Culture
The official emphasis on Russian nationalism contributed to a debate on Russia's place in the world, the meaning of Russian history, and the future of Russia. One group, the Westernizers, believed that Russia remained backward and primitive and could progress only through more Europeanization. Another group, the Slavophiles, enthusiastically favored the Slavs and their culture and customs, and had a distaste for westerners and their culture and customs.
The Slavophiles viewed Slavic philosophy as a source of wholeness in Russia and were skeptical of Western rationalism and materialism. Some of them believed that the Russian peasant commune, or Mir, offered an attractive alternative to Western capitalism and could make Russia a potential social and moral savior representing thus a form of Russian messianism.
Despite the repressions of this period, Russia experienced a flowering of literature and the arts. Through the works of Aleksandr Pushkin, Nikolai Gogol, Ivan Turgenev, and numerous others, Russian literature gained international stature and recognition. Ballet took root in Russia after its importation from France, and classical music became firmly established with the compositions of Mikhail Glinka (1804–1857).
Read more about this topic: Nicholas I Of Russia
Famous quotes containing the word culture:
“Everyone in our culture wants to win a prize. Perhaps that is the grand lesson we have taken with us from kindergarten in the age of perversions of Dewey-style education: everyone gets a ribbon, and praise becomes a meaningless narcotic to soothe egoistic distemper.”
—Gerald Early (b. 1952)
“Why is it so difficult to see the lesbian—even when she is there, quite plainly, in front of us? In part because she has been “ghosted”Mor made to seem invisible—by culture itself.... Once the lesbian has been defined as ghostly—the better to drain her of any sensual or moral authority—she can then be exorcised.”
—Terry Castle, U.S. lesbian author. The Apparitional Lesbian, ch. 1 (1993)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)