The material was prepared by a teacher of Russian language and literature

MKOU "Secondary School No. 10", Shadrinsk

Gubanova Valeria Alekseevna

MHC's lesson modern school.

World art culture (hereinafter referred to as the WCC) as an independent subject arose relatively recently. This is a young subject, its history goes back about twenty to thirty years. The World Artistic Culture course is different from other subjects school curriculum the fact that his methodological requirements still being formed and systematized. As a result of this, we can conclude that the poor development of the methodology and requirements for the MHK lesson makes the subject of the MHK “faded” and uninteresting in relation to other subjects of the school curriculum. Therefore, the teacher of the MHC and the school administration will have to solve these problems.

World art culture as academic subject belongs to educational field"Art".

The MHK lesson in a modern school is designed to form a holistic harmonious personality. The most effective way to achieve this are communicative forms of work with students. In my work I use frontal, group forms of work with students. It is communicative forms that imply not just an exchange of statements, remarks about this or that object of art, but a holistic organization of the exchange of opinions, in which, I emphasize, these opinions are not imposed on anyone. Thanks to such a purposeful and orderly exchange, the modern student forms his own vision of an object of art: whether it is a reproduction, a book, an architectural monument or an excerpt from a piece of music.

Art lessons, in my opinion, are best done in the form of discussions, seminars, creative workshops, small theatrical performances. It is these forms of organization of the lesson that contribute to better assimilation and memorization of the material by students.

The teacher should not forget about interdisciplinary connections school subject MHK with other disciplines that are taught at school. So we all know that art is closely connected with history, geography, literature, music. Therefore, at the MHC lesson, it is imperative to draw parallels to these subjects. But I will note right away that the modern schoolchild does not know or knows history and literature poorly. So at one of the lessons of the Moscow Art Theater, working with slides that depicted an architectural monument of the 16th century, I asked the students the following question: “Who ruled the state in this moment time?" And what struck me was that only one of the seventeen students answered.

Talking about the monuments of literature at the lessons of the Moscow Art Theater, one can say that the modern schoolchild does not know or does not know the authors of the works, and the works themselves, although in the lessons of literature literature teachers study in depth with students both poets and writers. From this follows the conclusion that the MHC teacher must have knowledge about a particular subject that he wants to discuss in class with students. We, teachers, not only ourselves need to draw parallels, connections, with other subjects school course, but also to teach their students to do it themselves at the MHC lesson.

At the MHC lesson in a modern school, under the guidance of a teacher, students must learn to independently and creatively organize their activities, search for and systematize material in various sources and transform it into knowledge, use Computer techologies for the design of creative and homework.

I want to emphasize that the art lessons should also include students' project activities. It should be focused on the development of interest in independent creative work,the ability to work with text, highlight the main thing, make presentations, analyze, summarize what has been learned. The teacher here should act as a mentor, a mentor. Project activity can act as an independent form of organizing a lesson.

Thus, the MHC lesson in a modern school should not only reveal to us a holistic, harmonious personality, but also educate it.

World artistic culture reveals the specifics and originality of the spiritual and aesthetic experience of mankind, generalizes the ideas that a person has about the arts. This item is included in the basic syllabus and is required to study.

The concept of culture. Principles of studying artistic culture.

World Art - a whole list of scientific disciplines:

History of art (as well as its philosophy and psychology)

Aesthetics (the study of the forms of beauty in art)

Culturology (complex of studies of culture in general)

Cultural ethnography (a science that studies the material and spiritual of peoples-ethnoses)

The semantics of culture (the study of cultural objects in terms of the meaning they express)

Semiotics of culture (consideration of culture as a system of signs)

Hermeneutics (the study of the principles of interpretation and interpretation of cultural objects)

Ontology of culture (relationship between culture and universal laws of being)

Epistemology of culture (the study of forms of knowledge based on cultural heritage)

Axiology (consideration of value orientations approved by culture)

What is culture? The Latin origin of the word refers us to the noun colere"cultivation", "cultivation". But there is no single definition.

Classification of definitions concepts of "culture" Spanish culturologist Albert Cafaña.

1) definitions based on the concept of social heritage (Edward Sapir: “ culture is any socially inherited element human life- both material and spiritual»)

2) definitions based on the notion of learnable forms of behavior (Julian Stuart: “ Culture is usually understood as acquired ways of behaving that are socially transmitted...»)

