Soviet sixties

The Great Patriotic War had a tremendous influence on the worldview of the sixties. In 1941, the older part of the generation was 16 years old - and many volunteered to the front. Most of the volunteers, in particular, almost the entire Moscow militia , died in the same year. But for those who survived, war became the main experience in life. The clash with life and death, with a mass of real people and the real life of the country, not camouflaged by propaganda, required to form their own opinion. In addition, the atmosphere at the forefront, in a situation of real danger, was incomparably more free than in civilian life. Finally, the existential front-line experience made us generally relate to social conventions. Former tenth graders and freshmen were returning from the front with completely different, critical and self-confident people.

However, they were disappointed. Contrary to the widespread expectations of the intelligentsia that after the Great Patriotic War liberalization and humanization of the system would ensue, the Stalinist regime became even tougher and uncompromising. The struggle against “formalism”, cybernetics , genetics, “ killer doctors ”, cosmopolitanism , etc. began. Anti-Western propaganda intensified. Meanwhile, a huge number of sixtieth war veterans returned to their student benches, greatly influencing younger comrades.

The decisive events in the life of the generation were the death of Stalin and the report of N. S. Khrushchev at the XX Congress of the CPSU ( 1956 ), exposing the activities of Stalin. For most of the sixties, the XX Congress was a catharsis that resolved the many-year ideological crisis, reconciling them with the life of the country. The liberalization of public life that followed the 20th Congress, known as the Thaw era, became the context for the activity of the sixties. As the son of Khrushchev Sergey noted: “Each generation has its own main theme, and we, the sixties, are attracted by the years of the first“ thaw “” ^[3] .

The sixties actively supported the “return to Leninist norms”, hence the apologetics of Lenin (verses by Andrey Voznesensky and Evgeny Yevtushenko , plays by Mikhail Shatrov , prose by Yegor Yakovlev ) as opponents of Stalin and the romanticization of the Civil War ( Bulat Okudzhava , Yuri Trifonov , Alexander Mitt ).

Works in the genre of science and social science fiction played their role in creating a positive image of the communist future, the first and perhaps the most important of which was the novel Andromeda Nebula , printed in 1957 , in terms of influencing mood in society at the turn of the 1950s / 1960s. » Ivan Efremov . As if in confirmation of the bold dreams of science fiction writers, this time was marked by successes in space exploration , which helped to increase the level of public optimism .

Many sixties have become staunch internationalists and supporters of a "world without borders." It is no coincidence that cult figures for the sixties were revolutionaries in politics and in art - Vladimir Mayakovsky , Vsevolod Meyerhold , Bertolt Brecht , Che Guevara , Fidel Castro , as well as writers Ernest Hemingway and Erich Maria Remarque .

The historian A.V. Shubin notes that the concept of the “sixties” first arose in the 19th century , when the Narodniks and Nihilists were so designated. And already in the XX century, the sixties began to be called the generation of Soviet people that developed during the Khrushchev "thaw", which mainly belonged to the intelligentsia. They were also called the “children of the 20th Congress” because of the historical event that gave rise to the Soviet sixties - the 20th Congress of the CPSU , where “for the first time, party practice was tested not from the point of view of the interests of the“ proletariat ”, that is, the party leadership, but from the point of view of the“ universal human "Morality, which was immediately picked up by young public figures, scientists and culture." He also points out that the antinomy between the arbitrariness of power and the individual autonomy of the individual became the basis of the worldview of the “sixties”. According to Shubin, in 1960-1970, most of this generation advocated "moderate democratic reforms within the existing system, their ideal was democratic socialism with a human face." He notes that many prominent public and cultural figures came out of their number - advisers to senior Soviet leaders, major journalists, filmmakers, and writers. And also, that Brezhnev’s “ stagnation ” that replaced the thaw led to an increase in youth’s enthusiasm for the “achievements of the Western countries”, which split it into three parts: where one “part of the influential sixties began to shift to the positions of Westernism and liberalism ( A. D. Sakharov , G. Pomerantz ), or soil science ( A. I. Solzhenitsyn , I. R. Shafarevich , “countrymen” writers ), the other “took part in the dissident movement ”, and the third “ emigrated from the USSR ” . ^[one]

