more modest scale. It is still in effect today.

Russian cultural centers in emigration provided a kind of "protection" from a different cultural environment, contributed to the preservation of their own cultural traditions. So many purely Russian institutions were created that one could be born, study, marry, work and die without speaking a word of French. Among the emigrants there was even such a joke: "Paris is a good city, only there are too many French here."

But a real, full-fledged literary salon in Paris can be considered Sunday meetings in the apartment of Gippius and Merezhkovsky on the Rue Colonel Bonnet. There were politicians, philosophers, sometimes Bunin came in. The queen of the salon was the hostess herself - "the magnificent Zinaida."

Literary society with Pushkin's name " green lamp” turned out to be popular and existed for more than 10 years. At its meetings, they listened to reports on culture and literature, read new works. P. Milyukov, A. Kerensky, I. A. Bunin, A. N. Benois, G. Ivanov, I. Odoevtseva and others were here.

The main mechanism for the existence of Russian culture abroad was the principle of "cultural nest", which assumed close interaction of all spheres of creativity: literature, music, painting, scenography. Artistic tastes have also become relatively more conservative: realism, symbolism, modernity. Avant-garde searches of the 10s. did not take root in emigration. The interaction of artists in exile sometimes turned into a direct vital necessity for survival.

Check yourself 1. Why is the society that emigrants made up considered unique? What is its exclusivity? 2. What kind of "generous gift" of Russians did the émigré newspapers write about? 3. What do you know about Russia 2? 4. What was the most effective way to unite emigrants?

Continue the sentence! “Not a single emigration has received such an imperious order…” “In emigration, the proportion of professionals and people with higher education…” “The collapse of the state does not entail… It only… means…” Dmitry Merezhkovsky said: “We are not in exile. We…." “We didn’t leave Russia…”

Today, the dream of the first emigrants is coming true: their works, as well as the writings of the writers of the two subsequent waves of emigration, are returning to their homeland, their names are heard among those who enriched Russian culture and science. The first attempts were made to scientifically comprehend the contribution of the Russian diaspora to the national and world culture.

Preview:

Lesson topic: Russian Abroad. Russian literature and literature of the Russian diaspora.

returned to domestic literature names and works

Lesson Objectives:

1. To introduce students to one of the most dramatic pages in the history of the Fatherland.

2. Help students understand the causes and meaning of emigration, its impact on the development of Russian and foreign culture.

3. To develop the intellect of students, replenish the active vocabulary, form the ability to logically, consistently present educational material.

4. On the examples of biographies and destinies of cultural figures, their works, to instill in students love for the motherland, moral culture, aesthetic taste.

Equipment: epidiascope, magnetic board, tape recorder (or multimedia projector), portraits of F. I. Chaliapin, I. Bunin, M. Tsvetaeva, S. Rachmaninov, K. Balmont, reproductions from paintings by N. Roerich, music (“Polonaise” by M. Oginsky , romances).

Lesson type: integrated lesson.

Interdisciplinary connections:literature, history, aesthetics.

Methodological goal of the lesson:active forms of education and upbringing of students based on the integrated use of didactic and technical means, methods of advanced tasks.

During the classes

1. Organizational moment.

P. Actualization of basic knowledge.

1. What do you think is the main content of the pre-October period of our history?

2. What do you think is the main content of the Soviet period of our history?

3. How moral lessons teaching us National history XX century?

III. Learning new material.

Sounds "Polonaise" M. Oginsky.

Does anyone know the title of this piece? (Farewell to the Motherland). It was not by chance that I chose this music, because today we will talk about the Motherland and people who, for one reason or another, are forced to leave their Motherland - Russian emigrants.

Various motives prompted them to do this: political, economic, religious, etc. Today, the Russian diaspora appears before us in all its diversity. This is our common drama and tragedy, not fully realized and disclosed.

Many people in different eras fled from Russia - Prince Kurbsky and writer A. Herzen, Dukhobors, schismatics, enemies of tsarism - Narodnaya Volya and Social Democrats. However, the turning point that changed the meaning of the former concept of "emigration" was October 1917.

The purpose of our lesson: to understand and feel the drama of human destinies, to understand the causes and meaning of emigration, its impact on the development of Russian and foreign culture

Students write down the topic of the lesson and the epigraph:

You are in the heart, Russia!

