Soon after October revolution In 1917, the cultural atmosphere in the country changed dramatically. AT Soviet Russia with the goal of building communism, the only officially recognized ideology is Marxism; everything that did not fit into Marxist interpretations or contradicted them was subject to condemnation and prohibition. Such a policy led to a significant intellectual emigration from the country, among those who left were Ivan Alekseevich Bunin, Vladimir Vladimirovich Nabokov, Sergei Vasilievich Rakhmaninov, Pitirim Aleksandrovich Sorokin.
The Soviet government also took a course of ousting the people and religion from the life. Tens of thousands of priests were subjected to repressions and executed, many temples were destroyed, and atheism was elevated to the rank of the state worldview.
The stylistic polyphony of the beginning of the century was replaced by socialist realism. These changes affected literature and painting especially strongly. Almost all figures of national culture worked in the style of socialist realism until the early 90s of the 20th century. However, the most talented craftsmen were able to create significant works even in these harsh conditions. This is in literature - Maxim Gorky, Mikhail Afanasyevich Bulgakov, Alexei Nikolaevich Tolstoy, Mikhail Alexandrovich Sholokhov, Evgeny Alexandrovich Evtushenko, Vladimir Semenovich Vysotsky, Vladimir Dmitrievich Dudintsev, Anatoly Ignatievich Pristavkin, Alexander Isaevich Solzhenitsyn, Vladimir Alekseevich Soloukhin, Viktor Petrovich Astafiev, Boris Lvovich Vasiliev ; in painting and sculpture - Pyotr Nikolaevich Filonov, Alexander Alexandrovich Deineka, Arkady Alexandrovich Plastov, Tatyana Nilovna Yablonskaya, Vera Ignatievna Mukhina, Sergey Timofeevich Konenkov, in cinema and theater - Sergei Mikhailovich Eisenstein, Vsevolod Illarionovich Pudovkin, Mikhail Ilyich Romm, Grigory Vasilyevich Alexandrov ; in music - Dmitry Dmitrievich Shostakovich, Isaac Osipovich Dunaevsky, Sergei Sergei Prokofiev.
The most important fact cultural life of not only the 20th century, but the entire history of the country was cultural revolution, the implementation of which took place in the 30s. Its main content was eradication of illiteracy and achievement in the shortest, by historical standards, terms of almost universal literacy of the population. It was truly an epoch-making event in the cultural life of Russia. This made it possible to improve the entire Russian system education and science.
Since the 1930s, the country has been rapidly developing modern system education - lower, secondary, secondary vocational and higher, tens of thousands of new schools, thousands of universities and technical schools were created. The pace of development of science accelerated many times, the emphasis was placed on the development of engineering and technical sciences. worldwide fame received by scientists - Sergey Pavlovich Korolev, Abram Fedorovich Ioffe, Igor Vasilyevich Kurchatov, Igor Evgenievich Tamm, Nikolai Ivanovich Vavilov, Lev Davidovich Landau, Sergey Vasilyevich Lebedev, Vitaly Lazarevich Ginzburg, Zhores Ivanovich Alferov.
AT post-Soviet In Russia, the main trends in the development of culture generally coincide with global ones. The division into elite culture is clearly manifested ( classical music, elite performing arts, cinematography, painting, sculpture, photography), the consumer of which is a narrow circle of professionals, and mass, addressed to the general population. There is freedom to choose styles and artistic directions freedom of creativity is guaranteed. Church restores positions lost during the period of socialism. The most important factor defining cultural situation in the country is scientific and technical progress. Of all the variety of technical innovations, the most influential is Internet, under the influence of which society itself changes, all public relations and structures, and is formed new culture - virtual.
Artistic culture of post-Soviet Russia.
Post-Soviet culture: stages of formation. Political and economic crisis in post-Soviet Russia. Mass disorientation of society, a syndrome of loss of identity, an explosion of individualism. Changing the relationship between culture and power: the disappearance of a unified cultural policy. Stagnation and decline of artistic culture, loss of identity. The Search for New Cultural Models: Camt and Thrash Phenomenon. Postmodernism in post-Soviet Russia. De-ideologization and pluralism of creativity. Polystylism, westernization, commercialization, criminalization of culture and art. Art Associations of Post-Soviet Russia. Personalities of figures of certain types of art, representing groups that are different in ideological and artistic and aesthetic terms.
