The history of the creation of the contemporary magazine is brief. Magazines as socio-political publications (Otechestvennye zapiski and Sovremennik). journalism profession creative contemporary
Journals as socio-political publications (Otechestvennye zapiski and Sovremennik)
Let us dwell on two significant journals of the 1940s - Otechestvennye zapiski and Sovremennik.
The first book "Notes of the Fatherland" was published in January 1839. The journal became a continuation of the journal, which from 1818 to 1831 was published by the official of the Foreign Affairs College P.P. Svinin. But only by name. With the arrival of A.A. Kraevsky - editor and publisher of a progressive persuasion - the magazine changed and became, as already mentioned, one of the brightest publications of its time. Kraevsky attracted the most prominent Russian scientists and writers to cooperate in the journal, setting the goal of the publication "to convey to the domestic public everything that could only be found in literature and life, wonderful, useful, and pleasant." This task, stated in the program announcement, became the main one in the activities of the editorial board. From a boring publication filled with the editor's own articles on historical and geographical topics, as well as reports on the customs and life of the Russian people, the updated Otechestvennye Zapiski transformed into one of the leading publications. Its publication became an important event in the book industry, literature and culture.
The volume of the magazine was 40 printed sheets. The magazine consisted of the departments "Contemporary Chronicle of Russia", "Science", "Literature", "Arts", "Agriculture and Industry in General", "Modern Bibliographic Chronicle", "Mix".
The rubrication shows that it was a universal encyclopedic journal. Among the authors of the journal V.A. Zhukovsky, P.A. Vyazemsky, V.F. Odoevsky, D.V. Davydov, M.P. Pogodin, M.A. Dmitriev, S.T. Aksakov, M. Yu. Lermontov, V.A. Sollogub, I.I. Panaev is the flower of Russian literature.
We can say that the success of the publication is determined by the selection of authors, the variety of topics. But most importantly, the editor took into account that the "journal triumvirate" N.I. Grech, F.V. Bulgarin, O. I. Senkovsky does not satisfy either the reading public, much less the writers. And the opposition to the editions of the "triumvirate" has become an urgent task of the "Notes of the Fatherland". The editor felt the urgent need of the reading public for good quality literature.
V.G. Belinsky, and then became his permanent employee, taking over the leadership of the critical-bibliographic department.
Belinsky attracts Botkin, Bakunin, Granovsky, Ketcher, Kudryavtsev, Ogarev, Herzen, Nekrasov, Turgenev to work in the magazine. Otechestvennye zapiski became the journal of realist writers, the political tribune of Belinsky and Herzen.
Here, in the 40s, many wonderful works of fiction, criticism, journalism, scientific and popular science articles and other interesting and high-quality materials of domestic and foreign authors were published.
But, obviously, the main success and authority of the journal was based on the fact that the editor made it a single whole, selecting materials of one direction for publication. In the magazine, works of fiction, scientific articles, and critical-bibliographic articles were united by a single idea - the idea of social reorganization of society, the idea of the struggle for social justice, for socialism. Literary and artistic works belonged to the natural or realistic school, had a civic, social orientation, met the criteria of nationality, truthfulness in depicting reality.
The journal "Otechestvennye zapiski" of the 40s was the best magazine of his time, the experience of which has not lost its significance today, thanks to the purposeful policy of the editors and their ability to capture the aspirations and aspirations of readers, thanks to high quality published materials - brilliant works of poetry, prose, literary criticism. As of 1847, the magazine had 4,000 subscribers. This magazine can be considered as a model for the work of the editor and all editorial staff.
The "face" and the level of the edition are determined by the editorial staff. This is confirmed by the experience of magazines in the 40-60s of the 19th century. When Nekrasov and Panaev bought the Sovremennik magazine from Pletnev, Belinsky joined him and most of the staff and writers who made up his circle began to work in this magazine. Otechestvennye zapiski gradually lost their meaning as the most advanced and radical journal of its time. His place was taken by Sovremennik.
The first issue of the reformed Sovremennik magazine was published on January 1, 1847. The official editor of Sovremennik was A.V. Nikitenko, and Belinsky was his ideological leader. And "Sovremennik" - until the death of Belinsky and the emigration of Herzen - became a journal of the revolutionary democratic direction. The sections of the journal include the works of the best democratic writers, philosophers and scientists. Belinsky's articles "A Look at Russian Literature of 1847", "Selected Passages from Correspondence with Friends", "Answer to a Moskvityan" "and others became the adornment of the critical-bibliographic department, in which the principles of realistic folk art, which had ideological and social significance, were defended. Here were published the novels "Who is to blame?", "Forty-thief", "Notes of Doctor Krupov" by Herzen; "An Ordinary History" by Goncharov, works by Turgenev, Grigorovich, Druzhinin, Nekrasov, Ogarev, Maykov, translations from Schiller, Goethe, Georges Sand. All works met the ideological and artistic requirements that Belinsky presented to fiction and which he expounded in his critical articles.
In Sovremennik, political and economic works, articles on general problems of natural science, geography, astronomy, zoology, chemistry, etc. were published. In the "Mix" section, materials were published on socio-economic and political issues of domestic and international life. In fact, this department replaced the socio-political departments. And the entire magazine as a whole had a socio-political meaning.
The journals Otechestvennye zapiski and Sovremennik give grounds for thinking about the importance of an editor. The experience of these journals in the period under review convincingly shows that organizational work should be the most important direction of the editorial board. It includes the formation of the author's asset, the selection of works, and it is important that the organizational work is subordinated to the general direction of the publication, which should determine the content of this work.