3) definitions based on the concept of ideas (James Ford: “... culture can be generally defined as the flow of ideas from individual to individual through symbolic behavior, verbal learning, or imitation»)

4) definitions based on the concept of the superorganic (i.e., lying beyond the limits of sensory perception), - intellectual, emotional, spiritual)

cultureis a set of socially inherited material and spiritual elements of human life: physical objects, man-made, labor skills, behavioral norms, aesthetic patterns, ideas, as well as the ability to preserve, use and pass them on to posterity.

The division of culture into material and spiritual. It is generally accepted thatmaterial represents objects of labor, housing, clothing, vehicles, means of production, etc. But this type of culture is represented not only by certain objects, it includes the knowledge, abilities and skills of the person involved in the production process. Physical development man is also part of this culture. Spiritual culture is art, religion, education, science and the level of implementation of its achievements in everyday life and production, traditions, customs, rituals, medicine, the degree of development of the needs and interests of people in material and spiritual terms. This can also include relationships between people, as well as the relationship of man to himself and nature ...

Such a division is legitimate, but it is not worth accepting it as an absolute truth. This is pointed out, for example, by the Russian philosopher Nikolai Berdyaev:« Every Culture (even material Culture) is a Culture of the spirit, every Culture has a spiritual basis - it is a product creative work spirit...". In other words, any material culture has as its cause a spiritual culture, and as a consequence this or that spiritual state. Let's say a mobile phone that each of you has is an object material culture, but its existence is possible only thanks to the spiritual culture (field of science), and its result is your spiritual state(for example, the phenomenon of SMS thinking).

art sciences,

art criticism,

- "consumption" of works of art (listeners, viewers, readers).

Obviously, the first three of these components presuppose professional involvement in the artistic field (in the role of an artist (in the broadest sense of the word), an art historian, and a critic). The fourth concerns us directly.

In order to study this or that scientific discipline, we need to choose a kind of "observation point" - that is, our position in time and space relative to the phenomena being studied. The French philosopher Henri Corbin calls this point "historial".

When it comes to scientific disciplines there is a high probability that the historial will coincide with the point denoting the state modern humanity. That is, let's say, we will study physics based on for the most part from the modern theses put forward by this science. That is, the scientific historial is impersonal and more or less immobile: we analyze the physical hypotheses put forward in the 4th century. BC. (for example, the idea of ​​atoms for the authorship of Democritus) and the molecular theory of the 19th century, based on the same scientific data, belonging to the century 21st.

Is such an approach possible in the field of art? Can we study, for example, ancient greek art, staying on the positions of modernity (modern scientific data, social structure, technical capabilities, aesthetic trends) and our cultural and national identity (traditions, current value system, religious beliefs, etc.)? That is, can we study Homer's texts while remaining entirely Russian people of the 21st century, living in the era of the information society, democratic values, brought up in line with Christian and post-Christian culture? No, we cannot, because in this case we will simply remain indifferent and deaf to these works; all we can say about them is some senseless and banal nonsense - they say, these are “masterpieces” and “everyone should know them” ... What should we do? Answer: to shift our history to that spatio-temporal point when these works were created (in the case of Homer, this will be Ancient Greece of the archaic period). Intellectually and emotionally, this will mean trying to understand and feel the Homeric poems as they were felt and understood by the author's contemporaries and the author himself. Then our history will be personal and mobile. Then we can at least understand something. This movement of the historical is perhaps the most technically difficult thing that we have to do. Because it requires us to constantly modify our thinking, to constantly free ourselves from the stereotypes of modernity. It's really not easy and it takes practice.

Why do we need all this ? The modern Russian philosopher Heydar Dzhemal compared a person with a candle. There is a candle and there is its fire. The flame of a candle is not a candle. But a candle without a flame is also not quite a candle - it's just an oblong wax object. That is, it is the flame of a candle that makes a candle a candle. Also with a person. There is a person (candle) and there is meaning (flame). Not being involved in the realm of meaning, man is not quite a man, but only a set of external signs of a man, a biped without feathers. And only by seeking and finding meanings do we become fully human. And the area of ​​meanings is the area with which artistic culture "works".

MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION

ORENBURG STATE PEDAGOGICAL UNIVERSITY

______________________________________________________________

N.M. MYSHIAKOVA

World Art

Part 2 artistic culture of the most ancient and ancient world

Program materials for the course of lectures

(GSE.F.04. - cultural studies)

(Minutes No. 4 dated June 15, 2004 of the meeting of the Presidium of the UMO Council on the specialties of teacher education)

OGPU publishing house

Orenburg 2004

UDC 008:930.8

Reviewers

N. L. Morgunova, Doctor of Historical Sciences,

OGPU professor

A. G. Prokofieva, Doctor of Pedagogical Sciences,

OGPU professor

Myshyakova N.M.

M 96 World art culture. Part 2: Artistic

Culture of the Ancient and Ancient World: Materials for a course of lectures. -

Orenburg: OGPU Publishing House, 2004. - 79 p.

The program is the second part of the course "Culturology" (Part 1: "Mythology") and is intended for students of all faculties and students of humanitarian faculties studying in the specialty "Culturology".

UDC 008:930.8

Myshyakova N.M., 2004

OGPU publishing house, 2004

The program is the second part of the general course "Culturology" (part 1 - "Mythology") and is intended for students of the humanities. The program assumes a variable, selective use of the material depending on the number of hours, the specifics of the faculty, the availability of illustrative material, etc. Program materials allow us to consider selected topics in a broad national, sociocultural, morphological context, revealing the interaction of cultures or their typological commonality. Topics that are not included in the main course can be used in the extracurricular system.

Section 1. Artistic culture of the ancient world

The concept of a traditional type of culture. The peculiarity of the social structure. Appropriating character of the economy. Formation of culture as a mechanism of self-organization of society. Accumulation of life experience and cultural tradition. The main stages of ancient culture. The problem of the origin of artistic culture. “Metahistorical space” of the birth of “metaart” ( E.Sementsova). The anonymous nature of artistic activity. Syncretism of primitive culture. “moral neutrality” ( M.S. Kagan) primitive art. Data from archeology and ethnography. stone tools late Paleolithic. concept excess skill. Animism And totemism primitive art. Primitive “ideological syncretism” ( N.A. Dmitrieva). "Archaeological" hypotheses linking the genesis of " primary forms creativity" with "tips" of "natural sculpture", "pasta", "hands" ( A.D. Stolyar).

Art."Animal" embodiment of the cosmos. The connection of primitive art with hunting and hunting magic Paleolithic animalism as the art of "great hunters" for a large herd animal. Mythological system of cave painting.

Discovery of wall paintings in the cave of Altamira by Spaniard Marcelino de Sautuola (1875). Altamira - Paleolithic "art gallery", the most significant in artistic wealth and on the "tragic role in historiography" ( A.D. Stolyar). Placement of drawings (on the ceiling, on the walls, in hard-to-reach places). Drawing style. Non-observance of external mutual proportions. The phenomenon of superposition. Lack of perspective. Rare cases of depiction of space (“a buffalo looking back” and “a woman resting” in the La Madeleine cave). Lack of vertical and horizontal orientation. X-ray style. Image scenes. Techniques for transmitting movement (position of the legs, tilt of the body, turn of the head). Receptions of simplification and symbolization of the image. Two styles of primitive art: lifelike And conditional. The image of the beast and the expression of man. Primitive pictorial technique (large stone incisors; a finger stained with colored clay). The use of the shape of a rock for pictorial purposes (“standing buffalo” in the stalagmite of the Castillo cave, “buffalo with arrows” in a cave in Nio). The use of mineral dyes.

Types of animals depicted : bison, tours, rhinos, goats, horses, wolves. Rarely depicted animals: deer, donkey, predatory animals. The uniqueness of the image of fish, birds, snakes, insects.

Anthropomorphic images. Frequent images of women. The image of a woman as an anthropomorphic component of the concept of the world. Realistic And stylized image types. Frontality, immobility of female figures, their potential monumentality. Flat, undeveloped image of the face. Claviphor images (resembling musical signs or a musical key). Type dressed women. The uniqueness of the image of two "resting women" in the cave of La Madeleine. “Modernism” images ( J. Jelinek).

Images of men. The drama of the scenes and situations in which men are depicted: pierced by arrows, defending themselves from the beast ( torment). phallic motifs.

System symbolic images. Various interpretations of symbols (gender signs, calendar, ritual touches). positive And negative hand images. Images of a hand with undeveloped fingers ( mutilation).