You are the goal and the foot

You are in the murmur of blood, in the confusion of dreams!

And should I stray in this age of off-road?

You still shine for me...

V. Nabokov.

one). Causes of the "first wave" of Russian emigration.

The disasters of the First World War, the upheavals of two revolutions, finally, the troubled time of intervention, civil war, "red" and "white" terror, famine, rampant crime - all this became the main reasons that hundreds of thousands Russian citizens were forced to leave their homeland. The mass exodus of refugees began in early 1919 and peaked in 1920, when the troops of Denikin and Wrangel left Novorossiysk and the Crimea. The fact that the Bolsheviks not only did not interfere with the emigration process also played a role, but they themselves practiced forced repatriation. So, only officially more than 250 thousand people were expelled from the country: one can recall the infamous “philosophical ship”, on which about 300 Russian thinkers were expelled in 1922. By the mid-20s. in connection with the “Iron Curtain” policy that was being established by the Bolsheviks, the flow of emigrants is drying up: many Russian citizens are trying in vain to get permission to leave, but instead of expulsion, the authorities are increasingly practicing the destruction of dissidents or sending them to concentration camps. Almost the last of the Russian writers who managed to legally leave the country, E. Zamyatin, after long ordeals and written appeals to Stalin, in 1931 obtained permission to leave. In total, according to the League of Nations, as a result of the October Revolution and the events that followed it, 1,600,000 Russian citizens left the country and registered as refugees; emigrant organizations also call the figure 2 million. There was also a reverse process - before the war, no more than 182 thousand Russians returned to their homeland, among them were such well-known writers as A. Bely (1923), A. N. Tolstoy (1923), M. Gorky (1928, finally - in 1933), I. Ehrenburg (1934), A. Kuprin (1937), M. Tsvetaeva (1939) and some others.

2). Composition of the Russian emigration.

The “first wave” of Russian emigration was mainly made up of people of a fairly high educational, cultural, professional and material level: first of all, it was Russian white officers, professors, bureaucrats, people employed in the unproductive sphere (lawyers, doctors, teachers, entrepreneurs, etc.). . p.), including representatives creative professions- writers, musicians, actors, artists, leaders of opposition parties to the Bolsheviks. Therefore, there is nothing surprising in the fact that a powerful culture was created (or, one might say, preserved and continued) in exile. Among those who make up a galaxy of major figures in world culture are our compatriots who lived far from Russia: the singer F.I. Chaliapin; composers S. Rachmaninov, A. Glazunov, writers and poets I. Bunin, A. Kuprin, M. Tsvetaeva, K. Balmont, ballerina A. Pavlova, artist K. Korovin. (Their portraits are shown through the epidiascope.) Among the biographies of famous compatriots who lived abroad, an unusual life story stands out famous artist N. Roerich. ( Curriculum vitae, through the epidiascope - a portrait, reproductions of his paintings.)

If you look closely at the reproductions of his paintings, you will feel the great miracle of harmony human soul and space.

The pride of Russia, the embodiment of the best features of the Russian people, his deep talent is F. I. Chaliapin (portrait). The story about the singer (audio recordings).

Music by S. Rachmaninov, a portrait of the composer. Story about him.

Tragic was the fate of I. Bunin, who lived with memories of that Russia, which was close and understandable to him (portrait, story about the poet, poem "Motherland").

Living most of their lives abroad, many poets could not find peace and solitude in it. The motherland has always been relentless, before our eyes. This is evidenced by their poems, letters, memoirs. V literary world the name of Konstantin Balmont was widely known (portrait, short story about the poet, the poem "In the dead days"). The Russian diaspora had its own network of higher educational institutions (Russian University, Technical Institute, Agricultural School in Prague).

In the early 1920s in Prague, Belgrade, Paris, using state financial support, associations of Russian zemstvo and city leaders (Zemgor) arose. In Paris, Zemgor was headed by Prince G. Lvov, the former Prime Minister of the Provisional Government. With the help of Zemgor, Russian schools were created in the style of the old gymnasiums. The Russian gymnasium in Paris was founded in the fall of 1920 and lasted 40 years. The Russian emigration organized various scientific societies: engineers, chemists, etc. Igor Sikorsky made a great contribution to science.