The revolution in Europe in 1846 was reflected in Russia by an increase in censorship oppression. The years of activity of the Menshikov Committee, which deprived all publications of the opportunity to reflect the revolutionary events in Europe, to propagandize advanced revolutionary ideas, have gone down in history with the "gloomy seven years". In addition to the committee chaired by A.S. Menshikov, who was instructed to carefully examine the content of the published magazines and the actions of the censorship, in the same 1848 the so-called "April 2 committee" was created, the jurisdiction of which was subject to all works of print.
Magazines fade, lose their direction. From the point of view of the theory and practice of editing, this period is very characteristic and gives rise to certain conclusions.
Since the editors were forced to work under constant strict censorship control, the selection of works had to be carried out primarily on the basis of censorship requirements. Now the publisher could not gather around his publication a certain group of writers who were united by a common social position. Editors printed materials that could pass censorship. And the writers offered their works to those publishers who were ready to publish them, regardless of the general direction of the magazine. This leads to the fact that the magazines lose their social significance... The once heated controversy between them on the hottest issues of our time turns into the sphere of small, insignificant disputes over specific shortcomings and errors in publications or the work of employees. The level of journalistic criticism, which mainly touches on highly specialized aesthetic issues, is sharply reduced. The genre of the literary review is transformed into a bibliographic chronicle. The genre of literary feuilleton, which was replaced by critical analyzes and serious reviews, became widespread. The content of science departments is changing. Social, economic problems give way to highly specialized practical issues.
Nekrasov's Sovremennik also loses its positions for a while. Only in the 60s, when N.G. Chernyshevsky and N.A. Dobrolyubov, the magazine again becomes one of the brightest publications of its time.
journalism profession creative contemporary
Sovremennik is a literary and socio-political magazine published in St. Petersburg in 1836-1866; until 1843 - 4 times a year, then - monthly. He published poetry, prose, critical, historical, ethnographic and other materials. The founder of Sovremennik is A. Pushkin, who attracted N. V. Gogol, P. A. Vyazemsky, V. F. Odoevsky and others to participate in the journal. After the death of Pushkin, the magazine fell into decay, and P. A. Pletnev, who had published it since 1838, in 1847 handed over Sovremennik to N. A. Nekrasov and I. I. Panaev.
Nekrasov attracted Ivan Turgenev, IA Goncharov, AI Herzen, and NP Ogarev to the Sovremennik; published translations of the works of C. Dickens, J. Sand and other Western European writers. In 1847-1848, the official editor was A.V. Nikitenko, the ideological leader V.G.Belinsky, whose articles determined the journal's program: criticism of modern reality, propaganda of revolutionary democratic ideas, the struggle for realistic art. The circulation of Sovremennik in 1848 was 3,100 copies. Emigration of Herzen (1847), especially the death of Belinsky (1848), political reaction and censorship persecution, which intensified after 1848, complicated the work of the editorial board. But even during this period (1848-1855) Sovremennik defended the principles of a realistic trend in literature, published works by L.N., Tolstoy, Turgenev, Nekrasov, scientific articles by T.N. Granovsky, S.M. Soloviev. The most striking years in the history of Sovremennik were 1854-1862; The journal was headed by N. G. Chernyshevsky (since 1853) and N. A. Dobrolyubov (since 1856); all of their major works were included in the magazine. From the end of 1858, Sovremennik waged a sharp polemic with liberal and conservative journalism, and became the tribune and ideological center of revolutionary democracy. During these years Sovremennik was primarily a political magazine. In 1861 it published materials devoted to the discussion of the conditions for the abolition of serfdom from the point of view of the interests of the serf peasantry; the magazine promoted a revolutionary way of destroying the serf system. The polemic between Sovremennik and Kolokol dates back to 1859-1861, the first Russian revolutionary newspaper published by A.I. - in Geneva) in Russian and French... Circulation "K." reached 2500 copies. At the first stage, the K. program contained democratic demands: the liberation of the peasants with land, the abolition of censorship and corporal punishment. It was based on the theory of Russian peasant socialism developed by Herzen. At the same time, in 1858-61 in K. liberal illusions were manifested. In addition to articles by Herzen and Ogarev, "K." posted a variety of materials about the situation of the people, social struggle in Russia, information about abuses and secret plans of the authorities. During the revolutionary situation of 1859-61, the amount of information from Russia increased significantly and reached several hundred correspondences a month. reflecting a different understanding of the tasks of Russian democracy during the upsurge of the peasant revolution. Its revolutionary orientation led to a political demarcation in the editorial office: the liberal-minded Tolstoy, Turgenev, and D. V. Grigorovich left it. In 1861 the circulation of the magazine reached 7126 copies. In 1859 in Sovremennik Dobrolyubov founded the satirical section "Whistle", the satirical section of the journal "Sovremennik" . In 1859-1863, a total of 9 issues were published. The creator and main author of "S." was N. A. Dobrolyubov (see his Collected Works, vol. 7, 1963). In "S." collaborated N.A.Nekrasov, N.G. Chernyshevsky, M.E.Saltykov-Shchedrin, parodies of Kozma Prutkov were published (See Kozma Prutkov) . In accordance with the literary and political program of Sovremennik, S. denounced obscurantists and serf-owners, ridiculed the "progressives" - liberals, castigated "pure art". Among the satirical genres "S." poetic parody and literary feuilleton