Russia's place in the dialogue of cultures. The influence of the West on Russian culture

The role of fashion in the consumer society.

A person is always looking for his belonging, embarks on a search for identification with some social group that is a reference for him. Habit, following the pattern and imitation - the basis of self-determination, which provides the rituality of culture and the mechanisms of its development and reproduction. . Fashion promotes conservation cultural tradition, symbolizes social status, directs behavior and sets the boundaries of what is permitted and desirable, acts as a means of achieving social recognition. A.V. Koneva notes the super-individual nature of fashion: in our opinion, this super-individuality can be put on a par with politics (especially authoritarian), advertising, etc. - with everything that, due to its elevation above the individuality of a person, deprives the latter of the freedom of choice, will and other subjective qualities.

J. Ortega y Gasset writes that fashionable art is short-lived, as it lives at the expense of an ephemeral viewer, and classical art is not considered with the viewer, which is the reason for the difficulty of understanding it . The philosopher's pointing to the fragility of fashionable art speaks of the constant changeability of the latter, and hence of fashion itself. But this variability does not go beyond kitsch and does not try to enter the sphere of higher levels of culture - in this case, it will become difficult for the masses to comprehend the new trend, and then it will not become fashionable.

Fragility as the main quality underlies fashion in a consumer society, that is, it is a direct requirement for things. Serial things are deliberately doomed by the creators to fragility; they should not be rare, but they should be short-term, perishable, of low quality. The production itself maintains the mortality of some things in order to replace them with the life of others, in their totality forming a new fashionable squeak, and this happens cyclically. That's why it cannot be said that production strives for the mortality of things as a whole; it establishes a cycle of death-rebirth, an accelerated renewal of things, thanks to which fashion is created and its mobility is affirmed, but this cyclical circulation is also created thanks to the mobility of fashion.. Such a cycle does not follow the path of endowing things with direct functionality (direct functionality dissolves in the darkness of low quality), but pursues symbolic functionality, which is exactly what fashion corresponds to. In general, direct functionality, the high quality of a thing associated with it and, accordingly, its long-term use, completely contradicts the discourse of fashion and consumer culture, and therefore only symbolic functionality is acceptable for this discourse. Quality is compensated by quantity and symbolic utility. Now it remains only to be nostalgic for the quality of jeans produced fifteen or twenty years ago, which were replaced by clothes “for one or two seasons”. On the basis of this almost general trend of accelerating service time (beneficial for manufacturers), advertising slogans such as: “ Indesit - will last a long time" (which is beneficial for consumers, mainly those who do not pursue the variability of fashion).

Fashion is “usually a short domination of a certain type of standardized mass behavior, which is based on a relatively rapid and large-scale change in the external (primarily objective) environment of people ... the external design of the internal content public life, expressing the level and characteristics of the mass taste of a given society in given time» . It is characterized by: relativism (quick change of forms), cyclicality (periodic appeal to the traditions of the past), irrationality (its “emotional” appeal is not always consistent with logic or common sense), universality (fashion is addressed to everyone at once and to each separately). Fashion forms tastes, introduces certain values ​​and patterns of behavior and manages them. Fashion is focused on high ratings, and all sorts of "hot tens" and other top lists are forms of fashion organization. As if simply informing about the most rated companies and products, they advertise them, attach importance to everything that is on the list, but the content of the list is constantly changing. The world order is built from 10 best performers, 10 leading events, 10 most successful companies, 10 most valuable brands. The culture of consumption also forms the need to be sincerely interested in the rating of pop stars in the "hot ten". Fashion is one of the means of socialization. But can this socialization be called just that? Rather, the term “normalization” or the cruder, but very fair in this context, word “massification” would be more appropriate here.

Fashion appeals to a wide circle, it appeals to base and primitive tastes, satisfies the lowest needs. Fashion is a kind of standardization of spirituality, and spirituality does not tolerate standardization ... in this case, it simply ceases to be itself. Fashion destroys human uniqueness, individuality of taste, it says "look at me and at all of us and respect and love what we all love." Fashion is the opposite of individual style. Under the flag of individualization and some kind of elitism, it carries out standardization by forming a universal way of life. And style, in turn, emphasizes human uniqueness, the uniqueness of his tastes and attitudes, his subjective position.

Fashion is outside of style. They are simply incompatible and mutually exclusive. Fashion requires conformity, not non-individuality, it strives for mass, not uniqueness. "If today everyone listens to Hands Up, then I will listen to them - and it doesn't matter if I like them or not." And if tomorrow everyone forgets this mediocre group, but begins to praise new (just appeared) similar figures, will the former lose their value in the eyes of the “fashionable” crowd? Despite this absurdity, this is true. It turns out that the fashion consumer does not have a clear and sustainable system relationship with what to consume.

Although in the case of pop music, we cannot unequivocally state that it becomes popular due to conformation alone. As a musical phenomenon, people really like pop music. A fairly simple (and even primitive) motive, a text saturated with everyday experiences (love agony or, conversely, an expression of delight from love relationships) - all these are values ​​shared by the broad masses. To understand and digest the content of pop - both musical and textual - does not require refinement of taste and intellectual tension. Rather, on the contrary, the masses try to avoid this tension, as a result of which they gravitate towards precisely those types of art - musical, cinematographic, literary, etc. - the content of which is so transparent that it is easy and simple to digest, without additional mental effort.

Fashion makes people constantly constantly follow themselves, the changing fashion trends, and forms the desire to comply with them. The only clarity and stability that he shows is conformal following of mass trends. Individuality and subjectivity are not taken into account, because they are the enemies of conformism, which fashion is trying to nurture. And if there are no these formations necessary for a mature personality, a healthy personality is also absent.

Objects of consumption act as an indicator of the status and value of a person in the eyes of other people. Accordingly, in order to earn respect from the stratum presented by the consumer as elite, one must consume the same goods as it: dress similarly, watch similar films, listen to similar music, think similarly. It is fashion and advertising that point to those items that are worth consuming.