The term “sixties” took root after the journal of the same name in 1960 published the same article by critic Stanislav Rassadin ^[4] . The author later spoke critically about the spreading word ^[5] :

... the very concept of the “sixties” is talked out, meaningless, and even from the very beginning had no generational meaning, being an approximate pseudonym of time. (I admit quite self-critically - as the author of the article “The Sixties”, published literally a few days before the onset of the 1960s, in December 1960.)

In other Soviet republics and countries of the socialist camp, “sixties” call their generational subcultures, partly close to the Russian one (see, for example, the Ukrainian Wikipedia article ). At the same time, “sixties” is often called a number of foreign representatives of the “generation of the 1960s”, the era of the hippies , The Beatles , rock and roll , psychedelics , the sexual revolution , the “ new left ”, the “ civil rights movement ” and student unrest 1968 (see English Wikipedia article ). This, of course, is a completely different historical phenomenon: for example, the Soviet sixties felt a much greater relationship with the beatniks that preceded the hippie generation. However, it is amusing that in completely different contexts, emotionally overlapping phenomena have arisen with a common name.

Some representatives of the generation over time began to relate to the term ironically. So, A. G. Bitov writes: “... I am sixties only because I am over sixty; my first children were born in the sixties, and Leningrad is on the sixtieth parallel ” ^[6] . And V. P. Aksyonov in the story “Three Overcoats and Noses” generally calls himself “Pentecostal” ^[7] . Over time, the term acquired a negative connotation. For example, D. L. Bykov , speaking of a new newspaper project on the pages of the New Look publication, noted ^[8] :

It could be expected that in the place of the boring “General Newspaper”, which expressed the position of the completely confused (or even lounging) sixties-progressives, a glossy-analytical publication would appear ... but who could assume that the publication would be even more boring?

It is interesting to note that it was in the 1960s that the revival of sociology in the USSR took place .

A heated discussion at that time was caused by the question of what is paramount for society - science or art ^[9] . The “sixties” consisted of two interconnected, but different subcultures , jokingly called “physicists” and “lyricists” - representatives of the scientific, technical and humanitarian intelligentsia.

If the "lyricists" were mostly fond of poetry and painting, the "physicists" kept their finger on the pulse of scientific and technological progress, doing inventions. Among them, Albert Einstein and Leo Landau were cult figures, photos of these stars of science adorned the apartments of Soviet people, even those far from physics. Naturally, the “physicists” showed themselves less in the fine arts, but the worldview system that arose among them was no less noticeable in Soviet culture in the 1960s and 1970s. The romanticization of scientific knowledge and scientific and technological progress inherent in “physicists” had a huge impact on the development of science and the whole of Soviet life. In fiction, the views of “physicists” were not often manifested, mainly in the genre of science and science fiction, the most striking example of which was the prose of the Strugatsky brothers , although sometimes they were also reflected in the works of the realistic genre ( Daniil Granin ’s novel “ I Go to the Storm ”, film Mikhail Romm's “ Nine Days of One Year, ” etc.).

“Physicists” (although their personal views and horizons could have been quite broad) were considered much more beloved by the state than “lyricists,” partly because the huge defense industry of the USSR needed them. Such relationships are reflected in the poem of the poet Boris Slutsky “ Physicists and Lyrics ”: “ Something physicists in esteem, something lyric in the pen. It’s not a matter of calculation, it’s a matter of world law ” ^[10] . It is not surprising that by the beginning of the 1970s the aesthetics of “physicists” was perceived by Soviet officialdom - the “sci-fi” style became an architectural and design norm for many countries of developed socialism. It should be noted that, in accordance with the planned economy and the concept of Marxism-Leninism , there were a dozen engineering and technical universities per creative university.