prevailed .. Death of Dobrolyubov (1861), suspension of publication of Sovremennik in June 1862 at 8 month, the arrest of Chernyshevsky (1862) caused irreparable damage to the magazine, the ideological line of which became less clear and consistent, which was reflected in the polemic with the "Russian Word". At the beginning of 1863, Nekrasov managed to resume the publication. V new edition In addition to Nekrasov, there were M. E. Saltykov-Shchedrin (until 1864), M. A. Antonovich, G. Z. Eliseev, A. N. Pypin. The contradictions within the editorial board led to a decrease in the ideological content of Sovremennik, but in the face of the ensuing reaction, it remained the best of the democratic journals. In 1863-1866 it published the novel What Is to Be Done? Written by Chernyshevsky in the Peter and Paul Fortress, the realistic works of Saltykov-Shchedrin, V. A. Sleptsov, F. M. Reshetnikov, G. I. Uspensky and others. closed. The continuation of the Sovremennik business was the Otechestvennye Zapiski, a Russian literary and socio-political monthly magazine published in St. Petersburg in 1868--84 by N.A.Nekrasov, M.E.Saltykov-Shchedrin, G.Z. Eliseev (after the death of N.K. Mikhailovsky joined the editorial board in 1877). The authors were (apart from the editors themselves) A. N. Ostrovsky, G. I. Uspensky, V. M. Garshin, D. N. Mamin-Sibiryak, S. Ya. Nadson, and others. Pisarev, then - AM Skabichevsky, Mikhailovsky. The program "Otechestvennye zapiski" reflected the search for Russian revolutionary thought in the 1970s and early 1980s. 19th century: a smaller part of the employees (Saltykov-Shchedrin, Nekrasov, etc.), seeing the growth of capitalism in Russia, were skeptical about the hopes for the peasant community as the basis of the socialist system; the majority, however, considered capitalism an inorganic phenomenon for Russia, which could be opposed by the revolutionary intelligentsia and the "foundations" of the community (most of the "community members" subsequently abandoned the ideas of the revolutionary struggle). Literary criticism of Otechestvennye zapiski actively defended the work of populist writers. The magazine waged an energetic struggle against reactionary journalism (especially with the "Russian Bulletin", expressed sympathy for the revolutionary underground, being essentially its legal organ. Having won the fame of the best democratic publication of its time, "Okhotniche Zapiski" were persecuted by the tsarist government and were closed. and Saltykov-Shchedrin.
On April 23, 1836, the first issue of the Sovremennik magazine was published. A small publication founded by Alexander Pushkin and initially unsuccessful, over the years of its existence has become one of the largest phenomena in Russian journalism and literature. The magazine raised a whole generation of Russian writers and became the ideological center and tribune of the revolutionary-democratic direction of social thought.
From Pushkin and Pletnev to Nekrasov and Panaev
Initially, the magazine was published four times a year. One of the first serious periodicals, in which actual problems were masked by allegories and hints, "Contemporary" did not bring either money or fame. The magazine gained about 600 subscribers, but initially there were no problems with the authors. The magazine published Nikolai Gogol, who became famous by that time for his "Evenings on a Farm near Dikanka", the founder of Russian romanticism Vasily Zhukovsky, historian and statesman Alexander Turgenev, poets Yevgeny Boratynsky, Nikolai Yazykov, Alexey Koltsov and many others.
but financial difficulties nevertheless, they made themselves felt, and the last two, lifetime volumes of the magazine, Pushkin had to fill more than half with his works. These issues saw the light of "The Feast of Peter I" and "The Miser Tenner ".
After the poet's death in 1837, his friends struggled to keep the magazine alive. Initially, this was done by a group of writers led by Vyazemsky, and then the critic Peter Pletnev took over. Since 1843, the magazine even became a monthly one, but things were still not going well, and in 1846 Pletnev sold Sovremennik to Nikolai Nekrasov and Ivan Panaev.
The young poet and writer (Nekrasov was only 25 years old at the time of the deal with Pletnev) already had a successful publishing experience and enthusiastically took up the revival of the magazine, where most of the literary youth, who made up the main force of Otechestvennye zapiski published by Andrei Kraevsky, moved to. This was facilitated by Vissarion Belinsky, who moved to Sovremennik.
The road to literature
After the sale, the reputable magazine, which quickly gained fame, did indeed discover a number of talented writers, which speaks of Nekrasov's insight as an editor. Mikhail Saltykov-Shchedrin, Nikolai Ostrovsky, Nikolai Dobrolyubov published here, Ivan Turgenev returned to the magazine in 1847.
The first works of Turgenev appeared in Sovremennik long before the purchase of the magazine by Nekrasov, in 1838. The author was then 20 years old and he dreamed of becoming a poet. The former editor of the magazine, Pletnev, was also Turgenev's teacher at St. Petersburg University. It was to him that the young man showed his early literary experiences. The mentor severely criticized Turgenev's poetic work, but he nevertheless published two poems: "Evening" and "To the Venus of the Medici" were published in "Sovremennik" under the caption "..... въ".
Turgenev collaborated with the magazine until 1858, after which he left Sovremennik due to disagreement with editorial policy.
Fyodor Dostoevsky can be considered another pupil of Sovremennik, although he gained public and critical acclaim in 1846 after the publication of the almanac Petersburg Collection. His novel "Poor People" was published here. The rave reviews of future editors and authors of Sovremennik contributed much to the success. The first reader of the novel, Dmitry Grigorovich, showed the text to Nekrasov, and they "sat all night until the morning, reading aloud and alternating when one was tired." Further, the novel was referred to Belinsky for trial, who also highly appreciated it. Dostoevsky fell out with the future editorial board of the magazine in the same 1846, but this did not interfere with his career.