Exit of the image from the cave to the surface of the rock (Mesolithic). Pose volatilegallop. System ornamental characters. “The birth of a vessel with an integral system of painting is an ideological revolution” ( E.Sementsova). Developed worship of the mother goddess, the bull. Patterns of "band" ceramics, scorpions, fish, birds, images of "horns dedications”, symbols of the cross, swastika spirals, etc. The tendency to create a relatively independent pictorial integrity. The development of picture writing - pictographs. Colorized pebbles Mas d'Azil caves in Ariège (France) - possible signs of ancient writing (the assumption of the French scientist E. Piette).

Primitive sculpture. Steles with a relief of a human face. zooanthropomorphic images. Paleolithic Venuses. Problems of erotic and social attribution "Venus". "literalism" as a "stadial feature of ancient symbolism" ( A.D. Stolyar).

primitive architecture. Development of monumental space, choice stone as the main material. Natural cluster images ( labyrinths). Anthropomorphism of the idea of ​​stone boulders. Cyclopean fortresses. European cities. Megalithic structures: menhirs, dolmens, cromlechs. Stonehenge in England (a complex spatial structure, thoughtful design). Megalithic culture of France. "Log" cultures of the Middle Volga and Southern Urals. Burial structures. Elements of architectural decor.

Manufacturing decorations: key chains, hairpins, necklaces, bracelets. Jewelry wearing style. Materials and processing technique. Jewelry-amulets.

Primitive theater(use of masks, imitating the habits of animals, body painting, etc.). The role of totemic and initiatory rites in the development of primitive theatre. The image of an animal in primitive ideas. The appearance of the first human masks in funeral and funeral rites. The role of secret men's unions in the preservation and development of primitive "theatrical" traditions. Witchcraft "sessions" and shamanic ritual- examples of syncretic theatrical and ritual action. elements of theatricality wedding ceremonies, in calendar agrarian folk-ritual games.

The art of dance. The rhythm of movements and the rhythm of sound.

"Aging" music inside the primitive syncretic complex of pre-art. Melodic and rhythmic formulas. Logical organization of sounds. The first primitive instruments: beaters, rattles, stone slabs-lithophones, shell pipes, flutes made of animal bones and horns, musical bow. Difficulty in intonation. Formation of the simplest musical and sound systems, elementary types of meter and mode. musical mythology. The idea of ​​music as a powerful force capable of influencing nature. Lyric spells.

The concept of A.N. Veselovsky about the origin poetry from folk tradition. Epos and lyrics as "the result of the decomposition of the ancient ritual choir". The concepts of “collective emotionality” and “group subjectivism” ( A.N. Veselovsky).lead singers ritual choir - a prototype poet. Canonization of primitive lyrics, its magical goals. Semantic complex- the most important element of primitive poetry. Poetics of repeatability And and variations. Formation of semantic-syntactic parallelism. Characteristic stylistic features of primitive poetry (reception of contrast, accumulation of synonyms, refrains, polylogy, metaphorical formulas, etc.).

The internal aspect of the problem of the origin of verbal art. concept myth. The ritualistic concept of the relationship between myth and ritual (J. Fraser, R. Harrison and others). Ritual-mythological school (N. Fry, R. Chase and others). Identification of poetry with myth and ritual.

E. Cassirer's study of myth as a special symbolic and rational language.

Structural anthropology of K. Levi-Strauss. Logical mechanisms of primitive thinking: “a field of unconscious logical operations”; the principle of "bricolage"; system of binary oppositions; mechanisms of mediation (mediation) and “generating semantics” ( C. Levi-Strauss). Symbolism, geneticism and etiology of mythological thinking. Universal personification in myths and a wide metaphorical comparison of natural and cultural objects, the “paradigmatic” nature of the myth ( E. Meletinsky). Myth as a worldview and narrative. Myth as a sign system ( R. Bart). Mythological thinking is the intellectual basis for neolithic technical revolution. Myth and fairy tale. Myth and historical tradition. Myth and legend. Myth and archaic epic. Classification of myths. Culture and mythology of Eurasia (Indo-European, West Semitic, German-Scandinavian, Celtic, Turkic-speaking peoples, peoples of Transcaucasia, Siberia, etc.), Africa, America, Australia.

Late forms of primitive art: earthenware vessels with geometric ornamental painting, with small schematic sculptural figures of people, horses, birds; bucket-shaped bronze vessels ( situla).