Most notably, the “sixties” expressed themselves in literature.

The Youth magazine, founded in 1955, and led by Valentin Kataev , played a large role in the early years of the “sixties.” He achieved huge circulations, and was very popular among young people. The magazine relied on young and unknown prose writers and poets. He “discovered” such authors as Anatoly Gladilin , Vasily Aksyonov and many others. The magazine described the search for the young generation of their path at the "construction sites of the century" and in personal life. Heroes attracted with sincerity and rejection of falsity. ^[11] The term “sixties” was established after the publication of the magazine “Youth” in December 1960 by an article by critic SB Rassadina, in which the author made an analogy of the generation of writers of the late 1950s with the democratic intelligentsia of the 1860s, who actively fought against the autocratic system, inertia, and spiritual decline. This is the definition of S.B. Rassadina later became the name of an era and a generation of people that opposed a totalitarian political system, harsh censorship, and critical perception of democratic principles. ^[12]

A huge role in the "sixties" was played by the magazine " New World ", from 1958 to 1970 edited by Alexander Twardowski . The magazine, staunchly professing liberal views, became the main mouthpiece of the “sixties” and was incredibly popular among them. It is difficult to name a print publication that had a comparable impact on the minds of any generation. Twardowski, using his authority, consistently published literature and criticism, free of socialist realism . ^[13]

First of all, these were honest, “trench” works about the Great Patriotic War, mainly by young authors - the so-called “ lieutenant prose ”: “ In the Trenches of Stalingrad ” by Viktor Nekrasov , “Span of the Earth” by Grigory Baklanov , “ Battalions Ask for Fire ” by Yuri Bondarev , “It Doesn’t Hurt the Dead ” by Vasil Bykov and others. ^[13]

But, obviously, the main event was the publication in 1962 of the novel by Alexander Solzhenitsyn, “ One Day of Ivan Denisovich, ” the first work on the Stalinist camps , the publication of which became almost as crucial and cathartic an event as the 20th Congress of the CPSU itself . ^[13]

The organizers of the readings at the Mayak were future dissidents Vladimir Bukovsky , Yuri Galanskov and Eduard Kuznetsov .

But the traditions of oral poetry did not end there. She continued in the evenings at the Polytechnic Museum . Mostly young poets also performed there: Evgeny Yevtushenko , Andrey Voznesensky , Bella Akhmadulina , Robert Rozhdestvensky , Bulat Okudzhava . Later Yevtushenko will write a poem:

In 1986, together with A. Voznesensky and E. Yevtushenko, Robert Rozhdestvensky spoke at the Writers' Congress in the Kremlin calling for the abolition of censorship and the demand for democratization. ^[12]

In science fiction , the genre of communist utopia paved its way, prominent representatives of which were Ivan Efremov and the Strugatsky brothers ^[15] .

In 1992, the magazine “Capital” published an interview with Alexander Nikolaev and Bulat Okudzhava . When asked about how he sees the generation of the “sixties”, Okudzhava answered this way: “We are children of our time, and we must be judged by his laws and standards. Most of us were not revolutionaries, we did not intend to destroy the communist regime. For example, I could not even think that this is possible. The task was to humanize him <...> And everything was - and indifference, and fear, and blind faith, and cynicism. " ^[12]

Filming from the famous readings at the Polytechnic University was included in one of the main “sixties” films - “ Ilyich Outpost ” by Marlen Khutsiev , and the listed poets became incredibly popular for several years.

Later, the love of the public switched to poets of a new genre generated by the culture of the “sixties”: an author’s song . His father was Bulat Okudzhava , who began in the late 1950s to play songs of his own composition to the guitar. Soon, other authors appeared - Alexander Galich , Julius Kim , Novella Matveeva , Yuri Vizbor , who became classics of the genre. Audio samizdat appeared , spreading the voices of the bards throughout the country - radio , television and record were then closed to them.