If a person seeks to receive a vocation and respect, he seeks to become like a reference group. With the same success, he ceases to pay attention to the fact that he may not like her taste, not to satisfy an aesthetic need, but to satisfy needs of another level. He may not like "elitist" preferences - films, music - but in order to gain universal recognition, he will forcibly attach himself to this culture. He follows the tastes that he considers elitist, which, due to their attractive power, attract the broad masses and become mass. They are elite in terms of material inaccessibility to everyone, but massive due to the desire of many to be attached to them.. If earlier fashion cultivated a completely conscious orientation towards the majority, the fashion characteristic of consumer society consciously focuses on the minority, on the elite, but now the unconscious orientation towards universality remains the deep foundation.

The decline of culture is most influenced by "opinion", acting from a position from above. Its impact leads to the death of the spirituality of the recipient, and with it creative intentions, turning him into a weak-willed conformist. Conformism is the path of following fashion, the antonym of freedom, style and taste. A person who follows fashion trends does not have freedom of choice: it is not he who chooses, but the time, which is characterized by a certain “fashionable” trend. The mass consumer is a passive material that is instilled with the need to be a different, free and original personality, but which in reality undergoes a procedure of standardization and unification. A “fashionable” person in an attempt to achieve elitism makes up a mass with its base needs and lack of taste. Now it is worth saying that the fashion phenomenon manifests itself not in the context of ethnic self-identification, but in the context of “elitist glamorous reference. In social space, a person can replace his true face with a mask that he associates with true existence.

The fashion phenomenon is widespread in the consumer society. Fashionable consumer culture is an endless chain of goods and services constantly offered to the masses. This is the variability of fashion; to ensure its continued commercial success, it is required to periodically (every year, for example) change the nature of the "best selling" things. But these changes should not be drastic, so as not to go beyond the “tastes” of the majority, not to make sharp “breaks” and “revolutions”. When there is a unification of taste, one should speak of tastelessness. And if this unification blocks a large mass of people, one should speak of large-scale bad taste. Of course, for the implementation of the proposed fashion projects, considerable cash, and not everyone is ready to spend huge sums to become familiar with fashion. But those who do not allow themselves this due to financial shortages do not necessarily break out of the bosom of consumerism and fashionable bad taste. Even if a person is not able to afford to become "advanced and fashionable", but wants it, he, of course, still remains within the fashion trends. So the divergence in the behavior of many people is due not to differences in taste, but to differences in income.

Fashion with its standards is a technology for simplifying and vulgarizing the perception of reality, as well as creating a new reality. Fashion is an industry of producing images that are imposed on a person in the space of consumer culture in the form of some kind of reference. However, a person with a clear internal position, with a formed system of values ​​and tastes, does not follow fashion; he is above it, on the other side.

The idea that fashion is deliberately enforced is not always to be taken literally. It cannot be said that always and everywhere fashion producers act as its producers. Trends that have the potential to become fashionable in many cases arise on the street, in the bosom of subcultures. And only then - after active trend hunters (trend hunters) notice these trends, they begin to predict whether it is worth picking up and promoting this or that trend. And if the forecast seems to be positive, the observed phenomenon is purposefully brought to the level of popularity.

In a consumer society, sexuality is of great importance, and therefore the human body should resemble a never aging Barbie doll. Life experience in the form of wrinkles and folds is carefully hidden, leaving room for virgin, pre-experimental purity. something external, then the ideal of the modern body is an a priori, pre-experimental body that does not carry any imprinted information on its surface. The smoothness of the body is also a sign of excess life, stretching the skin from within - this is erotic smoothness, hinting at the potential possibility of producing new life. Thus, thanks to the smoothness of the body "homo consumensa" is endowed with two qualities: unconsciousness (lack of experience) and an excess of life. We can say that regardless of gender and age given body there is the body of a sexually mature child, frozen in a transitional age. More precisely, endowed with impeccable smoothness, the body ceases to be a transition, ceases to develop and, as it were, freezes in the eternal charm of its own perfection. . All the same static. Bodily sexuality is formed in the process of consumption of special products that do not get rid of old age, do not rejuvenate, but create the appearance of rejuvenation. Cosmetic, hygienic and even medical procedures are designed to hide the traces of bodily experience and return not the body itself, but its visible shell to an archaic state. This practice can be called designing, engineering yourself, presented to others, or rather, the shell of yourself. A divinely perfect body, emphasizing status and prestige with its perfection, is a guarantor. Indeed, they are “meet by clothes” ... The natural body becomes a kind of atavism that cannot be shown publicly, and the designed body, on the contrary, is presented as a fetish.

State-sanctioned conformism is now manifested not as strongly as in totalitarian societies, but it has been replaced by atomized, point conformism, which began to manifest itself not in identifying a person with a hegemon (the Soviet people), but with some relatively small community. And the phenomenon of fashion, which was simply unnecessary in a society of dominant hyperconformism, replaces past conformal tendencies; it can be said that fashion itself is a hegemon. Although general social identification has disappeared, many group identifications have appeared. And the widespread trends in caring for one's body and face (anti-wrinkle products, plastic surgery, etc.) expressed in the "cult of youth" are not only manifestations of the fear of aging as such and death, but also following fashion. This cult is successful not because conformity has been replaced by personal value in society (which did not happen), but rather because the archetype of youth has become a fashion trend that demonstrates prestige. Suffice it to recall the Barbie doll and her Ken, who are always young to perfection. It is enough to watch commercials in which youth appears.

R. Barth says that fashion as a homeostatic system does not convey any objective meaning. It generates a meaning, but this meaning is "nothing", simulacrated; the main thing here is the presence of a process of meaning, and not a concrete signified. “There is nothing in fashion except what is said about it” . According to Barthes, fashion does not accept content, but accepts form; in fact, this is the cycle of forms (annual, secular, etc.). And the cycle, isolation does not lead to anything other than closing in on itself. As for forms and content, the Barth formalism of fashion is more than justified: why does a “fashionable” person need content if there is a form, if there is a beautiful cover, alluring with its colorfulness, inside which there is no content? And it is not necessary for a person chasing fashion - well, let it be empty, but beautiful. Essentially, the emptyness of fashion carries no information, no message. The only thing it can mean is tastelessness. The “fashionable” mass does not see the signified in that whirlwind to which it has surrendered itself. But this was to be expected: how can one notice the signified if one has no interest in the content? How can one dig to a slightly deeper level of meaningfulness and understanding if cognition is not a value? Fashion, one might say, is also a manifestation of anticognition. Apparently, it was precisely the demonstration of the empty content of cult commodities that was the goal of E. Warhol, who portrayed in the form various collages these are the most sought-after items (dollar, Big Mac, a bottle of Coca-Cola, etc.). “Nothing is always fashionable,” the artist wrote. - Always stylish. Nothing is perfect. Nothing is the opposite of emptiness."