The Artistic Culture of the Ancient World on the Territory of Russia. Western and Eastern Europe: general and special. The wide development of geometric ornamentation is the specificity of the late Paleolithic Eastern Europe, as well as rock painting- a typical phenomenon of ancient art Western Europe.

Art of the era Paleolithic(Avdeevsky settlement, Kostenki settlement, Kobystan, Kapova cave, Sungir, Mezino sites, etc.). Dominance of zoomorphic images. Mammoth is the main character of the animal gallery. Images of birds and snakes (falcons, kites; zigzag meander ornaments of Mezin birds).

Anthropomorphic images (paleolithic "Venuses" in Kostenki).

Art Central Asia era Neolithic And bronze in eka. A special distribution of terracotta figurines of women (the cult of the mother goddess). "Canonical" forms of female figurines (standing women with broad rectangular shoulders and lowered short arms; numerous oval moldings on the body - symbols of "many breasts").

Rock carvings of Central Asia. concept petroglyphs(drawings on the rock in red paint). The mountain goat is the most characteristic motif of the rock carvings of Central Asia.

Art Caucasuscopper And Bronze Age. The most typical monuments are the ancient settlements of the central part. The originality of ceramics: the principle of "facial filling", dryness, graphic and excessive compositional complexity of ornaments (V.B. Black). The grandiosity of the Maykop burial mound (3 thousand BC). Proximity of the monuments of the Maykop kurgan to Sumerian and Asia Minor antiquities.

The uniqueness and decorative expressiveness of metal jewelry Transcaucasia. The cult character of the bronze belts, decorated with engraving; "cosmism" of zoomorphic images. The development of ceramics (black polished vessels, a spectacular combination of black and white).

Megalithic structures of the Caucasus and Transcaucasia. Vishaps And vishapoids- monumental stone sculptures, fish-shaped steles (catfish or "chanar"), carved from basalt.

Small plastic North Caucasus. North Caucasian animal style. Mythological "serpent fighters", reflecting ancient animistic and totemic ideas. Numerous zoomorphic pendants in the form of heads of aurochs, deer, bears.

Northern Black Sea region era Neolithic And bronze age. The development of stone as a building material; the creation of mounds; appearance of the first anthropomorphic images. Kurgans as a steppe phenomenon proper. The grandiose sizes of mounds pitculture. Grave sculptures, typical for the steppe zone, are “stone women” (anthropomorphic stele-slabs with slightly rounded corners and a small protrusion denoting the head). The features of the pit sculptures are the interpretation of facial features in the form of a T-shaped sign. Grave sculptures as a possible image of the "goddess of burials".

Art Tripoli tribes(settled agricultural and pastoral tribes in the steppe zone between the Dnieper and the Dniester) - "the culture of painted ceramics" ( T.S. Passek). The use of ceramic materials for the construction of dwellings. A lot of ceramic products: vessels, anthropomorphic and zoomorphic figurines, toys, amulets. Technique manufacturing (hand-sculpting without the use of a potter's wheel) and types Tripolye ceramics: ceramics with in-depth ornament in the form of a spiral; thin-walled ceramics with a polished surface, decorated with flutes; ceramics from a pink thin mass with a spiral ornament in one or more colors (red, black, white). A special group of "kitchen ceramics".

Neolithic tribes North. Sculpture of the Oleneostrovsky burial ground: ornamental items made of bone; zoomorphic sculpture.

Amber products the Baltics. Petroglyphs on the granite rocks of the eastern coast of Lake Onega and the White Sea.

ancient art Ural and Western Siberia(on the right side of the Yenisei "everything looks peculiar" - I.G. Gmelin). The relationship of the art of the tribes of Western Siberia to the art of the most ancient Finno-Ugric tribes of the Urals and Eastern Europe. Bear cult. Bear ceremonies and holidays. Images of a waterfowl - ducks. An echo of the Finnish epic Kalevala. Decorated dishes and crafts made of wood, bone, birch bark; round sculpture made of bone, wood and stone; art casting; cave drawings ( Ural inscriptions). The main and most ancient type of ornament is wavy lines (alternating vertical straight lines with horizontal or oblique wavy lines). General stylistic features of images animals: eye in the form of a protruding rounded area; an annular groove emphasizing the contour of the eye and the deepening of the lacrimal gland; non-distinction of the pupil. The oldest wooden anthropomorphic Images - idols: carelessly processed pillar-like images with roughly outlined facial features (obligatory - the presence of eyes and mouth) and sometimes with signs of gender. Anthropomorphic figurines mohar(Mansi figurines, which were made after the death of a person for a temporary receptacle for the reincarnating soul). Mohar Ugrians - shongyt("scull"). Figured stamps of ceramic patterns (traces of various animals and birds). The prevalence of the "ribbon type" ornament (V.I. Moshinskaya).