The culture of post-Soviet Russia includes the culture of the era of Perestroika and modern Russia. Although the USSR still existed during Perestroika, the life of Soviet people has changed a lot since 1985. The era of perestroika refers to those periods national history for which the significance of the processes taking place in culture is especially great. MS Gorbachev began his reforms in the sphere of social and cultural life. One of the first slogans new era there was "glasnost", i.e. a focus on expanding the awareness of the masses about the activities of the party and government, openness, publicity of decisions made, a focus on free discussion of the accumulated shortcomings and negative phenomena in the life of Soviet society. Glasnost was conceived as a revival and modernization of the state ideology, but it was not possible to keep the process that had begun under state and party control. Everywhere began an open discussion of issues that earlier, in the era of total control, were discussed secretly "in the kitchens." The facts of abuses by the party nomenklatura, revealed by glasnost, sharply undermined the authority of the party, depriving it of its monopoly on the truth.
There was a rapid process of restoring those pages of the country's history that were hushed up in Soviet time.
"Thick" literary magazines published previously unknown a wide range literary works, memoirs of eyewitnesses and memoirs representing a new look at historical truth. Thanks to this, their circulation increased dramatically, and subscriptions to the most popular of them ("Neva", " New world”, “Youth”) fell into the category of an acute shortage and were distributed in a limited number.
For several years, novels by A. I. Solzhenitsyn ("In the First Circle", "The Cancer Ward", "The Gulag Archipelago"), Y. Dombrovsky ("Keeper of Antiquities"), E. I. Zamyatin (“We”), M. A. Aldanova (“Saint Helena, a small island”), B. L. Pasternak (“Doctor Zhivago”), M. A. Bulgakov (“The Master and Margarita”), V. V. Nabokov (“Lolita”), B. Pilnyak (“The Naked Year”, “The Tale of the Unextinguished Moon”), A. Platonov (“Chevengur”, “The Pit”), poetic works by G. V. Ivanov, A. A. Akhmatova, N. S. Gumilyov, O. E. Mandelstam. On the theatrical stage, publicistic drama is of decisive importance. The most prominent representative of this trend was M. F. Shatrov (Marshak) ("The Dictatorship of Conscience"). A special public outcry was caused by works that dealt with the theme of Stalinism and Stalinist repressions. Not all of them were literary masterpieces, but they enjoyed the constant interest of readers of the perestroika period, because they "opened their eyes", talked about what had previously been hushed up.
A similar situation was observed in other forms of art. There was an intensive process of "returning" the creative heritage of artists who were previously under an ideological ban. The audience was able to see again the works of artists P. Filonov, K. Malevich, V. Kandinsky. AT musical culture the work of A. Schnittke, M. Rostropovich was returned, representatives of the musical “underground” (from the English “underground”, opposition to official / mass culture) entered the wide stage: groups “Nautilus”, “Aquarium”, “Kino”, etc. d.
The artistic analysis of the phenomenon of Stalinism became a defining trend in the work of writers, musicians and artists who worked directly during the years of perestroika. One of the most significant works Soviet literature Ch. Aitmatov's novel "The Block" was appreciated by contemporaries, which, like most of Aitmatov's works, is characterized by a combination of deep psychologism with folklore traditions, mythological imagery and metaphor. A notable phenomenon in the literature of the perestroika era, a kind of bestseller was the novel by A. N. Rybakov "Children of the Arbat", in which the era of the cult of personality is recreated through the prism of the fate of the generation of the 30s. About the fate of genetic scientists, about science in the conditions totalitarian regime narrated in the novels of V. D. Dudintsev "White Clothes" and D. A. Granin "Bison". Post-war "orphanage" children who became accidental victims of events related to forced eviction from native land Chechens in 1944, the novel by A. I. Pristavkin “A Golden Cloud Spent the Night” is dedicated. All these works caused a great public outcry and played a significant role in the development of Russian culture, although often the journalistic component in them prevailed over the artistic one.