Perhaps one of the main discoveries of Sovremennik was Leo Tolstoy. In 1852, 24-year-old cadet Tolstoy sent to the editorial office "Childhood" - the first part of the future trilogy. A note was attached to the manuscript: “... I look forward to your verdict. He will either encourage me to continue my favorite activities, or make me burn everything I started. " Nekrasov appreciated the work of an unknown author and published it in a magazine, and sent an encouraging letter to Tolstoy. Childhood was a huge success and was highly praised by critics, among whom were Apollo Grigoriev and Nikolai Chernyshevsky. The latter, by the way, was also provided with the road to big literature by Sovremennik.
The first literary works of the future author of the novel "What is to be done?" began writing in the late 1850s. Having moved to St. Petersburg in 1853, Chernyshevsky published small articles in St. Petersburg Vedomosti and Otechestvennye zapiski. A year later, having finally put an end to his teacher's career, Chernyshevsky came to Sovremennik and already in 1855 began to actually manage the magazine along with Nekrasov and Dobrolyubov.
Nikolai Chernyshevsky was one of the ideologists of turning the magazine into a platform for revolutionary democracy, which turned a number of authors away from Sovremennik, among whom were Turgenev, Tolstoy and Grigorovich.
Another graduate of Sovremennik, Ivan Goncharov, did not accept the revolutionary ideology of his native magazine, who adhered to conservative views in politics.
The future writer became interested in literature in the 40s, when he met Belinsky. Once Goncharov read to "the frantic Vissarion" excerpts from his first novel "An Ordinary History". The novel was published in the third and fourth books of Sovremennik in the spring of 1847. This publication is still considered one of the most important in the author's work, which, however, did not prevent him from causing a lot of trouble for both Nekrasov and Sovremennik itself.
Epilogue
Nikolai Nekrasov and his associates for a long time and carefully kept the Sovremennik from the attacks of censorship. The journal survived in the years 1848-1855, which, due to the ferocity of the censors, is often called the "gloomy seven years." In 1862, the work of the magazine was suspended for more than six months "for a harmful direction", but Sovremennik returned to the arena of political and literary struggle without changing its course. The history of the magazine ended in May 1866, when Emperor Alexander II himself intervened in the case of closing the magazine.
1836 "Contemporary" was allowed as a literary collection, published four times a year. Outward appearance it resembled an almanac, with only two sections - "Poems" and "Prose".
Pushkin managed to turn a literary collection-almanac into a social literary journal with all the materials characteristic of such a journal - works of art, criticism, bibliography, articles on the history and theory of literature, articles in which questions of contemporary politics were raised (of course, not directly, but " oblique "), economics, national history, culture and education, there was a sharp polemic with the reactionary" journal triumvirate ".
After Pushkin's death in 1837, Vyazemsky, Zhukovsky, Odoevsky, Pletnev and Kraevsky published four volumes of Sovremennik in favor of the poet's family. In 1838, Pletnev acquired the right to Sovremennik, which at the end of 1846 was bought from him by Nekrasov and Panaev.
Pletnev failed to return Sovremennik to its former glory, it was a boring publication of an academic type, without criticism and polemics; he held on only to the publication of Pushkin's works, which were not published during the poet's lifetime.
In 1847, a new period began in the history of Sovremennik, which united the most advanced representatives of Russian social thought, headed by Belinsky, on its pages.
The Sovremennik magazine occupies a central place among the censored revolutionary-democratic publications in Russia in the mid-19th century. In the 50s and 60s, Sovremennik became the center of propaganda of the ideas of the democratic revolution. The magazine consistently defends the interests of the peasants - the main social force that fought for the destruction of the feudal-serf system. This direction was given to Sovremennik by a new edition, which included N. G. Chernyshevsky and N. A. Dobrolyubov.
Bringing Chernyshevsky to the magazine in 1854, Nekrasov pinned great hopes on him. The harsh censorship conditions and the dominance of liberal-minded employees in the editorial office made Sovremennik increasingly lose its edge. It was necessary to take a decisive step along the path of reviving Belinsky's traditions in order to further develop and multiply them.
In the magazine the reader found Nekrasov's bright poems saturated with revolutionary fervor, in 1857 Shchedrin's story "The Groom" was published here, and the next year Beecher Stowe's novel "Uncle Tom's Cabin", dedicated to the topic of slavery of American blacks, appeared. The journal's fiction as a whole more and more served to propagate liberation ideas.
The transition of Sovremennik to the position of revolutionary democracy led to a change in the very nature of the publication: the magazine from a literary one, which was not so long ago, turned into a socio-political and literary one. Actually, it was at this time that it developed as a type of "thick" socio-political and literary-artistic monthly.
The increased role of fiction in the 1940s was explained by the fact that at that time fiction was the main form of propaganda of advanced ideas. Under such conditions, the literary magazine became the only possible type of advanced publication. That is why Sovremennik has developed as a literary and public organ of the press.
In the mid-1950s, fiction could not satisfy the democrats, who, in the midst of a revolutionary situation maturing, especially felt the need to develop a theory. The importance of political, economic, philosophical articles, journalism in general has grown. From a literary “Sovremennik” it becomes a socio-political magazine.
The editorial board did a great deal of work aimed at changing the nature of the magazine under the conditions of a brutal censorship regime. Back in the summer of 1856, it was decided to create new department- "Modern Chronicle political events in our homeland and other countries. " The publishers of the magazine, Panaev and Nekrasov, sent a letter to the Minister of Public Education. And although the liberal organs - Russkiy Vestnik, Russkaya Besezha - were allowed to have a section called Review of Contemporary Political Events, the request of the Sovremennik editorial board was rejected.