Bronze Age stone statues Southern Siberia. Statues of the Minusinsk Valley: sandstone or granite steles in the form of slabs or high pillars (a face is carved in the lower part of the pillar, symbolic signs are above). Decoration of the top of the sculpture in the form of a realistic round sculpture of a human or animal head: “Old woman-stone” on the Tagar mound; "Akhmarchinsky ram" on the Upper Bidzhinsky mound. Problems of interpretation of stone sculptures: grave monuments or anthropomorphic idols.

culture Baikal region: ornaments made from the teeth and fangs of animals. Baikal ornamental style: a combination of long horizontal and short perpendicular lines; complete submission vessel-shaped ornament; bordering the upper part of the product; repeatedly repeating zigzags and "pendants".

Center of rock paintings - Stone islands on the Angara. The image of the elk is a reflection of the traditions of the Evenks (hunting mysteries; shamanic trips to the mythical progenitor - the elk "bugada"). Sculptures of fish.

The originality of the artistic world of the ancient tribes FarEast(basin of the Amur and Ussuri, Amur and Primorye). The specificity of the Far Eastern ornament: curvilinearity, the predominance of spirals and "braiding", an ornament in the form of fish scales. "Amur braid": patterns of interlacing wide ribbons forming a grid with rhombic cells. Traditions of the most ancient Far Eastern ornament in the modern ornamental art of the Amur tribes.

Culture of the ancients eskimos("Bering Sea stage" - G. B. Collins). Masterpieces of bone carving. A characteristic feature of the culture of the Arctic tribes is the desire to decorate any household item, weapon, tool with an ornament. The nature of the patterns: carved, thin, smooth lines, bordered by a dotted line and strictly corresponding to the shape of the object; convex ovals and circles, often with a dot inside; a combination of volume-convex plastic elements of abstract-ornamental decorations with carved lines. A characteristic feature of the Bering Sea art is the combination on one object of intricately stylized images of animals, anthropomorphic figurines and masks-masks. The similarity of the Bering Sea masks-masks with similar works of art of the Indians of northwestern America.

"Fly agaric women" in rock paintings on the bank of the river Pegty-mel in the polar Chukotka - reflection important role mushroom in the shamanic culture and mythology of the Chukchi.

The stability of traditional artistic culture and the development of traditions in the contemporary art of the peoples of Siberia.

Primitive cultures of modern Africa (polychrome frescoes of Tassili), Australia ("churingi", handprints, negative images, drawings).

The historical significance of traditional artistic cultures.

Lesson summary MHK Grade 10

According to the program of Danilova G.I.

MHC and music teacher

Amursk

Khabarovsk Territory

INTRODUCTION TO THE SUBJECT MHK.

GENERAL CONCEPT OF CULTURE. FORMS OF SPIRITUAL CULTURE

Goals :

expansion of ideas about the concept of "culture";

consideration of the evolution of this concept in the historical aspect;

development of the ability to justify one's own aesthetic assessment;

developing the ability to tolerate alternative judgments.

Type lesson : introductory lesson.

The beautiful awakens the good.

D. Kabalevsky

During the classes

Organizing time.

Getting to know students lesson requirements.

II. Introduction to the topic of the lesson.

SLIDE

From today you will start learning new interesting subject- MHC. In the lessons, we will “travel” around a variety of countries, get acquainted with the culture different countries. But we will not travel in present time, but will return many centuries and even millennia ago, we will find out how mankind lived at the dawn of its existence.

Many thousands of years ago, a primitive creature living on the outskirts of dense forests already felt the need to improve, change the conditions of its existence; in order to hide from the cold and heat, to have constant food, the savage learned to build dwellings, sew clothes, create tools. To warn his own kind about impending danger, to call for battle or to express the joy of victory, he learned to pronounce certain combinations of sounds - war cries, sounds-tunes, etc.; learned to draw or scrape primitive icons and drawings on rocks and cave walls.