According to Nietzsche, fashion is the denial of national, estate and individual exclusivity. . Modern trends in fashion, advertising and consumerism in general began with perestroika and continue to be oriented towards Western designs. Yes, Russian National Costume has disappeared into oblivion, but fashion boutiques have opened selling clothes designed in accordance with Western standards, and numerous programs are broadcast on television dedicated to the new squeaks of fashion from Italy. Their clothes displaced the “Russian style” with their outlandishness, outrageousness, whimsical combinations and the symbolism of the Western way of life, which is still attractive and forms the desire of Russians to identify with it.

Although advertising in Russia mainly promotes foreign goods, consumers often perceive these goods as their own. The very lobbying of foreign goods (provided that there are high-quality analogues to them in Russia) has a negative impact both from the economic and cultural sides. From the standpoint of the economy, the country is losing markets and yielding them to foreign companies or transnational corporations. From the standpoint of culture, “a factor of external and internal cultural dynamics Russian society is becoming a foreign cultural habitus, tk. buying some fashionable product, a person gets "in addition" the way of thinking and lifestyle corresponding to this product" . The “way of thinking” should be understood both culturally and geographically (belonging to some country), and culturally proper, not related to a certain geographical community, but related to one or another cultural or subcultural trend. Cultures have their own geography, which is different from intercountry borders. By imitating clothes, food, and so on, we kind of comprehend the semantic structures of someone else's lifestyle. Here there is a rapprochement of cultures, the knowledge of the “other”, which ceases to be “other”, partly cultural enrichment, which is necessary in the era of globalization and characteristic of this era. But often this comprehension comes at the expense of disgust from one's own culture. Numerous borrowings from a foreign culture lead to serious changes in a person’s life in their own culture and its perception, to the loss of the distinction between home and alien space, to the assertion of a sense of homelessness and cosmopolitanism at the same time, nomadism instead of settled life, and finally, to the loss of national identity. The discourse of advertising needs to be centered on the lobbying of national goods and, accordingly, the displacement of advertising of foreign goods from the domestic market. As a result, the volume of domestic product sales within the country would increase, the position and activity of domestic producers would strengthen, production technologies would develop, buyers' funds would remain in the country and work for its economy. Thus, economic growth would be achieved. Moreover, a sense of patriotism would be formed in the recipients to a minimum degree due to their increased interest in domestic products and the stimulation of nationally oriented purchasing behavior, while simultaneously excluding advertising of foreign goods from the media discourse. Such a step would be a minimal but very positive element in a possible strategy to diminish the consumer impact of advertising by giving it a more moral and truthful basis and moving it from all the anthropic being it has captured into special “advertising spaces”.

Cultural and civilizational exchange is necessary, especially in the context of globalization, the interpenetration of cultures becomes inevitable, rigid identification with certain cultural standards recedes, and often there is a state (sometimes quite justified) of dissatisfaction with any elements of one's culture; music, cinema, painting, etc. Only total familiarization with another culture intensifies the state of dissatisfaction with one's own, which becomes already unjustified, and the national culture loses its dominant and integrating role. The exchange must take place precisely as an exchange, that is, at the level of compromise or cooperation, and not at the level of unilateral concessions, adaptation or suppression, when one subject of exchange spreads itself at the expense of another - suppressed by him - subject.

The modern culture of Russia in the 21st century requires a multilateral and in-depth consideration. It is closely connected with the past centuries. Its current state of culture is directly related to the accumulated experience. Perhaps outwardly she somewhat denies him, to some extent even plays with him. Next, we will take a closer look at the current state of culture in Russia.

General information

The culture of modern Russia is part of the global one. It transforms, recycles and absorbs new trends. Thus, in order to trace the development of culture in modern Russia, one must pay attention to world phenomena as a whole.

Today's situation

Now the problems of the modern are of paramount importance. First of all, it is a powerful factor of social development. Culture pervades every aspect of human life. This applies both to the foundations of material production and needs, and to the greatest manifestations of the human spirit. The culture of modern Russia renders everything greater influence for the solution of program goals In particular, this concerns building a state of law, disclosure creativity rights, strengthening and formation of civil society. The development of culture in modern Russia has an impact on many areas. This applies to personality, lifestyle, thinking, leisure, everyday life, work, and so on. There is a special institution - the Department of Culture. Depending on the status, they decide and coordinate certain issues. As for her social influence, then it is, first of all, a necessary aspect of the activity of a social person. That is, its regulation by certain rules is observed, which are accumulated in traditions, symbolic and sign systems, new trends.

Main difficulties

Today, the development of culture in modern Russia is associated with a number of issues. They were set by the very life of society. At present, all guidelines are aimed at a qualitatively new one. Thus, there is a sharp turn in the understanding of innovative and traditional trends in social development. On the one hand, they are required in order to deeply master the cultural heritage. On the other hand, it is necessary to be able to go beyond the usual ideas that have already outlived their own. Corresponding reorganization changes must also be made by the Department of Culture. It also requires overcoming a number of reactionary traditions. They have been planted and developed over the centuries. These traditions manifested themselves in the minds, behavior and activities of people constantly. To adequately address these issues, it is necessary to understand how culture develops in modern Russia.

Impact of progress

The formation of the modern world has contributed to significant changes in human consciousness. The eyes of people are turned to the limits of life. Self-awareness becomes a trend. Renewed orientation to their historical and cultural forms. The future is seen primarily in expansion processes international relations. All countries should be involved in the world cultural and historical process. Significant social changes have taken place. Questions about the identity and peculiarities of Russian culture come to the fore.

Information about general trends

What features of the culture of modern Russia can be seen now? There is a range of certain problems. In the foreground - innovation and tradition in the cultural space. Thanks to the stable side of the latter, there is a translation and accumulation of human experience from a historical point of view. As for traditional societies, here the assimilation of culture is carried out through the worship of samples of the past. Within the tradition, of course, there may be minor variations. In this case, they are the basis of the functioning of culture. From the point of view of innovation, creativity is much more difficult.

