Introduction 3
1. General trends and features of the development of modern culture 5
2. Features of the cultural process in modern Russia. ten
Literature 15
Introduction
Modern Russian culture requires a deep and multifaceted consideration. On the one hand, by directly touching the Russian culture of the past centuries in the sense of at least a chronological “neighborhood”, modern culture is closely linked to the accumulated cultural experience, even if it outwardly denies it, or plays with it. On the other hand, being a part of world culture, the modern culture of Russia absorbs, processes, transforms trends related to the development of culture as a whole. Therefore, in order to understand the modern culture of Russia, it is necessary to refer both to the Russian culture of previous eras and to world culture as a whole, to the general trends in the cultural development of modernity.
It can also be noted that the problems of culture are of paramount importance today also because culture is a powerful factor in social development. "Penetrating" all aspects of human life - from the foundations of material production and human needs to the greatest manifestations of the human spirit, culture plays an increasingly important role in solving the program goals of the social movement, which includes the formation and strengthening of civil society, and the disclosure of human creative abilities, and building the rule of law. Culture affects all spheres of social and individual life - work, life, leisure, the area of \u200b\u200bthinking, etc., the way of life of society and the individual. Culture acquires social influence, first of all, as a necessary aspect of the activity of a social person, which, by virtue of its nature, involves the organization of joint activities of people, and, consequently, its regulation by certain rules accumulated in sign and symbolic systems, traditions, etc.
In a radical way, the questions of the development of culture are being raised in our time precisely because these questions are posed by the very life of our society, guidelines for a qualitatively new state of it lead to a sharp turning point in understanding the traditionalist and innovative trends in social development. They require, on the one hand, a deep assimilation of cultural heritage, an expansion of the exchange of genuine cultural values between peoples, and, on the other hand, the ability to go beyond the usual, but already obsolete ideas, to overcome a number of reactionary traditions that have been formed and planted for centuries, constantly manifesting themselves in the minds of , activities and behavior of people. In addressing these issues, a significant role is played by knowledge and an adequate understanding of the modern culture of Russia as part of world culture.
The modern world has made significant changes in human consciousness - the human gaze is turned to the limits of life, which is not limited in consciousness by the dates of birth and death. There is a tendency to realize oneself in the context of historical time, in orientation both to one's historical and cultural roots, and to the future, which is seen primarily as a process of expanding international relations, involving all countries of the world in the global cultural and historical process. Thus, significant primarily social changes further confirm the importance, on the one hand, of issues of cultural identity, and on the other hand, issues of intercultural interaction.
1. General trends and features of the development of modern culture
One of the most important problems for modern culture is the problem of traditions and innovation in the cultural space. The stable side of culture, the cultural tradition, thanks to which the accumulation and transmission of human experience in history, gives new generations the opportunity to update previous experience, relying on what was created by previous generations. In traditional societies, the assimilation of culture occurs through the reproduction of patterns, with the possibility of minor variations within the tradition. Tradition in this case is the basis for the functioning of culture, greatly complicating creativity in the sense of innovation. Actually, the most "creative" process of traditional culture in our understanding, paradoxically, is the very formation of a person as a subject of culture, as a set of canonical stereotypical programs (customs, rituals). The transformation of these canons themselves is quite slow. Such are the culture of primitive society and later traditional culture. Under certain conditions, the stability of cultural tradition can be attributed to the need for the stability of the human collective for its survival. However, on the other hand, the dynamism of culture does not mean the abandonment of cultural traditions in general. It is hardly possible to have a culture without traditions. Cultural traditions as historical memory are an indispensable condition not only for the existence, but also for the development of culture, even if it has a large creative (and at the same time negative in relation to tradition) potential. As a living example, one can cite the cultural transformations of Russia after the October Revolution, when attempts to completely negate and destroy the previous culture led in many cases to irreparable losses in this area.
Thus, if it is possible to speak of reactionary and progressive tendencies in culture, then, on the other hand, it is hardly possible to imagine the creation of culture “from scratch”, completely discarding the previous culture, tradition. The issue of traditions in culture and the attitude to cultural heritage concerns not only the preservation, but also the development of culture, that is, cultural creativity. In the latter, the universal organic is merged with the unique: each cultural value is unique, whether it is a work of art, an invention, etc. In this sense, replication in one form or another of what is already known, already created earlier - is the dissemination, and not the creation of culture. The need for the spread of culture does not seem to need proof. The creativity of culture, being a source of innovation, is involved in the contradictory process of cultural development, which reflects a wide range of sometimes opposite and opposing tendencies of a given historical era.
At first glance, culture, considered from the point of view of content, is divided into various areas: customs and customs, language and writing, the nature of clothing, settlements, work, education, the economy, the nature of the army, socio-political structure, legal proceedings, science, technology. , art, religion, all forms of manifestation of the "spirit" of the people. In this sense, the history of culture acquires paramount importance for understanding the level of development of culture.
If we talk about modern culture itself, then it is embodied in a huge variety of created material and spiritual phenomena. These are new means of labor, and new food products, and new elements of the material infrastructure of everyday life, production, and new scientific ideas, ideological concepts, religious beliefs, moral ideals and regulators, works of all kinds of art, etc. At the same time, the sphere of modern culture, upon closer examination, is heterogeneous, because each of its constituent cultures has common boundaries, both geographical and chronological, with other cultures and eras. The cultural identity of any people is inseparable from the cultural identity of other peoples, and we all obey the laws of cultural communication. Thus, modern culture is a set of original cultures that are in dialogue and interaction with each other, and dialogue and interaction go not only along the axis of the present time, but also along the axis "past-future".