Little of what was created in that critical era has stood the test of time. In the visual arts, the "spirit of the times" was reflected in the paintings of I. S. Glazunov ("Eternal Russia"). Again popular genre, as it always happened in critical moments stories, becomes a poster.
A number of remarkable films appeared in the artistic and documentary cinematography of the perestroika years: “Repentance” by T. Abuladze, “Is it easy to be young” by Y. Podnieks, “You can’t live like this” by S. Govorukhin, “Tomorrow there was a war” by Y. Kara, “Cold summer fifty-third." In addition to serious, deep films, many very weak films were shot, the authors of which tried to ensure the interest of the audience. Such films were designed for scandalous popularity, their figurative system was built in contrast with traditional Soviet cinema, in which it was customary to avoid excessive naturalism, sex scenes and other vulgar techniques. Such films were colloquially called "chernukhi" ("Little Vera" directed by V. Pichul).
an important role in the cultural and public life acquired journalism. Articles were published in the magazines Znamya, Novy Mir, Ogonyok, and Literaturnaya Gazeta. The weekly Arguments and Facts was especially popular among readers in those days.
However, television journalistic programs such as Vzglyad, Twelfth Floor, Before and After Midnight, and 600 Seconds had the widest audience. Despite the fact that these programs were broadcast at an inconvenient time for most viewers (late in the evening), they were very popular, and the stories shown in them became the subject of general discussion. Journalists turned to the most burning and exciting topics of our time: youth problems, the war in Afghanistan, environmental disasters, etc. The hosts of the programs were not like traditional Soviet announcers: relaxed, modern, smart (V. Listyev, V. Lyubimov, V. Molchanov and etc.).
A distinctive feature of culture modern Russia- in its diversity, variety of manifestations creativity in all areas of public life. The diversity of modern cultural life is most clearly manifested in literature. Among the most significant trends in it, postmodernism should be noted. The classics of European postmodernism are Jorge-Luis Borges, Umberto Eco, Joan Fowles. A characteristic feature of the concept of postmodernism is "citation". The material for creative comprehension in a postmodern work is not so much real life events as impressions from books previously read by the author, films seen, music heard. The perception of a work often turns for a thoughtful reader into solving a kind of rebus - where did it come from. This is a kind of game. Developing any plot move, the author at the same time, as it were, alludes to some well-known literary or cinematic image or cliché. For example, V. Pelevin's novel "Chapaev and Emptiness" is largely built on allusions to popular Soviet jokes about Chapaev and the film of the Vasiliev brothers, although the book is about something completely different. Pelevin's Chapaev has nothing in common with real hero civil war no, but hints and references to the image created on the screen by the actor Babochkin are guessed in it. Citation is also characteristic of Pelevin's other popular works "Generation P", "Amon Ra", "The Life of Insects", etc.
The change in artistic tastes was also expressed in the fact that in the “returned” (i.e., written back in Soviet times, but not published then for censorship reasons) literature, the modern reader is no longer interested in civic-journalistic novels about the era of Stalinism, as it was ten years ago, but postmodernist works with elements of a “quote” game: “Moscow - Petushki” by Venedikt Erofeev, “ Pushkin House» Andrey Bitov and others.
With the penetration of market relations into the book publishing business, the shelves of bookstores throughout the post-Soviet space were flooded with fiction and entertainment literature of the most varied quality: detective stories, science fiction, the so-called. women's novels. Among the masters detective genre the most famous are V. Dotsenko (“Mad”), F. Neznansky (“March of the Turkish”), A. Marinina (a series of novels about the investigator A. Kamenskaya), later they were joined by P. Dashkova, D. Dontsova (Daria Vasilyeva, Evlampia Romanova, Viola Tarakanova, Ivan Podushkin) and T. Ustinova. To replace science fiction, popular in the 60-80s. comes fiction in the style of "fantasy", the ancestor of which in world literature was English. writer J. Tolkien. Russian fantasy is represented by the works of M. Semenova ("Wolfhound") and N. Perumov (Diamond Sword, Wooden Sword, etc.). If in science fiction fiction is, as a rule, technical in nature (the authors conditionally assume that there is a time machine, that interstellar flights are possible, etc.), then fantasy comes from the assumption of the reality of phenomena that are essentially fabulous (heroes use magic, struggle with evil magicians, communicate with dragons, elves, gnomes, etc.). The closest analogy to fantasy is a literary fairy tale, but "a fairy tale for adults."