Progressive and reactionary tendencies

Creating a culture out of nowhere is not possible. It is impossible to completely discard the previous traditions. The question of the attitude towards cultural heritage concerns not only its preservation, but also development in general. In this case, we are talking about creativity. Here the universal organic merges with the unique. The culture of the peoples of Russia, or rather its values, are undeniable. There is a need for their dissemination. cultural creativity- source of innovation. It gets involved in the process. general development. Here one can trace the reflection of a wide range of opposing tendencies of the historical era.

Structure Features

What is culture in modern Russia now? Briefly reviewing its content, it can be noted that it is divided into several different areas:

1. Religion.
2. All forms in which the national spirit is manifested.
3. Art.
4. Technique.
5. The science.
6. Litigation.
7. Socio-political structure.
8. The nature of the army.
9. Economy.
10. Statement of education.
11. The nature of work, settlements, clothing.
12. Writing and language.
13. Customs.
14. Morals.

In this case, the history of culture for understanding the level of its development is of paramount importance.

Modern realities

Now culture is embodied in a multitude of created spiritual and material phenomena and values. This applies to new items such as:

Upon closer examination, it becomes clear that the sphere of culture is not homogeneous. The fact is that each component has common boundaries - both chronological and geographical. The culture of the peoples of Russia, in particular, its originality, is inseparable. She is in constant interaction. There is a dialogue between many original cultures. Interaction is carried out not only in the present tense. It also touches on the past-future axis.

Main differences

Distinction and culture took place already in the 20th century. The latter, as before, is filled with positive meaning. As for civilization, it has a neutral characteristic. In some cases, a direct negative "sound" can be traced. Civilization is synonymous with material structure. We are talking about a fairly high level of mastery of the forces of nature. It's powerful technical progress. It certainly contributes to the achievement wealth. Civilization in most cases is associated with the development of technology. This can be used for a wide variety of purposes. At the same time, culture became as close as possible to spiritual progress.

Development features

The formation of a new image of culture is one of the most interesting moments. As for the traditional vision of world heritage, it is primarily associated with organic and historical integrity. The new image of culture boasts many associations. This concerns ideas, on the one hand, of the universal ethical paradigm, and on the other hand, of a cosmic scale. In addition, a new type of interaction is being formed. It is expressed in the rejection of a simplified rational scheme for solving cultural problems. Nowadays, understanding other people's points of view is becoming more important. The same can be said for the following:

Given this logic of cultural communications, it is easy to understand that the principles of action will be appropriate.

Tipping points

Let's talk about the early 90s. the last century. The national culture of Russia is still influenced by that period. Events developed under the influence of many factors. There was an accelerated disintegration of the unified culture of the USSR. Many national divisions were formed, for which the values ​​of the total culture Soviet Union turned out to be unacceptable. This also applies to traditions. Not without a sharp opposition of different national cultures. As a result, tensions increased. As a result, a single socio-cultural space fell apart. The system, which used to be organically connected with the previous history of the country, found itself in a new economic and political situation. A lot has changed dramatically. This also applies to the relationship between authorities and culture. The state was no longer going to dictate its terms. Thus, the culture has lost guaranteed customers.

Ways of further development

The common core of culture has disappeared. Her further development became the subject of intense controversy. The range of searches was very wide. This is a huge number of options - from an apology for isolationism to following the patterns of the West. A unified cultural idea was virtually non-existent. A certain part of society perceived this situation as a deep crisis. This is what Russian culture came to at the end of the 20th century. At the same time, some believe that pluralism is the natural norm of a civilized society.

Positive points

The spiritual culture of modern Russia is closely interconnected with the elimination of ideological barriers of that period. The fact is that it gave favorable opportunities for its development. However, there was some loss during this process. national traits. This was due to the economic crisis that the country was going through and the difficult transition to market relations. In the mid-90s was in the stage acute crisis. The country's desire for market development was a priority. Thus, separate spheres of culture simply could not exist without the support of the state. The gap between mass and elite forms continued to deepen. The same applied to the older generation and the youth environment. The uneven access to the consumption of goods, both cultural and material, sharply increased. The combination of the above reasons led to the fact that the "fourth power" appeared in the country. We are talking about the media, which began to occupy the first place in culture. As for modernity, the following elements are intertwined in the most bizarre way:

1. Anarchy and statehood.
2. Demonstrative apathy and huge deliberate politicization.
3. Selfishness.
4. individualism and unity.
5. Collectivism.

The role of the state

The revival of culture is the most important condition for the renewal of society. This fact is quite obvious. As for concrete movements along this path, they still remain the subject of fierce discussions. In particular, this concerns the role of the state in this process. Will it interfere in the affairs of culture and regulate it? Or perhaps she can find the means to survive on her own? There are several points of view on this matter. Some believe that culture needs to be given freedom. This also applies to the right to identity. Thus, the state will take upon itself the elaboration of strategic tasks for the "building" of culture, as well as the responsibility for protecting the national heritage. In addition, financial support of values ​​is needed. However, all these issues have not yet been resolved. We are talking about the specific implementation of these provisions. Many believe that the state has not yet fully realized the fact that culture cannot be left at the mercy of business. It needs to be supported, just like science and education. This comes to the fore in matters of maintaining the mental and moral health of the country. Domestic culture has many contradictory characteristics. Nevertheless, society cannot afford to be separated from its national heritage. The culture is disintegrating, and it is not adapted to transformations.

Possible options

As for the ways of development, in this case there are many conflicting opinions. Some talk about a possible strengthening of political conservatism. That is, the situation can be stabilized on the basis of Russia's identity. In addition, a special path of the country in history should be highlighted. Nevertheless, it can again lead to the nationalization of culture. In this case, we are talking about the implementation of automatic support for heritage and traditional forms of creativity. As for other paths, foreign influence on culture is inevitable. Thus, any aesthetic innovations will be significantly hampered. What role can the conditions for Russia's integration play? It is worth taking into account the influence from the outside. Thanks to this, the country can be turned into a "province" when compared with global centers. In domestic culture, the dominance of alien tendencies is possible. Although the life of society will become more stable. In this case big role plays a commercial self-regulation of the structure.