At the end of the 1960s, when public life in the country was stifled, a new subculture appeared among the “physicists” - hikers. It was based on the romanticization of the taiga (northern, alpine) life of geologists and other field workers. The simplicity, rudeness and freedom of their life was the antithesis of the boring nonsense of the “right” existence of an urban intellectual . The expression of these moods was the film by Kira Muratova “ Short meetings ” (1967) with Vladimir Vysotsky in the title role. In the same year, the film " Vertical " was also released with Vysotsky and his songs with the guitar. Millions of intellectuals began to spend their holidays on long hikes, a storm jacket became ordinary intellectual clothes.

The central practice of this subculture was collective singing around the campfire with a guitar - as a result of which the author’s song turned into a mass genre. Amateur song clubs (KSP) arose throughout the country. The personification and favorite author of this subculture was bard Yuri Vizbor . However, its heyday fell not on the “sixties,” but on the next generation.

Inspired, as it seemed to them, by the close prospect of building a communist society, many educators set themselves the task of educating a person who is ready to live up to high communist moral standards . Based on the successful experience of S.T. Shatsky and A.S. Makarenko , combining their methods with ideas gleaned from scouts and the pioneer movement of the 20s, the teachers of the communard movement, the most prominent of which was Igor Ivanov , created a methodology on the principles of voluntary participation collective planning, collective execution and collective assessment, the alternation of creative assignments, rotation of elected leaders, etc. ^[16]

The communitarian methodology was the basis for work in the All-Russian camp of the Central Committee of the Komsomol " Orlyonok ". In the summer of 1962, Komsomolskaya Pravda and the Komsomol Central Committee gathered 50 senior pupils from various cities in Orlyonka; several teenagers from the Commune of young Frunze people , as well as three “senior friends” of the KYuF, were invited to the detachment. The children went to their cities and there many of them managed to create teenage communities, which began to call themselves "sections" of the club of young communards. The sections carried out “collective creative affairs” and reproduced the style and lifestyle of the KYuF (to the extent that they could master them in 40 days spent in “Orlyonok”) ^[17] . After the Komsomolskaya Pravda employee S. L. Soloveichik studied the life of the KYUF and published the article “Frunzenskaya Kommuna”, on January 24, 1962 the newspaper announced the creation of the correspondence “Club of Young Communards” (“KYUK”) and called on Komsomol senior students, artisans and technical schools to create sections of this club from the primary Komsomol organizations - groups, classes.

In 1963, in the "Eaglet" was the first All-Union Meeting of Young Communards. Since that time, the term " communard movement " appeared in the press, sometimes also called "Orlyatsky". The CJC in Komsomolskaya Pravda and the Communard shifts in Orlyonka generated the first wave of the Communard movement. It spread to almost the whole country, brought up several generations of enthusiastic educators and encompassed tens of thousands of schoolchildren and teenagers in their heyday (mid-60s) ^[18] .

However, due to the growth of unfavorable trends in the political situation after the displacement of N. S. Khrushchev, administrative pressure on communal clubs and groups began to increase, which led to a gradual decrease in the number of their participants and the closure of some clubs. Since December 1965, support for the communal movement by the Central Committee of the Komsomol was discontinued; it was announced that in this case the further fate of the communal associations would depend on their relationship with the Komsomol bodies “on the ground”. The movement was not officially banned, but since then in many cities the attitude towards sections of the UK club has become extremely unfavorable. At the same time, a number of clubs and detachments of the Communard and similar directions exist to this day.