Postmodernism is a phenomenon that goes beyond literature. Its manifestations can be found in cinema, theater, painting and music. The popular (rather even fashionable) artist Nikas Sofronov, who writes his paintings on old icon boards (also a kind of “quotes”), can be considered a postmodernist.
In monumental sculpture, the works of the Moscow sculptor Zurab Tsereteli, the author of the monument to Peter the Great in Moscow, which caused a lot of controversy among the townspeople and an unambiguously negative attitude from art critics, are the most popular, although somewhat scandalous.
In the new Russian cinematography, the most noticeable is the work of the actor and director N. S. Mikhalkov. The film "Burnt by the Sun" was awarded the "Oscar" - the award of the American Film Academy. The film takes place in the 1930s. Main character- Divisional Commander Kotov, in whose image the type of man-symbol of the Stalin era is embodied: he is a famous military leader of the civil war, pioneer detachments are called after him, his portrait is known to everyone. The love line unexpectedly turns out to be connected with the theme of repression - the outwardly prosperous life of the omnipotent division commander, who has a direct telephone connection with Stalin himself, crumbles to dust. Nostalgia for the greatness, nobility and beauty of the bygone imperial Russia permeates the picture "The Barber of Siberia", filmed in 1998 (starring Oleg Menshikov and Julia Ormond).
The films of Alexei Balabanov "Brother" and "Brother-2" gained immense popularity among young people. The central character of both films Danila Bagrov, a young man who went through the Chechen war, is a strange combination of naivety and life sophistication; kindness, nobility and terrible cruelty coexist in him, allowing him to use weapons in search of “truth” without hesitation. The films feature the music of popular bands and performers, taken “straight from life”: “Nautilus”, Zemfira, etc. Other youth “hits” “Brigada” and “Boomer” can also be called ambiguous films.
Changes markedly in last decade 20th century television. New channels independent of the state appeared (NTV, TV-6 in 1993). Television has become a powerful weapon of political struggle, which predetermined the growth of the professional level of programs, and at the same time led to a decrease in trust in it as a source of information. Acute socio-political problems no longer arouse their former interest. Viewers prefer programs that highlight issues of private, family, personal life. Many new TV programs of the corresponding direction have appeared: “My family”, “So far, everyone is at home”, “I myself”, “About this”. A lot of airtime is occupied by entertainment programs: "Field of Miracles", "Guess the Melody", "Weak Link", "Who Wants to Be a Millionaire?" and others. Intellectual and cognitive programs “What? Where? When?”, “Clever and clever”, “Club of travelers”, “In the world of animals”, “Underwater odyssey of the Cousteau team”, etc. New projects of the reality show “Behind the Glass”, “House”, “Star Factory” appeared.
The processes of democratization that began in the second half of the 1980s contributed to the manifestation of pluralism in cultural processes and phenomena. But at the beginning of the XXI century. national culture is in crisis. The destruction of the socialist socio-political structure and a sharp change in value orientations, Russia's entry into market relations, the resulting class stratification and social inequality led Russian society and Russian culture to a systemic crisis, to the devaluation of education, spiritual values and culture in general, to the destruction of the material base and infrastructure of the sphere of culture, to the orientation of cultural institutions not to solve cultural problems proper, but to make a profit. The expansion of Western, primarily American, culture destroys the basis of national identity, forms a "market consumer" who is ready to be what is in demand. The reduction of scientific research, the destruction of cultural institutions in the countryside and in cities, scientific institutions, the fall in demand for highly artistic literature, music, films, the growth in the number of illiterate children - all these are signs of a crisis in national culture.