Key Issues

Of course, we are talking about preserving the original national culture. It is also worth noting the importance of its international influence. Cultural heritage embedded in society. Russia can join the system of universal principles. In this case, she will become an equal participant in world artistic processes. The state should intervene in the cultural life of the country. The presence of institutional regulation is an urgent need. Only in this way will the cultural potential be fully utilized. Public policy in the relevant areas will be reoriented radically. Thus, within the country there will be an accelerated development of many industries. It should also be mentioned that Physical Culture in modern Russia has come out of the crisis and is developing at a moderate pace.

Final moments

The presence of numerous and contradictory tendencies is characteristic of modern domestic culture. In this article, they have been partially identified. As for the current period of development of national culture, it is a transitional one. It is also safe to say that there are certain ways out of the crisis. What is the past century as a whole? This is a highly controversial and complex phenomenon. It is also greatly aggravated by the fact that for a long time the world was conditionally split into two camps. In particular, this applies to ideological signs. Thus, cultural practice has been enriched with new ideas and problems. Global issues have forced humanity to accept the challenge. This has had an impact on world culture as a whole. And not only on it. The same can be said about each national heritage separately. In this case, the dialogue of different cultures is a decisive factor. As for Russia, it is necessary to work out and adopt the right strategic course. It is worth noting that the situation in the world is constantly changing. Solving the "cultural" problem is a very difficult task. First of all, we are talking about the need to realize the existing deep contradictions that are inherent in the national culture. And this applies to everything historical development. The local culture still has potential. It is sufficient to provide answers to the challenge of the modern world. As for the current state of Russian culture, it is very far from ideal. There is a need to change thinking. Currently, it is more focused on maximalism. In this case, a radical revolution is needed. We are talking about a real reorganization of everything and everything, and in the shortest possible time. The development of domestic culture will certainly be complex and long.

A person comes into contact with culture and art every day. And usually not in museums. From birth and throughout life, people are immersed in art. The presented work reveals the culture of the 17th century, including architecture, painting and iconography, theater and ballet, and other elements of the cultural life of that time. The revolution that took place in public consciousness as a result of troubled times and responding in art with a keen interest in individual fate, in the problems of the individual, necessitated profound changes in culture. Of course, the 17th century can be called the era of transition from medieval identity to the culture of modern times. And the task of the author, as a historian, is to most fully describe the events that influenced the development of the culture of the 17th century, which marked the beginning of the dawn of Russian culture, which culminated in the golden age.

The complication of city life, the growth of the state apparatus, the development of international relations made new demands on education. The literacy rate in the 17th century increased significantly and in various strata amounted to: among landowners 65 percent, merchants - 96, townspeople - about 40, peasants - 15, archers, gunners, Cossacks - 1 percent. In the cities, quite a few people already sought to teach their children to read and write. But the cost of education was not cheap, so not everyone could study. Women and children in wealthy families usually remained illiterate. The teachers were churchmen or clerks (who served in orders). As before, literacy was most often taught in the family. One of the main methods of pedagogy, as in the 15th century, was corporal punishment "rod", "crushing of the ribs", "rod". The essay on pedagogy "Citizenship of Children's Customs" is very indicative - a set of rules that determined all aspects of children's lives: behavior at school, at the table, when they meet people; clothing and even facial expressions. Main teaching aids books of religious content remained, but several secular publications were also published: ABC books by Burtsev (1633), Polotsky (1679) and Istomin (1694), which were wider in content than their titles, and included articles on dogma and pedagogy, dictionaries, etc. etc.; alphabet books - dictionaries foreign words, introducing philosophical concepts, containing brief information on national history, about ancient philosophers and writers, geographical materials. These were reference manuals that provided already in primary school familiarity with a fairly wide range of problems

Secondary schools appeared in Moscow, including private ones, where not only reading, writing, arithmetic, but also foreign languages ​​and some other subjects were studied: 1621 - an all-estate Lutheran school in the German Quarter, Russian boys also studied there; 1640s - a private school of the boyar F. Rtishchev for young nobles, where they were taught Greek and Latin, rhetoric and philosophy; 1664 - Public School to train clerks of the Order of Secret Affairs at the Zaikonospassky Monastery; 1680 - a school at the Printing House, the main discipline in which was the Greek language, etc.

In 1687, Patriarch Macarius opened the first higher education institution in Russia in the Donskoy Monastery in Moscow. educational institution– Slavic-Greek-Latin Academy for free people"of every rank, rank and age" for the training of higher clergy and officials public service. The first teachers of the academy were the Likhud brothers, Greeks who graduated from the University of Padua in Italy. The Likhud brothers, Ioaniky and Sophrony, gave the first courses in "natural philosophy" and logic in the spirit of Aristotelianism at the academy. The composition of the students was heterogeneous, representatives of different classes studied here (from the sons of a groom and a bonded man to relatives of the patriarch and princes of the most ancient Russian births) and nationalities (Russians, Ukrainians, Belarusians, baptized Tatars, Moldavians, Georgians, Greeks). The academy taught ancient languages ​​(Greek and Latin), theology, arithmetic, geometry, astronomy, grammar, and other subjects. The Academy played a big role in development and enlightenment at the end of the 17th and the first half of the 18th century. From it in the reign of Peter 1 came the mathematician Magnitsky, later Lomonosov. Subsequently, the academy was moved to the Holy Trinity Sergius Lavra.

One of the outstanding figures of that era was Patriarch Nikon - a smart, educated, energetic man was elected the Moscow Patriarch in 1652. He passionately set about correcting errors in church books and customs. For this work, he ordered learned monks from Greece and from the Kyiv Academy. When the books were corrected, Patriarch Nikon ordered the new books to be sent to all churches, and the old ones to be taken away and burned. The people were excited, because people believed that it was possible to save a soul only according to old books, according to which their fathers and grandfathers prayed. Most of all, the people were worried about the order to be baptized not with two fingers, to which everyone was accustomed, but with three, as in the Greek church, where the ancient, more correct custom was preserved.