According to Evgeny Yevtushenko, all Russian “sixties” did not grow up on Marxism , but on Italian neo-realism : “there is no little suffering, no little people - that’s what Italian neorealism taught us again” ^[19]

In the cinema, the “sixties” proved to be extremely bright, despite the fact that this type of art was tightly controlled by the authorities. The most famous films expressing the mood after the 20th Congress were “ Cranes Flying ” by Mikhail Kalatozov , “ Ilyich Outpost ” by Marlen Khutsiev , “ I Walk in Moscow ” by George Danelia , “ Nine Days of One Year ” by Mikhail Romm , “ Welcome, or Trespassing forbidden ”by Elem Klimov . Less well-known is the film “Little School Orchestra” (1968, dir. Oleg Martynov , music by Tariverdiev ).

At the same time, most of the actors of the "golden clip" of Soviet cinema are Evgeny Leonov , Innokenty Smoktunovsky , Oleg Tabakov , Evgeny Evstigneev , Yuri Nikulin , Vasily Livanov , Evgeny Lebedev , Mikhail Ulyanov , Stanislav Lyubshin , Inna Gulaya , Zhanna Bolotova , Marianna Vertinskaya , Andrei Smirnov , Nikolai Gubenko , Irina Miroshnichenko , Oleg Dal and many others - were “sixties” and in age and in the way of thinking. But much more filmmakers - “sixties” showed themselves in the 1970s - 1980s - mainly in the genre of comedy, because only in it was allowed to criticize the negative aspects of life, as a rule, at the household level. It was then that such typical “sixties” as Eldar Ryazanov , George Danelia , Mark Zakharov made their best films. The most typical example of “sixties” in the theater was “ Contemporary ” by Oleg Efremov and “ Taganka ” by Yuri Lyubimov .

In the 1960s, relations between the government and free-thinking artists escalated in the Soviet Union. In 1962, artists from the studio of Eliya Belyutin “ New Reality ” took part in an exhibition in the Manege dedicated to the 30th anniversary of MOSH . This exhibition was a landmark event, as harsh criticism of contemporary artists by Khrushchev and other leaders of the country left the artists of " New Reality " outside the scope of official art.

In 1954, Belyutin gathered around himself progressive artists, striving to create a New Academy, where teaching would be conducted in accordance with his methodology. Over the years, Belyutin studied the teaching system of the French Academy of Arts, the methods of Pavel Chistyakov and many avant-garde artists of the beginning of the century. The search for Belutin resulted in a “ theory of universal contact ”, which he widely applied in his studio. Thus, the artists of the “New Reality”, including Lucian Gribkov , Vladislav Zubarev , Vladimir Shorts , Anatoly Safokhin , Vera Preobrazhenskaya , Tamara Ter-Ghevondyan, continued the traditions of the Russian avant-garde of the 1920s.

In many ways, the arrival of the sixties was the reincarnation of the ascetic reform, where each of the authoritative teachers follows their own principles in teaching. For example, for graduates of T.T. Salakhov is characterized by the choice of a limited range of colors and a lapidary solution to the form by means of clear differences in light and shadow. After analyzing the educational settings of the workshop A.A. Mylnikova , we note the introduction of white halos, which have become symbolic for the Leningrad art school, the ease of execution through delicate writing, sometimes indistinguishable from pastels. If we turn to reading the tradition in the works of A.A. Mylnikov, the inevitable analogy with the masters of art of the Russian avant-garde - A.N. Samokhvalova , A.A. Labas , an early period in the work of A.A. Deineki , female portraits and graphic cycles of V.V. Lebedev . Workshop E.E. Moiseenko is inherent in the constructive expressiveness of the picture and the plastic simplicity of solving portraits and figures on the background of ornamental backgrounds. Thus, in the personal workshops of the leaders of the sixties, the modification of nature occurs according to conditional rules, which are set by the teacher-leader. These rules are drawn up in a specific stylistic scheme, according to which the process of interpreting the educational setting should go through. ^[twenty]

The removal of Khrushchev from power at first did not cause much concern, since the triumvirate who came to power - Podgorny , Kosygin and Brezhnev - looked respectably against the background of the not always balanced Khrushchev. However, soon instead of liberalization, there was a sharp tightening of the regime within the country and an exacerbation of the Cold War , which became a tragedy for the “sixties”.