In 1856-1857. "Contemporary" consisted of five sections: "Literature", "Science and Arts", "Criticism", "Bibliography" and "Mix". At the beginning of 1858, the magazine actually consisted of three parts: the first section - "Literature, Science and Arts", the second - "Criticism and Bibliography" and the third - "Mix". The unification of "literature" with "sciences" made it possible to expand the journalistic section with each issue.
The restructuring of the journal ended in early 1859, when two departments were created. The first contained fictional works, as well as articles of a scientific nature. The second section included journalism, criticism and bibliography.
The transition of Sovremennik to the position of revolutionary democracy was clearly manifested in its sharp criticism of the feudal-serf system.
The struggle for civil liberties occupied an important place in the magazine's articles on the peasant question. "Contemporary" demanded to provide the peasants with everything civil rights along with other estates, he advocated the complete emancipation of the peasants from all obligatory relations with the landowners and the organization of local self-government independent of the landowner.
Speaking with a revolutionary-democratic program for the elimination of serfdom, Sovremennik showed the impossibility of carrying out radical social transformations through reforms "from above". The discussion of the specific conditions for the abolition of serfdom was accompanied by the exposure of the entire reformist policy of the tsarist government. The magazine promoted the path of the people's revolution.
The struggle of Sovremennik against liberal-monarchist journalism went through several stages, from the first, relatively calm, disputes on literary issues in 1854-1855. before the fierce battles of 1860 - 1861. and dealt with various problems. The nature of the polemics changed with the aggravation of the crisis of the feudal-serf system and the growth of the revolutionary movement in the country.
Polemics of Sovremennik with the press of liberals and serf-owners on the peasant question. Liberals fought for the preservation of landlord ownership, often offered to free the peasants without land. Chernyshevsky wrote that demands to reduce, let alone liquidate, peasant holdings contradicted common sense.
In June 1862, Sovremennik was suspended for eight months for a "harmful direction", and on July 7 Chernyshevsky was arrested.
The suspension of Sovremennik in June 1862 for eight months and the subsequent arrest of Chernyshevsky were such a blow from which it seemed hardly possible to recover. However, very soon Nekrasov obtained permission to resume the journal from February 1863. But the losses were irreparable, and the Sovremennik 1863-1866. could not rise again to those heights that Chernyshevsky and Dobrolyubov managed to conquer.
At first, in addition to Nekrasov, the new edition included M. Ye. Saltykov-Shchedrin, M. A. Antonovich, G. Z. Eliseev and A. N. Pypin. At the end of 1864 Saltykov-Shchedrin refused to participate in the editing of Sovremennik. The leading role in the magazine passed to Pypin, Antonovich, Eliseev. This, of course, was reflected in the positions of the publication, which on many issues became contradictory, confusing, unclear. The departure from the editorial office of Saltykov-Shchedrin was a heavy loss for the publication. Shchedrin remained the only person who in his publicistic work stood at the level of Chernyshevsky and Dobrolyubov.
On the pages of Sovremennik in the same years, the reader got acquainted with such works as "Difficult Time" by V. A. Sleptsov, "Podlipovtsy" and "Miners" by F. M. Reshetnikov, "Mores of Rasteryaeva Street" by G. I. Uspensky, "Sketches of the Bursa" by N. G. Pomyalovsky, stories by Saltykov-Shchedrin. The poetry of Nekrasov was widely presented, whose poems were published in many numbers.
The focus of the magazine's fictionalists 1863-1866. was the hard life of the Russian peasants, which did not change at all after the notorious "liberation". Another important topic of the magazine's fiction is the fight against reaction, the exposure of the enemies of the people.
The inconsistency and ambiguity of the journal's positions in 1863-1866, caused primarily by the composition of the staff and serious contradictions within the editorial board, led to a sharp decline in the ideological level of Sovremennik.
Sovremennik played a huge role in the history of Russian journalism; it was an outstanding censored organ of revolutionary democracy in the 1960s. His example opened the way for new journals of the democratic and socialist press of the later period. The first among them should be called Otechestvennye zapiski, revived in the second half of the 60s by the efforts of N. A. Nekrasov. All the best that was in Otechestvennye Zapiski in the 70s and 80s - political acuteness, topicality, revolutionary passion - came from Sovremennik, was a continuation and development of its best traditions.
Domestic notes 40x:
The journal "Otechestvennye zapiski" was founded by an official of the Collegium of Foreign Affairs P. P. Svinyin in 1818 - a historian, geographer of the topic, about the life of the people prospering under the rule of the tsar, landowners. 1838 ceded the right to publish the magazine to A.A.Kraevsky, in whose hands they were transformed. The goal is to convey to the domestic public everything that could only be found in literature and life, remarkable, and useful, and pleasant. "
Among the collaborators were writers of the Pushkin circle (Zhukovsky, Vyazemsky, V.F. Odoevsky, D.V. Davydov), and future active participants of the "Moskvityanin" (Pogodin, Shevyrev, M. A. Dmitriev, I. I. Davydov), and the future Slavophiles (Khomyakov, ST Aksakov), and young writers who came from the "Literary Supplements" (Lermontov, Sollogub, II Panaev).
The transformed "Otechestvennye zapiski" became a voluminous (up to 40 printed pages) monthly. Each book of the magazine was divided into eight sections: "Contemporary Chronicle of Russia", "Science", "Literature", "Art", "Household management, Agriculture and industry in general ”,“ Criticism ”,“ Modern bibliographic chronicle ”,“ Mix ”.
However, the complete success of a solidly staged publication was hampered by the lack of a definite and clear program. Kraevsky formulated the goals of the journal vaguely: “to promote, as much as possible, Russian enlightenment,” “to enrich the mind with knowledge,” “to adjust to the perception of elegant impressions,” etc.