Overcoming the crisis of culture, realizing the potential of material and spiritual culture for the revival of the Fatherland is possible if there is a unified state policy aimed at the priority development of national culture.
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Period 1985-1991 entered modern history Russia as a period of "perestroika and glasnost". During the reign of the last Secretary General CPSU and the first President of the USSR M.S. Gorbachev in the country and in the world there were important events: fell apart Soviet Union and socialist camp, undermined the monopoly of the Communist Party, liberalized the economy and softened censorship, there were signs of freedom of speech.
At the same time worsened financial situation people, the planned economy collapsed. Education Russian Federation, the Constitution of which was approved at a national referendum in 1993, and the coming to power of B.N. Yeltsin seriously influenced the cultural situation in the country. M. L. Rostropovia, G. Vishnevskaya, writers A. Solzhenitsyn and T. Voinovich, artist E. Neizvestny returned to the country from emigration and exile ... At the same time, tens of thousands of scientists and specialists emigrated from Russia, mainly in technical sciences.
Between 1991 and 1994, the volume of federal allocations for science in Russia decreased by 80%. The outflow of scientists aged 31-45 years abroad amounted to 70-90 thousand annually. On the contrary, the influx of young personnel has sharply decreased. In 1994, the United States sold 444,000 patents and licenses, while Russia sold only 4,000. The scientific potential of Russia was reduced by 3 times: in 1980 there were over 3 million specialists employed in science, in 1996 - less than 1 million.
"Brain drain" is possible only from those countries that have a high scientific and cultural potential. If in Europe and America Russian scientists and specialists were accepted in the best scientific laboratories, this means that Soviet science in previous years has reached the forefront.
It turned out that Russia, even being in an economic crisis, is able to offer the world dozens, hundreds of unique discoveries from various areas science and technology: treatment of tumors; discoveries in the area genetic engineering; ultraviolet sterilizers for medical instruments; lithium batteries, steel casting process, magnetic welding, artificial kidney, reflective fabric, cold cathodes for producing ions, etc.
Despite the reduction in funding for culture, more than 10 thousand private publishing houses appeared in the country in the 90s, which, for a short time published thousands of hitherto forbidden books, from Freud and Simmel to Berdyaev.
Hundreds of new magazines, including literary ones, appeared, publishing excellent analytical work. Formed into an independent sphere religious culture. It consists not only of the number of believers that has increased several times, the restoration and construction of new churches and monasteries, the publication of monographs, yearbooks and magazines on religious topics in many cities of Russia, but also the opening of universities, about which Soviet power and dare not dream. For example, the Orthodox University. John the Theologian, which has six faculties (law, economics, history, theology, journalism, history). At the same time, there were no outstanding talents in painting, architecture and literature in the 1990s that could be attributed to the new, post-Soviet generation.
Today it is still difficult to draw final conclusions about the results of the development of national culture in the 1990s. Her creative results have not yet cleared up. Apparently, only our descendants can draw final conclusions.
Glossary:
The culture of Russia in its formation and development - aspect historical dynamics Russian culture, covering the period from about the VIII century. and to the present.
Russian culture in contemporary culture- the actualistic and prognostic aspect of considering culture in general, with an emphasis on its Russian component, on the role and place of Russia in modern culture. 2. The place of Russian culture in world culture. The culture of Russia is included in the Slavic-Byzantine cultural-historical type, based on Orthodoxy.
World culture - common name all cultural historical types and traditions of mankind.
Questions for control: 1. What does the Bolshevik ideal of the cultural transformation of Russia have in common with the traditional orientations of the national consciousness?
Why there was a need to liberalize the party's policy in the field of culture Tue. floor. 20th century?
How did the relationship between the authorities and the creative intelligentsia develop?
The realities of the cultural life of the post-Soviet era. The beginning of the 90s was marked by the accelerated disintegration of the single culture of the USSR into separate national cultures, which not only rejected the values common culture USSR, but cultural traditions each other. Such a sharp contrast national cultures led to an increase in socio-cultural tension, to the emergence of military conflicts and subsequently caused the collapse of a single socio-cultural space.