But by creating built environment In order to exist in a complex, fraught with many dangers world, the primitive being simultaneously began to change himself. The herd has become a society. The beast became a man.

And now a man has been living on Earth for many millennia, and his creations have existed for the same amount. Everything that man has created - be it tools, housing, clothing or music, theater, art, language - is the culture of society.

The subject that we will study is called "World Artistic Culture".

Let us analyze what this name means, and thus find out in in general terms the content of the subject.

III. Learning new material.

Let us clarify the meaning of the concept of "culture".

Questions:

What is culture?

What's happened man of culture?

What types of human activity can you attribute to culture?

How should a cultured person relate to nature, to life?

SLIDE

Albert Schweitzer - German scientist, prominent humanist XX century, believed that culture is doomed to decline if it loses the perception of any life as a great value. "I am the life that wants to live." The principle of "reverence for life" is determined by the humanistic connection of culture with nature as an area of ​​living being.

So the culture - an integral part of life civilized man. It manifests itself in everything that he created and creates. We are talking about the culture of work and production, the culture of communication, the culture of speech, the culture of everyday life.

Thus, culture characterizes the most diverse aspects of human life.

It is known that the more complex and multifaceted a phenomenon is, the more difficult it is to characterize its essence, the more definitions it generates. Something similar happened with the concept of "culture". This

The concept is so multifaceted that there is still no single definition of it. American scientists A. Kerber and K. Klakhohn already in 1964 selected 257 definitions; it is believed that by now their number has increased by 2 times.

To better understand the meaning of this word, let's look at its origin.

original latin word cultura meant "care of the land", "cultivation of the land" and was opposed to the meaning of the word "nature", i.e. nature ("uncultivated land").

Thus, in its original meaning, this term means the processing of natural raw materials; "Culture" - transformation, improvement of something produced in the process of expedient activity.

Later, this term began to be used in close meanings: initially - improvement, transformation, then - education, development, improvement.

Thus, "culture" means everything that is created by human labor as a result of material and spiritual development. It is not only the result, but also the process itself. creative activity of people.

SLAID

Culture is a process of spiritual and material activity of a person, as well as the results of this activity, which form a set of socially significant values ​​that determine both the external conditions of human life and the formation of a person himself.

P Therefore, culture does not exist outside of human activity. Story human society- this is the history of world art culture.

Let's analyze what the structure of culture is, what types of human activity belong to the concept of "culture".

SLIDE

Culture is usually divided into world and national, material and spiritual.

Such a division, of course, is very conditional. Due to the close relationship between material and spiritual values, it is often difficult to unambiguously attribute many phenomena to either material or spiritual culture. What place, for example, should be assigned to science, which is also a form public consciousness, and direct productive force, or book production, or means mass media? The criterion for the difference between them can be considered the dependence on what needs are satisfied in this case - material or spiritual.

For example, the Egyptian pyramids can be quite attributed to the spiritual culture, because the main purpose of their construction was suggestion ordinary people awe and horror before the greatness of the pharaoh, as the vicar of God on earth.

Discussion on topic : “Culture today. Does modern man need it?

SLIDE

Conclusion : culture is a product of man, society. In the animal world, this concept does not exist. The beast is controlled by instinct. Man is ruled by morality, moral values, this is its main difference from the beast. The task of our generation and yours is to ensure that these levers that control consciousness work correctly. Otherwise, a person risks turning into an animal.

IV. Summary of the lesson.

SLIDE

Questioning.

1. My wishes for the MHC lessons (i.e. what, in my opinion, should be MHC lessons)

2. What does studying MHC give me?

3.Do I need this item?

Bibliography:

Valchyats.A.M. Variations of beauty. World art culture: workbook: study guide. M .: Firma MHK LLC, 2000.

Gatenbrink.R.Riddles Egyptian pyramids. Moscow: Veche, 2000

Ancient Egypt, Sumer Babylonia. Ancient Greece: texts / compiled by G.N. Kudrin, Z.N. Novlyanskaya.-M.: INTOR, 2000

World art culture: textbook. allowance for students of secondary pedagogical educational institutions. -M.: Publishing center "Academy", 1999

elite-home.narod.ru

multimedia tutorial on the course "World Artistic Culture"