A magazine that brought together writers of a wide variety of persuasions, but did not have a face of its own, could not count on long-term success.
In August 1839, Belinsky began publishing in Otechestvennye zapiski, and later took over the leadership of the critical-bibliographic department of the journal. Belinsky also called on his friends to take an active part in the magazine. (Botkin, Bakunin, Granovsky, Ketcher, Kudryavtsev, Ogarev, Herzen, Nekrasov, Turgenev).
Belinsky and new employees gradually forced many of its former members to leave the magazine, who were hostile to the changes taking place in it: Zhukovsky, Vyazemsky, Pletnev, Benediktov, Mezhevich, future Slavophiles and future employees of Moskvityanin. Otechestvennye zapiski became the tribune of Belinsky and Herzen and the organ of realist writers.
The best works of Russian literature, created in the 1840s, appeared in Otechestvennye zapiski.
Thanks to Belinsky and the direction that he gave to the magazine, writers who belonged to the natural school began to collaborate in Otechestvennye zapiski.
One of the most active authors, together with Belinsky, who determined the direction of the journal, was Herzen. Under the pseudonym "Iskander", he placed several works of art in "Notes of the Fatherland" ("Notes of a Young Man", "Another from the Notes of a Young Man", the first part of the novel "Who is to blame?"), As well as philosophical works ("Dilettantism in Science ”,“ Letters on the Study of Nature ”) and publicistic articles, including three feuilletons directed against the journal“ Moskvityanin ”.
Turgenev handed over to Otechestvennye zapiski almost all of his works, created before the Hunter's Notes, which had been published since 1847 in Sovremennik. Several of his poems and poems, the plays "Carelessness" and "Lack of Money", stories "Andrey Kolosov", "Bretter" and others appeared here. Turgenev's collaboration in Kraevsky's magazine continued after Belinsky, Herzen, Nekrasov moved to Sovremennik. In the late 1840s and early 1850s, Turgenev's plays "The Bachelor" and "Provincial," the novellas "Diary of an Extra Man" and "Yakov Pasynkov" were published in Otechestvennye Zapiski.
From the beginning of the 1840s, Nekrasov collaborated with the magazine. In addition to several short stories ("An Unusual Breakfast", "An Experienced Woman") and poems ("Modern Ode", "Ogorodnik"), he wrote a significant number of sharp anonymous reviews that Belinsky liked.
Dostoevsky, who made his literary debut with the novel Poor People, published in Nekrasov's Petersburg Collection (1846), included in Otechestvennye zapiski almost all of his subsequent works of the forties: The Double, Mr. Prokharchin, White Nights, "Netochka Nezvanova" and others.
The beginning of the literary activity of Saltykov-Shchedrin is connected with Otechestvennye zapiski. In 1847, the magazine published his story "Contradictions", and the next year - the story "A Confused Business", for which the author paid with a link. In addition to the above-mentioned writers, D. V. Grigorovich, V. F. Odoevsky, V. I. Dal, V. A. Sollogub, G. F. Kvitka-Osnovyanenko, I. I. Panaev, N. P. Ogarev, E. P. Grebenka, A. D. Galakhov, A. N. Maikov, A. A. Fet and others.
It housed almost exclusively works by contemporary foreign authors: Georges Sand, Dickens, F. Cooper, G. Heine. In addition, several translations from Goethe were published (excerpts from Faust, Wilhelm Meister, poetry) and a translation of Shakespeare's Twelfth Night.
The Critics and Bibliography Department published Belinsky's works: general reviews of Russian literature for 1840-1845, articles about folk poetry, two articles about Lermontov's work, eleven articles about Pushkin, several polemical notes about Gogol's "Dead Souls" and a large number of other articles and reviews.
In the department of "Science", in addition to the original articles of Russian scientists, the works of foreign researchers were published: Thierry, Fr. Liszt, Humboldt and others. Special attention was paid to modern Western European life.
Belinsky turned the magazine into a platform for the ideas of national liberation and Russia's progress. Belinsky wanted Otechestvennye Zapiski to become a true spokesman for the people's aspirations and appeal not only to a narrow circle of opposition-minded intelligentsia, but to all progressive readers.
Under difficult censorship conditions, Otechestvennye Zapiski fought against serfdom and all its manifestations in the political system, ideology and everyday life. The magazine fought for enlightenment and freedom, for progressive forms of the country's economic, political and cultural life, for the all-round development of Russia, and defended the interests of the masses.
Belinsky and Herzen resolutely condemned the disdainful attitude towards the Russian people, towards the national culture, characteristic of the ruling classes of Russia. Criticizing the country's political, economic and cultural backwardness, Otechestvennye Zapiski was far from adoring the West. Belinsky and Herzen appreciated the achievements of foreign culture, but rejected the foundations of the bourgeois system and bourgeois ideology.
Believing that capitalism was a step forward in the historical development of Russia, Belinsky and Herzen viewed it as a transition to a new, higher phase of social relations - socialism. All departments of Otechestvennye Zapiski took an active part in promoting socialist views.
From April 1846 Belinsky stopped working in the Kraevsky magazine.
The censorship terror in the "gloomy seven years" after 1848 led them to a final decline, loss of authority and influence. By tradition, considering itself a progressive magazine, Otechestvennye zapiski propagandize insipid liberalism, hostile to democracy and not much different from conservatism.
The social upsurge that followed the death of Nicholas I and the Crimean War could no longer breathe life into the magazine. And only after Kraevsky, desperate for the success of the publication, handed it over to Nekrasov and Saltykov-Shchedrin in 1868, did Otechestvennye Zapiski regain the fame of the leading socio-political and literary magazine.