The dispute about the correction of books and church ritual reforms carried out by order of the patriarch continued for a very long time. This reform itself and the forceful methods of its implementation led to a split. The schism is a complex socio-religious phenomenon associated with profound changes in the people's consciousness. Under the sign of the struggle for the old faith, everyone who was dissatisfied with the changes in living conditions gathered: the plebeian part of the clergy, who protested against the growth of feudal oppression by the church elite, and part of the church hierarchs, who opposed Nikon's centralization changes; representatives of the boyar aristocracy, dissatisfied with the strengthening of autocracy (princes Khovansky, sisters Sokovnina - boyar Morozova and princess Urusova, and others); archers, pushed into the background by military formations of a regular type; merchants, frightened by the growth of competition. Members of the royal family also stood for the old faith. At the head of the dissenters was the priest-priest Avvakum, also a powerful and hot-tempered man. The famous Solovetsky Monastery also stood up in defense of the old faith, and only after a seven-year siege (1668-1676) was the monastery taken by the Moscow army. The Old Believers, on the orders of the patriarch, were persecuted, imprisoned, punished. As for the peasantry, for the most part, they associated the deterioration of their position with the retreat from "ancient piety." So the movement of the Old Believers was quite massive. The leaders of the Old Believers, Archpriest Avvakum and his associates were exiled to Pustoozersk (lower reaches of the Pechora) and spent 14 years in an earthen prison, after which they were burned alive. Since then, the Old Believers often subjected themselves to "baptism of fire" - self-immolation in response to the arrival of "Nikon - the Antichrist" into the world.

The ideology of the schism included a complex range of ideas and demands, from the preaching of national isolation and a hostile attitude towards secular knowledge, to the rejection of the serfdom with its inherent enslavement of the individual and the encroachment of the state on spiritual world man and the struggle for the democratization of the church.

The schism became one of the forms of social protest of the masses, who associated the deterioration of their position with the reform of the church. Thousands of peasants and residents of the settlement, carried away by the passionate sermons of the schismatic teachers, fled to the Pomeranian north, to the Volga region, to the Urals, to Siberia, where they founded Old Believer settlements. Some of them exist to this day.

The need to revise all church rites and bring them into line with Greek liturgical practice was caused, first of all, by the desire to streamline the ritual practice of the Russian church in the face of the growth of religious freethinking and the decline of the authority of the clergy. Rapprochement with the Greek Church was supposed to raise the prestige Russian state in the Orthodox East, discrepancies in Russian and Greek church books sometimes led to real scandals. However, it would be wrong to believe that the conflict arose because of ritual issues - unanimity or polyphony, two-fingered or three-fingered, etc.

Behind the phenomenon of church schism lies a deep historical and cultural meaning. The schismatics experienced the decline of Ancient Rus' as a national and personal catastrophe, they did not understand why the old way of life was badly consecrated by time, what was the need for a radical break in life huge country, with honor emerged from the trials of turmoil, and grew stronger year by year. Behind the controversy, limited by narrow limits, the outlines of the main dispute of the era of that time, the dispute about historical correctness, were outlined. One side insisted on insignificance, the other - on greatness, on the "truth" of antiquity.

The split was great tragedy people. He instilled a mood of expectation of the Antichrist. People fled to the forests, mountains and deserts, schismatic monasteries formed in the forests. At the same time, the tragedy entailed an extraordinary upsurge, firmness, sacrifice, readiness to endure everything for faith and conviction.

In numerous literature, the schismatics are evaluated as reactionaries, conservatives, fanatics. Such unambiguity is hardly true. For example, in some aspects Archpriest Avvakum turned out to be a greater innovator than his opponents. This applies primarily to theory and practice. literary language. One should also think about another assessment that appeared in one of the latest works, although one should not idealize the split: probably not everything is so simple with the attitude of the Old Believers to everything new, non-religious. There is no doubt, for Avvakumites, only the “ancient”, primordially national, native things had the status of truth ... And yet, in itself, such an approach to tradition, to the past, does not yet give grounds to talk about the inertia and ignorance of the Old Believers. Having screwed up, it seems to us that in the situation of a sharp break in the established social norms and spiritual and ideological foundations, which marked the entire 17th century, it was the Old Believers, despite their eschatological essence, even fanaticism and worldly detachment, that retained continuity in the development of national identity and culture. This was the indisputable positive beginning of the movement of the split.

What do we know about Russian street fashion? In fact, Russia has legitimized streetwear and made it the new normal for everyone. Those who grew up on the outskirts of Moscow have often seen guys in sweatpants doing things that do not even remotely resemble sports activities.

Of course, the notorious sweatpants and sports jackets were part of the everyday image of the inhabitants of the outskirts in all corners of the world, but it was in Russia in the 90s that they became a symbol of newfound freedom and almost a cult object. Adidas suits from Austria were a novelty abroad: they went for walks, to work and to parties. When the scarce times passed, Russian fashion turned to the West, and gradually the passion for "sportswear" and other signs of style from the time of the devaluation of the ruble passed and remained on the outskirts - in the hands, as we would say, of the lumpenized sections of society.

Street fashion in Russia (in general, like catwalk fashion) had a Western basis and usually went along with a youth subcultural prefix. MTV and American hip-hop broke into the everyday life of the post-Soviet teenager along with groups such as Bad Balance, Malchishnik and DeTsl, and youth clothing preferences began to line up in accordance with this. By the end of the 2000s, a relaxed hip-hop style, a skater subculture, sneakers and athleisure as part of the everyday look took root and became the norm. But as such, streetwear brands marked Made in Russia did not exist at that time (with the exception of Gosha Rubchinskiy).

By the end of the 2000s, hip-hop style, skater subculture, sneakers and athleisure became part of the everyday look.

Fashion from panels

The wave of appearance of the Russian streetwear came in the last six years, that is, exactly during the period of Putin's stability. The liberal media usually describe this phenomenon as follows: the stability of the economy due to reserves, Soviet ideals, but cleansed of revolutionary ideas, sovereignty and a new national idea which opposes Russia to the West. The younger generation, born in the 90s and raised in Putin's Russia, seemed to be divided into two camps: sympathetic and, together with their parents, satisfied with satiety and peacetime, and on the other hand, pessimistically reflective and oppositional.

Nevertheless, post-Soviet millennials, who saw no one but Putin as president, have enough education and outlook to analyze the situation from a critical point of view. These young people went to rallies in the hope of change and subsequently lost faith in their possibility after the trial of the prisoners on May 6 and the next elections with a predetermined result.