The following events became symbolic and gloomy for them. Firstly, the Sinyavsky-Daniel trial (1966) is an indicative trial of writers convicted not for anti-Soviet activities, but for their works. Secondly, the Six Day War and the subsequent growth of the Jewish national movement in the USSR, the struggle for exit ; thirdly, the entry of Soviet troops into Czechoslovakia (1968) - the “sixties” were very sympathetic to the Prague Spring , seeing in it a logical continuation of the “ thaw ”. And, finally, the defeat of the “ New World ” (1970), which marked the establishment of deaf “ stagnation ”, the end of the possibility of legal self-expression.

Many “sixties” took a direct part in the dissident movement - and the vast majority sympathized with him. At the same time, although the generation idol Alexander Solzhenitsyn gradually came to radically anti-Soviet views, most of the “sixties” still retained faith in socialism . As Okudzhava sang in the song " Sentimental March ":

Anyway, I will fall on that one, on that one Civil one.
And the commissioners in dusty helmets will bow silently over me.

Despite the fact that the intelligentsia of the next generation belonged to these ideals, at best, indifferently. This caused a tangible conflict of generations - reinforced by philosophical and aesthetic differences. The “sixties” were not enthusiastic about the “ avant-garde ” that the intelligentsia of the 1970s lived in — conceptualism , postmodernism . In turn, the “avant-garde” was little concerned about the lyrics of Twardowski and the exposure of Stalinism - everything Soviet was obvious to them absurdity.

In the 1970s, many leaders of the “sixties” were forced to emigrate (writers Vasily Aksyonov, Vladimir Voinovich , Anatoly Gladilin, Anatoly Kuznetsov , Alexander Galich , George Vladimov , Andrey Sinyavsky , Naum Korzhavin ; filmmakers Efraim Sevela , Mikhail Kalik , Mikhail Bogin ; pop singers Emil Gorovets , Larisa Mondrus , Aida Vedishcheva and many others). Part of the “sixties” was forced into the “ internal emigration ” - poets Vladimir Kornilov , Boris Chichibabin and others.

During the years of stagnation, the idol, almost an icon of the “sixties” was academician Andrei Sakharov , who refused the comfortable life of a scholar treated by the authorities for the sake of the struggle for freedom of conscience. Sakharov, with his combination of purity, naivety, intelligence and moral strength, truly embodied all the ideals of the generation - and besides, he was both a “physicist” and a “lyricist”.

Largely due to the propaganda successes of the Khrushchev’s anti-religious campaign and education, the sixties were mostly atheists or agnostics - and remained so for life. However, with the onset of “ stagnation ” in the absence of any social prospects, some of them turned to religious search - mainly within the framework of Orthodoxy and Judaism (the latter was common among Jews, who, however, often adopted not Judaism, but Orthodoxy). The most notable figures of the Orthodox Renaissance in the “sixties” environment were Archpriests Alexander Men and Gleb Yakunin , Metropolitan Anthony of Sourozhsky , dissident Zoya Krakhmalnikova , philologist Sergei Averintsev .

At the same time, many in their spiritual quests (as well as, often, and the desire to lead a healthy lifestyle , achieve harmony with nature) turned to Eastern religions and teachings: for example, in Leningrad a group of Buddhists took shape, united around the figure of the llama and Buddhist B D. Dandarona . Serious magazines, such as Science and Life , have published hatha yoga publications. The deepening ideological differences and military confrontation with Maoist China contributed to political rapprochement and intellectual exchange with India , which facilitated the spread of the Roerich movement . The most prominent science fiction writer Ivan Efremov made his contribution to the dissemination of close ideas with his novel “ Razor Blade ”. The spread of other movements of an esoteric orientation was also observed. There were original movements, for example, the movement of supporters of Porfiry Ivanov .