The great Russian poet Nikolai Alekseevich Nekrasov was born on November 28 (December 10), 1821 in the town of Nemirov, Vinnitsa district, Podolsk province. Now it is the territory of Ukraine.
His works are familiar to us from childhood and are loved, Nekrasov's poems become folk songs.
It is also known that Nekrasov is the editor of Sovremennik.
Biography of the poet
Nekrasov's mother, Elena Andreevna Zakrevskaya, was one of the most enviable brides - a beautiful and well-educated girl, a Warsaw woman, from a wealthy family.
Father - a young officer of the regiment stationed in this town, a thug and gambler, Lieutenant Alexei Sergeevich Nekrasov, unrestrained, rude, cruel, and also poorly educated.
Love for cards, a family trait of the Nekrasovs, led the officer to financial difficulties. By the time he met his future wife, he already had a lot of debts. But, despite his character flaws, the lieutenant was a favorite of the female. A beautiful Polish woman fell in love with him, and he decided to take the chance to marry of convenience.
The girl's parents, of course, were against this marriage, but Elena secretly married her lover. But, alas, the marriage turned out to be unhappy for her, since her husband did not love her.
In this union, 13 children were born, only three of them survived.
Childhood and adolescence of N.A.Nekrasov
The poet's childhood passed in the Yaroslavl province, in the village of Greshnevo, on the estate of the Nekrasovs.
A large family moved there after the resignation from the army of his father, Alexei Sergeevich Nekrasov (1788-1862). At that time, son Nikolai was 3 years old.
The neglected estate did not provide an opportunity to adequately support the family, and my father got a job as a police chief, that is, as a police chief.
His duties included "bringing the disobedient into submission, pursuing thieves, robbers, military deserters and, in general, fugitives, and collecting taxes." On his travels, the father often took his son with him. The impressionable and vulnerable Kolya saw a lot of human grief, which influenced his subsequent perception of the world.
In 1832, Nikolai and his older brother Andrey were sent to study in the city of Yaroslavl, in a gymnasium. In their studies, the brothers were not particularly zealous, skipping classes. In the classroom, Nikolai was frankly bored, amused by the fact that he wrote satirical epigrams to teachers and the gymnasium bosses, thereby ruining relations with them. Having somehow completed his studies to the 5th grade, the schoolboy ended up at home, in the village, since his father stopped paying for his studies, not seeing much sense in it.
Life in St. Petersburg
The father wanted his son to follow in his footsteps and become a military man, so when Nicholas reached the age of 16, in 1838, he sent him to St. Petersburg to be assigned to a noble regiment.
But Nikolai turned out to be a wayward son, with his own views on his own future. Having met his high school friend in St. Petersburg and met other students, the young poet made a firm decision to study at St. Petersburg University.
The father did not like the decision of his son, and he stopped providing any material support to the 16-year-old boy, leaving him without a livelihood.
Nikolai began to prepare for entering the university, but, unfortunately, did not pass the entrance exams. He could only become a volunteer at the Faculty of Philology.
From 1839 to 1841, Nekrasov studied at the university, and all this time the question of finding his daily bread was very acute for him, since he simply had nowhere to live and nothing to eat.
“For exactly three years,” he later said, “I felt constantly, every day, hungry. More than once it came to the point that I went to a restaurant on Morskaya Street, where they were allowed to read newspapers, even though I didn’t ask myself anything. You used to take a newspaper for the sake of appearance, and you yourself pull yourself a plate of bread and eat. "
Awful poverty tempered the poet's character, forcing him to find work on his own, but had a negative effect on his health. It also adversely affected his character: he became a "practitioner", but, unfortunately, not in the best sense of the word.
The beginning of the literary path
Little by little, his affairs began to improve: he began to publish small articles in the Literary Supplement to the Russian Invalid, to publish in Literaturnaya Gazeta, to write vaudeville for the Alexandrinsky Theater (under the pseudonym N. A. Perepelsky), to compose fairy tales in verse.
When the poet got his first savings, he decided to publish his poems in a collection entitled "Dreams and Sounds", signed with the initials of N. N. This happened in 1840.
A flurry of criticism that brought down on the young poet, in particular, V.G. Belinsky, forced Nekrasov to buy up and destroy almost the entire circulation.
In our time, this collection is a bibliographic rarity, although the first works of the poet collected in it are very immature.
Meeting with Belinsky
The role that V.G.Belinsky played in the fate of the poet cannot be overestimated. This acquaintance grew into a friendship that lasted until the critic's death.
In the early 1840s, Nikolai Alekseevich Nekrasov became an employee of the bibliographic department of Otechestvennye zapiski.
VG Belinsky, who headed the critical department in this literary magazine of the 19th century, had the opportunity to get to know Nekrasov better. The critic, who had once criticized the first poems of the young poet, now changed his mind about him, falling in love with him and appreciating the merits of his mind.
He realized, however, that Nekrasov's prose was not of literary interest, but he enthusiastically accepted his poetry.
His almanacs were published: in 1843 "Articles in verse without pictures", in 1845 - "Physiology of St. Petersburg", in 1846 - "April 1", "Petersburg Collection".
Nekrasov's publications began to appear more and more often.
N. A. Nekrasov - the creator of the new "Contemporary"
Success accompanies Nekrasov, financial position straightened, and at the end of 1846 he became the owner of the literary and socio-political magazine "Contemporary", founded by Alexander Pushkin.
Literary youth, who worked in the journal Otechestvennye zapiski and constituted its main backbone, followed Nekrasov to a new journal.