The lack of prospects and stagnation have led young people and girls to focus on themselves, on the Russia of their past, and become nostalgic. This condition inspired many to create authentic streetwear, which quickly became incredibly popular in the West due to its wild exoticism. New Russian brands do not try to repeat Supreme or Palace clothes in their own way, but, on the contrary, focus on “Russianness”, pedaling the theme of post-Soviet realities and nostalgia.

Russian hton from the same panels that rapper Husky reads about against the backdrop of high-rise buildings in Chertanovo has become a leitmotif for collections of brands such as Sputnik 1985. The brand attracted attention with prints from the 90s - with Yeltsin, the White House, the deeply politicized groups Civil Defense and Vain Youth. Now the brand is engaged in trendy streetwear with prints and slogans, such as "Children of the backyards." Judging by the fact that a fan club has gathered around Sputnik 1985, these things really resonate with an audience of 20-year-olds.

New Russian brands do not try to repeat the clothes of Supreme or Palace in their own way, but, on the contrary, focus on "Russianness"

The theme of Russian reality can be traced in the brand "Top", which is inspired by the underground and carries this message through prints and slogans. The founder of the brand, Vasily Volchok, explains this by the fact that Volchok is more of a social platform for young people than clothes:
“We are not doing things that are super complex in terms of design yet, the emphasis is rather on content - each collection carries some idea, statement, so we focus on atmospheric presentations and shooting. In the latest collection, for example, they touched on the topic of unification different cultures, some things and prints are inspired by sci-fi, there is also something from rave culture. These themes, in fact, were in the air, and we combined them within one concept. We do not deliberately get into politics, art and culture are closer to us. Just sometimes some cultural phenomena associated with the opposition. For example, the rave culture, which is not accepted by our state, is very close to the brand.”

"Sputnik 1985" and "Volchok", the first and most successful, opened the way for other young brands with laconic Russian names "Dust", "Underground" , "Woe"- and all with the same themes: the loss of the younger generation, the "difficult age", romantic Russian poetry taught at school, an attempt to rethink the landscape outside the window and rework historical experience in my own way.

Sweatshirt as a field for discussion

Those who support Putin's stability are increasingly contrasting perestroika times and the far from stable 1990s with calm. For the adult generation it was a wild time, for their children it is associated with childhood, Solovyov's cinema and the possibility of freedom. So, Olya Shapovalova, one of the founders of the feminist streetwear brand Narvskaya Dostava, says this: “For some, Putin's time is a period of stability, but for us it is rather stagnation and degradation. Our brand appeared when we realized the futility of marches and rallies where only acquaintances gather. Therefore, we decided to announce the problems that concern us through clothing and the mass market. Russian street fashion is now mainly done by guys born in the Soviet Union, but their childhood fell on the devastation of the 90s. Putin's stable lack of spirituality came somehow by itself, but without any idea. That is why the connection with Soviet reality, perestroika cinema and new artists, whose ideas are now more relevant than ever, aroused nostalgia and a desire to rework this topic in our generation.”

For some, Putin's time is a period of stability, but for us it is rather stagnation and degradation.

The art of the past, for the sake of criticizing the political system of the present, recycles the T3CM brand, a brand that has become familiar on the Internet with bombers imitating police uniforms, only instead of “police” patches, designers put the word “utopia” on them. T3CM clothes are inspired by the work of the Slovenian art group NSK and the Soviet film "Shadow", from which the key phrase of the collection "Shadow, know your place" is taken. “This non-obvious combination gives me the necessary set of images through which I describe my impression of modern Russian reality. The film "Shadow" in 1971 is known to everyone in Russia. At least the generation of 30-year-olds. All famous players play in it. Russian actors of that time, so as a reference it has the necessary potential. There is no reflection in this. I need it to create my own dystopia that would illustrate my perception of modern Russian reality. In it, the character Shadow (actor Oleg Dal) is a totalitarian image of an all-seeing and all-controlling ruler who looks at each of the TVs with a single channel broadcasting only this image. The audience and the show change roles. The TV looks at the viewer and evaluates him. This feeling can be interpreted in an Orwellian way, or in the context of art theory, where the picture looks at the viewer to the same extent that the viewer looks at it. Totalitarianism has always been built on the same visual clichés. Parallels can be found in the figurative aesthetics of the USSR, North Korea, the People's Republic of China, Nazi Germany, Cuba, etc. The geography is different - the clichés are the same,” explains the creator of the brand.

The Crime x Punishment brand has already managed to make a lot of noise on the Internet. In an interview with Highsnobiety, the founders of the brand said that they sent off part of the first collection “Safe and Unharmed” in Russian prisons not only because of the hype factor (romanticization of prison folklore, tattoos
etc.), but also because of the desire to help prisoners earn money (although, according to Tolokonnikova’s letter, this can hardly be called a salary). Now the brand is developing a new collection with direct references to the authorities: “The very name "Crime and Punishment" in the context of our time already carries a certain ideological message, and it can be interpreted in very different ways. For me personally, this is an evil irony about the absurdity of everything that is happening around. Our brand appeared as a reflection of what is happening around. We combine modern lo-fi aesthetics, classical Russian culture and the chaos that reigns around and pours from the media space. Owl
from the logo of the Ministry of Internal Affairs, stripes, playing with the uniform of Russian law enforcement agencies. IN new collection the inscriptions are in the FSB font, and Putin's eyes are used in the graphics. All this is not obvious to an inattentive observer, and we do not seek to talk about it.

What's the point of fashion here?

In an era of stability, there are even too many streetwear brands that focus on the same theme - opposing the system, mainstream fashion and going underground. This suggests that the country has a healthy creative potential that is trying to express itself in limited production conditions, and not about the redundancy of street fashion in Russia. Our industry is still limited in resources: fabrics are expensive, factories are not enough, and help from above is rare and not for everyone.

Even according to the designers themselves, the goal of the Russian streetwear is not to create a thing of complex design, but rather to do something that will carry a symbolic value or some kind of statement that will be read by peers. The main thing is to designate the message in order to touch the strings of the Russian soul, what first attracted the attention of Gosh Rubchinsky with his first collection "Evil Empire". After all, that is why his things are popular in the West, where Russian aesthetics is something exotic that carries a touch of anxiety and totalitarianism. Everyone has already written about the same Crime x Punishment, Narvskaya Dostava and T3CM - from Calvert Journal to Vogue.

