Western European and Russian pre-romantism: general and special

This article examines the problem of the genesis of romanticism, which is associated with a more in-depth approach to the literature of this trend in recent years and with the revision of a number of provisions of this phenomenon. At the same time, the solution to the problem, as it turned out, lies in the presentation of a clear picture of the phenomena preceding romanticism. The main feature of the literary movements and arts of this period is their close interaction and interweaving, representing a complex diversity of artistic life. Thus, as we can assume, all kinds of contradictions appeared in the study of both the creative heritage and trends and directions. In this regard, scientists are forced to either "tie" this or that art worker to a certain direction or school, or not consider this practice. The authors refer, in particular, to the concept of the world and man in pre-romanticism - not only in literature, but also in other forms of art; the question is raised of how the pre-romantic tendencies of aesthetics and art were formed. The pre-romantic tendencies, motives and plots of Russian literature in the 50s of the 18th century were formed primarily by the translation culture, and in this regard, special attention is paid to the activities of Nikanor Oznobishin. In spite of the far-fetched "lagging behind", Russian culture of the mid-18th century quite fit into the cultural layer of contemporary Europe. Russia took an active part in European literary life. Her path from classicism to romanticism was swift and successful, which was facilitated by the Europeanization of Russian culture (almost forcibly imposed by Peter I and setting the tone for the entire 18th century) and translation culture, which reached a high level in the middle of the century.