As editor of the Sovremennik magazine, N. A. Nekrasov displayed remarkable organizational talent in its entirety.
The best literary forces gathered in this leading journal of the time, moreover, they were united by their hatred of serfdom.
"Contemporary" by N. A. Nekrasov and his associates became a bright event in the literary world of that time.
"Contemporary" - the organ of revolutionary democracy
For almost twenty years, from 1847 to 1866, N.A.Nekrasov headed the publication, which turned into an organ of revolutionary democracy.
As the publisher of Sovremennik, N. A. Nekrasov promoted the ideology of revolutionary commoners, acting as a defender of the peasants.
The magazine published the program of the peasant socialist revolution, which was developed by Chernyshevsky, Dobrolyubov and their associates.
Prominent writers of that time worked in the magazine - Saltykov-Shchedrin, Grigorovich, Turgenev, Goncharov, Herzen, Tolstoy, Panaev.
Nekrasov and Panaev's Sovremennik became a magazine that had never existed before.
Discoverer of talents
Belinsky also moved to Sovremennik, transferring for publication his materials, which he collected for his collection Leviathan.
For the first time, writers and poets published their works in the Sovremennik magazine of Nekrasov, who themselves later became widely known, and their creations were included in the golden fund of 19th century literature.
All this happened thanks to Nekrasov's extraordinary flair for great works and gifted people.
Thus, Nikolai Alekseevich Nekrasov, the organizer and creator of the new Sovremennik, became a successful discoverer of talented poets and writers in the world of literature.
In addition, he published here his poems, adventure novels, written by him in collaboration with his beloved woman A. Ya. Panaeva, who was also the wife of his friend and colleague I. I. Panaev.
The activity of N.A.Nekrasov, of course, was not limited to his own creativity: in his magazine the poet showed himself as a revolutionary democrat with an active life position.
As the publisher of Sovremennik, N.A. Nekrasov helped Russian society to explore and observe real life, instilled in the habit of thinking and not being afraid to say what you think.
In 1859-1861, during the period of revolutionary fermentation in society, differences of opinion began among the authors of Sovremennik. LN Tolstoy and IS Turgenev understood that changes were needed in society, deeply sympathizing with the people.
But they did not agree with Chernyshevsky and Dobrolyubov, who called for a peasant uprising.
Prohibition of "Contemporary"
Naturally, the authorities could not ignore the revolutionary appeals.
In the period 1848-1855, Nekrasov, editor of the Sovremennik magazine, had a very difficult time: the tsarist censorship began to persecute progressive journalism and literature. The poet had to show remarkable resourcefulness to save the publication's reputation.
As an editor and one of the authors of Sovremennik, Nekrasov did a tremendous job. In order to publish one issue of the magazine, he had to read more than 12 thousand pages of all kinds of manuscripts (after all, you still need to understand someone else's handwriting), edit about 60 printed proof sheets, which is almost 1000 pages, of which more than half were then destroyed by censorship. He was engaged in all correspondence with censors, employees - just hellish work.
It is not surprising that Nekrasov fell seriously ill, but, fortunately, in Italy he managed to improve his health.
After his recovery, the poet begins a happy and fruitful period in his life. Thanks to his remarkably sensitive nature and ability to quickly capture the mood and views of the environment, he becomes a popularly beloved poet, an exponent of the aspirations and sufferings of ordinary people.
In 1866, Nekrasov's Sovremennik magazine was nevertheless closed, and two years later the poet rented Otechestvennye Zapiski from his enemy Kraevsky, raising this magazine to the same level as Sovremennik had.
The poem "Contemporaries" by Nikolai Nekrasov
When the magazine was banned, the poet completely devoted himself to creativity, having written many works on topical topics. One of these works is the poem "Contemporaries".
The poem turned out to be multifaceted, satirically accusatory, where with the help of irony, grotesque, even farce, the whole truth about the then Russian bourgeoisie is reflected, the revelry of embezzlers, financial magnates, who seized control of the power and economy of Russia.
Readers of the present day to the poet easily recognized real officials in each character. The poem amazed readers with its strength and truth.
The poet's creativity
By 1856, Nekrasov, after seventeen years of hard work, published his second collection of works.
This time, critics took the fruits of the poet's many years of work very favorably - the collection was a huge success.
The collection was deeply thought out, had 4 sections, each of which was devoted to a specific topic: there were serious reflections on the fate of the people, and satirical works, and lyrics.
In 1861, a poem "The Peddlers" was published about the life of a simple peasant. The song "Korobushka" from it became an independent work, turning into a folk song.
At the same time, "Peasant Children" was created, continuing the theme of the peasant share.
V last years his life Nekrasov was seriously ill, at this time he created "Last Songs" (1877). Nekrasov dedicated the best poems of this cycle to his wife, Zinaida Nikolaevna Nekrasova (ZN Viktorova).
Memories of contemporaries
In the memoirs of contemporaries, Nekrasov appears as a living, dynamic, charming person, a talented, creative person.
NG Chernyshevsky had an infinite love for Nekrasov, considered him a great folk poet and was a convinced follower of him, trusting him infinitely.
But, for example, I.S.Turgenev spoke about him unflatteringly. Nekrasov, like his father, was an avid gambler, he did not give mercy to anyone in the cards, he was always lucky.
He was a very controversial person, far from ideal. He sometimes did not very good deeds, many were offended by him.
But, despite all his personal shortcomings, he still remains one of the most famous and popularly loved poets. His works are heartwarming, easy to read and written simply and beautifully, everyone can understand them. This is truly a folk poet.