3). "Second wave" of Russian emigration: causes, composition.

The "second wave" of emigration was caused by the events of the Second World War. The main flow of emigrants was, according to one of the leading researchers of this period V. Agenosov, “... citizens of the Baltic republics who did not want to recognize Soviet power; prisoners of war who rightly feared returning home; young people taken from the territory occupied by the Nazis to Germany as cheap labor; finally... people who consciously embarked on the path of struggle against Soviet totalitarianism.” Data on the number of emigrants of the "second wave" differ significantly, since before the 1951 convention, which actually marked the beginning of the Cold War, representatives of the Soviet Repatriation Commission freely traveled around Europe and where by persuasion, and where by force they forced emigrants to return to their homeland, and many, fearing repatriation, hid their true citizenship, nationality, and name. Therefore, according to the League of Nations, only 130 thousand people were registered as official refugees, while according to other data only in Europe by 1952 there were 452 thousand, and in the USA by 1950 - 548 thousand displaced persons from the USSR. Basically, emigrants of the “second wave” concentrated in Germany and (most) in the USA.

4). main representatives. literary destiny.

The composition of the emigrants of the "second wave", in contrast to the "first", was more random: among the displaced persons there were many people who were culturally unenlightened, and this served main reason why the "second wave" did not become as powerful a cultural phenomenon as the "first". The largest names among the writers of this period are the poets and prose writers Ivan Burkin, Ivan Elagin, Yuri Ivask, Dmitry Klenovsky, Vladimir Maksimov, Nikolai Morshen, Vladimir Markov, Nikolai Narokov, Leonid Rzhevsky, Boris Filippov and Boris Shiryaev. In 1946, the "magazine of literature, art and social thought" "Frontiers" began to appear, and in Paris it was resumed as the magazine "Renaissance" (1949-1974), in New York since 1942 and still exists "New Journal ”(by the end of 1999, more than 214 issues were published).

5). "Third wave" of Russian emigration: causes, composition.

The disappointment of the "sixties" in the short duration of the "thaw", the onset of "stagnation" in the social and cultural life of the country; a change in the policy of the Soviet state, again, as in the era of Lenin's rule, replacing the physical elimination or isolation of those objectionable by their expulsion abroad; Cold War-induced support by Western countries for the dissident movement in the USSR; Israel's policy of "reunification" of the Jews - all this became the causes of the emergence from the 2nd half of the 60s. "third wave" of Russian emigration. The first official emigrant was the writer Valery Tarsis (1966); in the 70s. the exodus took on a mass character. The main countries that received Russian emigrants were the United States, Israel and Germany, to a lesser extent - France, Canada and Australia.

6). The main representatives of the literature of the "third wave" of Russian emigration.

Vasily Aksenov (1980), Joseph Brodsky (1972, expelled), Vladimir Voinovich (1980), Alexander Galich (1974), Anatoly Gladilin (1976), Friedrich Gorenstein (1980), Sergei Dovlatov (1978), Alexander Zinoviev (1977), Naum Korzhavin (1973), Yuri Kublanovskiy (1982), Eduard Limonov (1983), Vladimir Maksimov (1974), Viktor Nekrasov (1974), Sasha Sokolov (1975), Andrey Sinyavsky (1973), Alexander Solzhenitsyn (1974, expelled), Boris Khazanov (1982) and many others. others

7). Features of the literature of the "third wave" of Russian emigration.

There is a belief that the best of the works of the “third wave” émigré writers published abroad were written at least in general terms back in their homeland. Unlike the authors of the "first wave", these writers mainly developed as creative personalities in the context and logic of Soviet literature and culture (it is not without reason that some critics find features of the poetics of socialist realism in A. Solzhenitsyn's prose), although they were also influenced by foreign literature, primarily works published during the Khrushchev "thaw" (E. M. Remarque, E. Hemingway, F. Kafka), as well as works of the Silver Age and the 20s, gradually published in the 60-70s. or those who went to "samizdat" (A. Akhmatova, M. Tsvetaeva, O. Mandelstam, B. Pasternak, I. Babel, B. Pilnyak, D. Kharms and many others). In fact, the works of the authors of the "third wave" of emigration are distinguished only by a greater degree of political courage and aesthetic emancipation in comparison with the works that found an official way to the reader in the USSR.

eight). The literary process of the "third wave" of Russian emigration.