In the opinion of Archpriest V. A. Tsypin, such a wide appeal to religion was due to the fact that despite Soviet education, people from the intellectual environment critically perceived the world around them, feeling disappointed that “so many victims, so much blood” was spent “not for the sake of "an earthly paradise, the advance of which was promised, but for the sake of everyone, and only in the long run, in the end had a separate two- or three-room apartment and food of sufficient and even excess calorie content." Tsypin believes that the reaction of those who were disappointed was manifested either in the form of criticism of official Soviet power “from the standpoint of Marxist orthodoxy”, or through appeal to the cultural values ​​of the West, or there was a search for “an exit on the path of quasi-religious, para-religious and religious pursuits” to which he relates various passions kind of esotericism and occultism . ^[21] .

Historian A.V. Shubin notes that in the 1980s the USSR strengthened its “position of the sixties in the apparatus of the CPSU and the media”, and also indicates that “at the beginning of perestroika, prominent sixties began to state everything in their speeches in the media bolder democratic ideas within the framework of communist ideology, nevertheless they were afraid to speak even more openly, since they could be expelled from the CPSU and removed from leading posts. ” ^[one]

The historian V. P. Danilov believes that the “sixties” perestroika announced by Gorbachev was received with great enthusiasm - as a continuation of the “thaw”, the resumption of their confrontation with Stalinism ^[22] . After two decades of inaction, they suddenly turned out to be very much in demand again. One after another, their books about the Stalin era came out, producing the effect of an exploding bomb: “Children of the Arbat” by Anatoly Rybakov , “Black Stones” by Anatoly Zhigulin , “White Clothes” by Vladimir Dudintsev , “Bison” by Daniil Granin , etc.

Publicists - “sixties” ( Yu. N. Afanasyev , Yu. G. Burtin , Yu. F. Karjakin , V. A. Korotich , G. Kh. Popov , Yu. D. Chernichenko , M. F. Shatrov , E. V. Yakovlev et al.) Found themselves at the forefront of the struggle for the “renewal” and “democratization” of socialism (since this discourse was fully in line with their views) - for which they were called the “foremen of perestroika” ^[1] . True, it soon became clear that they are more ardent supporters of perestroika than its authors. ^{[ specify ]} . The debatable question is whether you can call the “sixties” themselves Mikhail Gorbachev and Alexander Yakovlev (still more formed nomenclature culture). One way or another, perestroika as a whole became the high point of the generation and the pinnacle of its success.

With the same enthusiasm, the majority of the “sixties”, who had already begun to break with communist views, in 1991 accepted the coming to power of Russian President Boris Yeltsin , the failure of the August putsch of the State Emergency Committee and the beginning of market reforms of Yegor Gaidar . In 1993, many representatives of this generation signed the “ Letter of the 42s, ” calling the opposition to Yeltsin parliament “fascists”.

However, together with the collapse of the USSR and the dismantling of the socialist system, the public demand for the “sixties” also ended. The new social reality brought completely different concepts and questions, overnight making the entire discourse on which the sixties culture based irrelevant. And in the 1990s - 2000s, most of the famous "sixties" quietly died half-forgotten.

According to the philosopher and political scientist A. S. Tsipko , perestroika itself was “a product of the sixties, a product of the ideas, illusions, values ​​that a whole generation of Soviet intelligentsia developed under the influence of the exposure of the so-called“ personality cult of Stalin “” ^[23] . In turn, the historian A. V. Shubin believes that “positions in party-state structures and the media helped the sixties lead the democratic movement”, but “the results of the reforms of the 1990s. most of the sixties were disappointed, as their results diverged significantly from their ideals. " ^[one]

Poetry:

• Andrey Voznesensky
• Gennady Shpalikov
• Bulat Okudzhava
• Bella Akhmadulina
• Boris Chichibabin
• Vladimir Vysotsky
• Evgeny Evtushenko
• Ivan Kovalenko
• Inna Kashezheva
• Joseph Brodsky
• Lina Kostenko
• Novella Matveeva
• Olzhas Suleimenov
• Rimma Kazakova
• Robert Christmas
• Tamara Zhirmunskaya
• Julius Kim
• Yunna Moritz
• Victor Sosnora
• Ville Mustafin