But processes cultural development are not interrupted by the collapse of state structures and the fall political regimes. culture new Russia, is organically connected with all previous periods of the country's history. At the same time, the new political and economic situation could not but affect the culture.
It has changed drastically relationship with authorities. The state has ceased to dictate its requirements to culture, and culture has lost a guaranteed customer.
The common core of cultural life has disappeared - centralized system management and unified cultural policy. Determining the paths for further cultural development has become the business of the society itself and the subject of sharp disagreements. The range of searches is extremely wide - from following Western models to an apology for isolationism. The absence of a unifying sociocultural idea is perceived by a part of society as a manifestation of a deep crisis in which Russian culture by the end of the 20th century.
The elimination of ideological barriers created favorable opportunities for the development of spiritual culture. However, the economic crisis experienced by the country, the difficult transition to market relations have increased the danger commercialization of culture, losses national traits during its further development, the negative impact of the Americanization of certain spheres of culture (primarily musical life and cinema) as a kind of retribution for "initiation to universal values".
The spiritual realm is experiencing in the mid-90s acute crisis. In difficult transition period the role of spiritual culture as a treasury is growing moral guidelines for society, while the politicization of culture and cultural figures leads to the implementation by it of functions unusual for it, deepens the polarization of society. The desire to direct the country on the rails of market development leads to the impossibility of the existence of certain areas of culture that objectively need state support. The possibility of the so-called "free" development of culture on the basis of the low cultural needs of fairly broad sections of the population leads to an increase in lack of spirituality, propaganda of violence and, as a result, an increase in crime.
At the same time, the division between the elite and mass forms culture, between the youth environment and the older generation. All these processes are unfolding against the backdrop of a rapid and sharp increase in uneven access to the consumption of not only material, but cultural goods.
Most people, as market relations strengthen, become more and more alienated from the values of national culture. And this is a completely natural trend for the type of society that is being created in Russia at the end of the 20th century. In a word, the modern period of development of domestic culture can be designated as a transitional one. For the second time in a century, a real cultural revolution. Numerous and very contradictory trends are manifested in modern domestic culture. But they can, relatively speaking, be combined into two groups.
First: tendencies are destructive, crisis, promoting complete submission Russia's culture to the standards of Western civilization.
Second: progressive tendencies, nourished by the ideas of patriotism, collectivism, social justice, traditionally understood and professed by the peoples of Russia.
The struggle between these tendencies, apparently, will determine the main direction of development of the national culture of the third millennium.
Thus, the culture of Russia in modern times is the most complex and controversial phenomenon. On the one hand, it has always determined the trends of the socio-cultural process in the world, on the other hand, it has been influenced by Western culture in the broadest sense of the word.
native culture in the era of modern times, several of the most significant stages have passed: pre-Soviet (until 1917); Soviet (until 1985) and modern stage democratic transformations. At all these stages, there was big role states in the development of culture, the relative passivity of the population, a large gap between the culture of the masses and its most prominent representatives.
Having embarked on the path of capitalist development later than the leading countries of the West, Russia in the post-reform years managed to achieve a lot in the field of the economy. In spiritual terms, Russia turn of XIX-XX centuries has given world culture a number of outstanding achievements. The contradictory nature of the development of culture in the Soviet period led to the accumulation of numerous contradictions, the resolution of which has not yet been completed.
The direction of the development of culture in the future will be determined by many factors, primarily liberation from external dependence, taking into account the identity of Russia and the experience of its historical development. At the turn of the millennium, Russia again found itself at a crossroads. But no matter how her fate develops, Russian culture remains the main wealth of the country and a guarantee of the unity of the nation.
Russian culture has proved its viability, confirmed that the development of democracy and moral purification are impossible without the preservation and enhancement of the accumulated cultural potential. Russia - country great literature and art, bold science and a recognized education system, ideal aspirations for universal values, cannot but be one of the most active creators of the culture of peace.