And don't blame designers or young people for not wanting to go to design schools and make or wear beautiful clothes. It's all about the spirit of the time, when just a dress stopped meeting the needs of teenagers, and the politicization of clothes became something inevitable.

Influence Western culture into Russian in the context of globalization.

Globalization-- the process of world economic, political and cultural integration and unification.

The problem of socio-cultural compatibility between Russia and the West is perceived by our compatriots as significant and relevant. Moreover, the views of respondents on how it affects Russian society interaction with the West in certain areas, whether it brings benefit or harm to our country, as a rule, is closely connected with their values ​​and political orientations, and their statements on these issues are usually emotionally colored.

The last decade has been marked by an unprecedented intensive presence of the West in Everyday life ordinary Russian. Therefore, the judgments of citizens today are much more based on their own experience than in the early 1990s.

One of the most visible trends in Russian citizens to the presence of the West in their daily lives now, of course, is the growth of "consumer patriotism" - at least verbally. Many express dissatisfaction with the dominance of "imports" in the Russian market and, in particular, with the aggressive advertising of these goods. Moreover, they are worried not only by the fact that such a situation has a detrimental effect on the development of domestic production; the opinion is often expressed that imported goods in most cases are much worse than Russian ones, which means that their presence (especially dominance) on the market causes direct harm to the consumer. Most often, such statements refer to the state of affairs in the food market:

The West imposes its food on us, and this is just chemistry

The interviewed experts, on the whole, have a somewhat more favorable attitude towards the abundance of imported goods on the Russian market. Some of them do not see any problem here at all and believe that competition with foreign competitors goes to the domestic manufacturer exclusively for the benefit of:

"This is a huge incentive for our development ... Of course, there is a lot of junk, but there are also good things. Now to look and want to do this - it develops competitiveness. I the highest degree I am positive about this.

“I’m fine, because people should choose for themselves. They should always have a choice. And, for God’s sake, if it’s unprofitable, if it’s not sold, where will they go? They will leave the market. After all, our market is gradually filled with domestic goods ... This is an incentive to improve your product, to reduce its cost, increase competitiveness, and so on. There is no other way on the market" .

The vast majority of experts, however, also note reverse side: the poor quality of many imported goods and the suppression of the domestic manufacturer. Therefore, representatives of the regional elites are almost unanimous in favor of all-round state patronage of Russian manufacturers. But none of them considers it necessary to complete the closure of the Russian consumer market. Even the most, it seems, implacable opponent of the economic and cultural expansion of the West, assessing it in the sharpest terms, denouncing Western "lack of spirituality" in every possible way, believing that "another ideology is" purposefully "imposed" on Russia and sympathetically quoting M. Nozhkin ("Alien life to us dress like a collar"), agrees:

"Mercedes", for example, today the rich buy - well, let them buy for themselves. You can still raise the duty so that they are even more expensive ... The same for consumer goods: whoever wants to wear Italian shoes for three thousand - let him wear it, but our Russian shoes for 500, 600 rubles should be nearby, which, then, , ready to produce today"

Today, the vast majority Russian markets we see only the foreign. Ded Moroz is replaced by Santa Claus, Russian kvass by Coca-Cola, pies by hamburgers, curdled milk by yogurt, and so on. You can easily find a T-shirt with large inscriptions SEX and LOVE on the chest - and this is for girls 7-10 years old! Why do they need this?! Even on Russian goods, which are successfully produced in the Russian Federation, manufacturers put brands and labels (again, non-Russian words!), gravitating towards foreign analogies.

The dominance of foreign culture is noticeable to the naked eye in all spheres of domestic public life. On the shelves of music stores, instead of the classics, in which Russian-speaking composers are especially strong, a huge place is occupied by works of foreign "pop" or "metal", the content of which is not only incomprehensible to the Russian listener, but often and much worse in quality than normal Russian songs.

Unfortunately, it is young people and children, being the main consumers of popular music, and also having an intellect that is more susceptible to outside influences, who forever absorb foreign musical culture, which can be not only good, but also bad.

But, of course, such mass communication as television has the greatest negative impact on Russian children. Streams of cartoons and programs pour out onto millions of audiences, in which violence and money, ideas of the cult of power and wealth are literally at every turn.

Language is the basis of any culture. And when a culture changes the vector of its natural development, all sorts of metamorphoses begin with the language. Watching the Russian language over the past 25 years, you can see how much it has changed. Until the end of the eighties, the XX century, the language was improved, thanks to scientific approach thanks to science in general. After all, new words and terms are born from discoveries and inventions. As a basis, words were taken from dead languages, such as, for example, Latin. Now, saturated with imported words and expressions of living languages, the Russian language is degrading. To a certain extent, globalization reproduces on a global scale the negative aspects of market economy, which, on the whole, have been curbed by Western countries by building a "welfare state". Today, the world economy is dominated by financial and oligarchic forces that bring to the global level the crudest forms of individual and group egoism. Globalization is becoming a means of concentrating wealth and power in the hands of individuals and groups. Let's get the facts. Three the richest people The lands have wealth that exceeds the wealth of 47 poor countries in the world, 475 of the richest individuals control wealth that exceeds the wealth of half of all mankind. The ratio between the richest one-fifth of the world's population and one-fifth of the world's poorest population has reached 1:75

globalization integration socio-cultural compatibility

DO YOU THINK THAT PEOPLE IN RUSSIA ARE GENERALLY BETTER, WORSE UNDER THE INFLUENCE OF WESTERN CULTURE OR THE CHANGES OCCURING WITH PEOPLE ARE NOT RELATED TO THE INFLUENCE OF THE WEST?

QUESTION: LET'S TALK ABOUT WESTERN CULTURE, THE SYSTEM OF VALUES - ABOUT THEIR INFLUENCE ON RUSSIAN SOCIETY. IN YOUR SUGGEST, IS THE INFLUENCE OF WESTERN CULTURE AND THE SYSTEM OF VALUES ON RUSSIA IN THE GENERAL POSITIVE OR NEGATIVE?