In exile, many writers were forced to combine literary activity with journalism, working at radio stations broadcasting in the USSR (Voice of America, Svoboda, Deutsche Welle, BBC, etc.), as well as in emigrant periodicals - the magazines Grani (Frankfurt-on- Maine, Germany), Echo (Paris), Time and Us (Tel Aviv, New York, Paris), Continent (Munich), Vestnik RHD (Paris, Munich, New York), "Syntax" (Paris), "New Journal" (New York), etc. These publications also published works of art immigrant authors. There were several fairly large Russian publishing houses that published both writers from Russian abroad and disgraced authors who remained at home. The most famous of these publishing houses: named after A.P. Chekhov (New York), "IMKA-Press" (Paris), "Posev" (Frankfurt am Main). However, according to many exiles, the literary environment of the Russian diaspora was torn apart by contradictions: there was a serious struggle between representatives of either the real and the national conservative camps, rivalry over funding, many emigrants were forced to observe “political correctness” in relation to countries and organizations, their sheltered. In a word, there was much less unity in the ranks of the émigré writers of the "third wave" than among their predecessors. With the fall of the Iron Curtain and the beginning of the liberalization of the Russian economy and politics, Russian emigration lost its political significance: some (like A. Solzhenitsyn and Sasha Sokolov) chose to return, others (like V. Voinovich, E. Limonov) spend most of their time in Russia, while others (I. Brodsky (1996), A. Galich (1977), S. Dovlatov (1999), V. Nekrasov (1987) and others) will never return. At the same time, some critics started talking about the "fourth wave" of emigration, which is based on reasons of a more material or psychological rather than political nature: many prominent writers now prefer to live abroad, while remaining participants in the Russian literary process, and among them - E. Yevtushenko, T. Tolstaya and others.

How do you understand the words of V. Nabokov: "It turned out to be a striking paradox: inside Russia there is an external order, outside Russia - internal"!

Belief in their special writing mission, a sense of duty to Russia led to the fact that, having parted with their homeland, emigre writers turned to it with all their work, and if Soviet authors were forced, in accordance with the dogmas of socialist realism, to idealize the Soviet reality surrounding them , then the authors of the Russian diaspora did the same in relation to the recent past.

We leafed through with you only some of the pages from the life of the Russian abroad.

According to the Rodina society, in 1999 the number of our compatriots abroad was more than 30 million people. About 10 million Russians live in the USA alone.

V. Fixing the topic. Conclusions.

World significance of the culture of Russian emigration.

Tragic events of the XX century. led to the emergence of such a unique phenomenon as the literature of the Russian diaspora. Her main feature in all periods was that, even enriched as a result of contacts with neighboring literatures, it retained spiritual ties with the national culture, remaining its most important and inseparable part.

Significance for the world culture of the tragic story of expulsion from home country It is difficult to overestimate the creative elite of Russia: the music of S. Rachmaninov I. Stravinsky, the painting of the father and son of the Roerichs and V. Kandinsky, the ballet of V. Nijinsky and S. Lifar, the singing gift of F. Chaliapin and P. Leshchenko, the philosophical works of L. Shestov and N Berdyaev, the scientific achievements of the economist V. Leontiev and the inventor I. Sikorsky, and many others. etc. - all this was a precious contribution of Russian culture and science to the world. The global recognition of the literature of the Russian diaspora is evidenced by the fact that among its representatives there are two Nobel Prize winners (I. Bunin 1934 and I. Brodsky 1987), which D. Merezhkovsky and I. Shmelev also claim, whose works, like books

M. Aldanova, R. Gul, N. Berberova and many others. etc., are also translated into different languages ​​and find resonance in the world. It can be said with certainty that the contribution - intellectual, cultural, material, even genetic - of the best representatives of our people, who were abandoned by their native country, played a role in the rapid development of the countries of the West and America.

V. The results of the lesson.

VI. Homework: pick up material about writers - emigrants, read the work of V.V. Nabokov "Circle".