Prose:

• Alexander Solzhenitsyn
• Andrey Bitov
• Vasily Aksyonov
• Arkady and Boris Strugatsky
• Vadim Shefner
• Vladimir Voinovich
• Igor Vulokh
• Rosa Khusnutdinova
• North Gansovsky
• Yuri Vizbor
• Yuri Trifonov
• Julian Semenov

Cinema:

• Andrey Tarkovsky
• Marlene Hutsiev
• Eldar Ryazanov
• Leonid Gaidai

Art:

• Ernst Unknown
• Stasis Krasauskas
• Lucian Gribkov
• Vladislav Zubarev
• Anatoly Safokhin
• Vera Preobrazhenskaya
• Tamara Ter-Ghevondyan
• Boris Sveshnikov

Architecture:

• Alexey Gutnov
• Ilya Lezhava

Music:

• Sofya Gubaidulina
• Eduard Artemiev
• Edison Denisov
• Nikolay Karetnikov
• Alfred Schnittke
• Michael Tariverdiev

The photo:

• Eduard Gladkov

Philosophy:

• Ewald Ilyenkov ^[24]
• Michael Gefter
• Alexander Zinoviev ^[25]
• Merab Mamardashvili
• George Shchedrovitsky
• Boris Grushin
• Vadim Mezhuev ^[26]

Constructing the model of the “sixties”, we established sociopsychological features. Among the main personality characteristics, according to the study, are: ^[12]

• extreme activity
• clear life position
• straightforwardness
• lightning fast response to current events in the country and the world
• support
• optimism
• faith in the best
• struggle with difficulties
• durability
• honesty
• determination
• creative maximalism, huge creative range
• versatility

in Russian

• Adamovich A. We are the sixties. - M.: Soviet writer, 1991.480 s.
• Weil P.L. , Genis A.A. 60s. The world of Soviet man. - M .: Corpus , 2013 .-- 432 p. - 4000 copies. - ISBN 978-5-17-079727-1 .
• Shestakov V.A. Section IV. The formation of Soviet society // History of Russia: In 2 volumes / A.N. Sakharov, L.E. Morozova, M.A. Rakhmatullin, and others; Ed. A. N. Sakharova . - M .: AST, NPP "Ermak", Astrel, 2005. - T. 2: From the beginning of the XIX century. before the beginning of the XXI century. - 863 s. - 7000 copies. - ISBN 5-17-013413-4 , ISBN 5-17-019956-2 , ISBN 5-271-07713-6 , ISBN 5-271-07163-4 , ISBN 5-9577-0314-1 , ISBN 5-9577 -0419-9 .
• Sixties // Great Russian Encyclopedia : [in 35 vols.] / Ch. ed. Yu.S. Osipov . - M .: Great Russian Encyclopedia, 2004—2017.

in other languages

• Bazhan O. Shstiditsinitsvo // Encyclopedia of History of Ukraine : at 10 volumes / editorial board: V. A. Smoliy (head) and ін. ; Institute of History of Ukraine NAS of Ukraine . - K.: Naukova Dumka , 2013 .-- T. 10: T - Y. - S. 641. - ISBN 978-966-00-1359-9 .
• Koshelіvets I. Sixties // Encyclopedia of Ukrainian studies : Slovnikova chastin: [11 p.] / Naukova Partnership imeni Shevchenko ; Goal. ed. Prof. Dr. Volodimir Kubіyovich - Paris; New York: Young Life ; Lviv; Kiev: Globe, 1955-2003.
• Zubok VM Zhivago's Children: The Last Russian Intelligentsia . - Harvard University Press , 2009 .-- 453 p. - ISBN 978-0-674-03344-3 .