But on the other hand, culture is not only a collection of many cultures, but also a world culture, a single cultural flow from Babylon to the present day, from East to West, and from West to East. And above all, in relation to world culture, the question arises about its further destinies - is what is observed in modern culture (the flourishing of science, technology, information technology, regionally organized economy; and, on the other hand, the triumph of Western values - the ideals of success , separation of powers, personal freedom, etc.) - the flourishing of human culture as a whole, or vice versa, its "decline".
Since the twentieth century, the distinction between the concepts of culture and civilization has become characteristic - culture continues to carry a positive meaning, and civilization receives a neutral assessment, and sometimes even a direct negative meaning. Civilization, as a synonym for material culture, as a fairly high level of mastery of the forces of nature, of course, carries a powerful charge of technical progress and contributes to the achievement of an abundance of material goods. The concept of civilization is most often associated with the value-neutral development of technology, which can be used for a variety of purposes, and the concept of culture, on the contrary, has become as close as possible to the concept of spiritual progress. The negative qualities of civilization usually include its tendency to standardize thinking, orientation towards absolute fidelity to generally accepted truths, its inherent low assessment of the independence and originality of individual thinking, which are perceived as a "social danger". If culture, from this point of view, forms a perfect personality, then civilization forms an ideal law-abiding member of society, content with the benefits provided to him. Civilization is increasingly understood as a synonym for urbanization, crowding, the tyranny of machines, as a source of dehumanization of the world. In fact, no matter how deeply the human mind penetrates into the secrets of the world, the spiritual world of man himself remains largely mysterious. Civilization and science by themselves cannot provide spiritual progress; culture is necessary here as the totality of all spiritual education and upbringing, which includes the entire spectrum of intellectual, moral and aesthetic achievements of mankind.
In the general case, for modern, primarily world culture, two ways of solving the crisis situation are offered. If, on the one hand, the resolution of the crisis tendencies of culture is supposed to be on the path of traditional Western ideals - rigorous science, universal education, reasonable organization of life, production, a conscious approach to all phenomena of the world, changing the guidelines for the development of science and technology, i.e., increasing the role of the spiritual and the moral improvement of man, as well as the improvement of his material conditions, then the second way to resolve crisis phenomena involves the return of the human race or to various modifications of religious culture or to forms of life more “natural” for man and life - with limited healthy needs, a sense of unity with nature and space, forms of human being free from the power of technology.
Philosophers of the present and the recent past take one position or another with respect to technology, as a rule, they associate technology (understood quite broadly) with the crisis of culture and civilization. The interplay of technology and modern culture is one of the key issues to consider here. If the role of technology in culture is largely clarified in the works of Heidegger, Jaspers, Fromm, then the problem of the humanization of technology remains one of the most important unsolved problems for all mankind.
One of the most interesting moments in the development of modern culture is the formation of a new image of culture itself. If the traditional image of world culture is associated primarily with the ideas of historical and organic integrity, then the new image of culture is increasingly associated, on the one hand, with ideas of a cosmic scale, and on the other hand, with the idea of a universal ethical paradigm. It should also be noted the formation of a new type of cultural interaction, expressed primarily in the rejection of simplified rational schemes for solving cultural problems. The ability to understand foreign culture and points of view, critical analysis of one's own actions, recognition of foreign cultural identity and foreign truth, the ability to include them in one's position and recognition of the legitimacy of the existence of many truths, the ability to build dialogic relations and compromise are becoming increasingly important. This logic of cultural communication presupposes corresponding principles of action.
2. Features of the cultural process in modern Russia.
The beginning of the 90s of the last century is characterized by the accelerated disintegration of the unified culture of the USSR into separate national cultures, for which not only the values of the common culture of the USSR, but also the cultural traditions of each other turned out to be unacceptable. The sharp opposition of different national cultures led to an increase in cultural tension and caused the collapse of a single socio-cultural space.
The culture of modern Russia, organically connected with the previous periods of the country's history, found itself in a completely new political and economic situation, which radically changed many things, primarily the relationship between culture and power. The state has ceased to dictate its requirements to culture, and culture has lost a guaranteed customer.
Since the common core of cultural life as a centralized system of government and a unified cultural policy has disappeared, determining the paths for further cultural development has become the business of the society itself and the subject of sharp disagreements. The range of searches is extremely wide - from following Western models to an apology for isolationism. The absence of a unifying cultural idea is perceived by a part of society as a manifestation of a deep crisis in which Russian culture found itself by the end of the 20th century. Others see cultural pluralism as the natural norm of a civilized society.
If, on the one hand, the elimination of ideological barriers created favorable opportunities for the development of spiritual culture, then, on the other hand, the economic crisis experienced by the country, the difficult transition to market relations, increased the danger of commercialization of culture, the loss of national features in the course of its further development. The spiritual sphere generally experienced an acute crisis in the mid-1990s. The desire to direct the country towards market development has led to the impossibility of the existence of individual areas of culture, objectively in need of state support. support.
At the same time, the division between elite and mass forms of culture, between the youth environment and the older generation continued to deepen. All these processes are unfolding against the backdrop of a rapid and sharp increase in uneven access to the consumption of not only material, but cultural goods.
For the above reasons, the first place in culture began to be occupied by the mass media, called the "fourth power".
In modern Russian culture, incompatible values and orientations are strangely combined: collectivism, catholicity and individualism, egoism, huge and often deliberate politicization and demonstrative apathy, statehood and anarchy, etc.
If it is quite obvious that one of the most important conditions for the renewal of society as a whole is the revival of culture, then specific movements along this path continue to be the subject of fierce discussions. In particular, the role of the state in the regulation of culture becomes a subject of dispute: should the state interfere in the affairs of culture, or will culture itself find means for its survival. Here, apparently, the following point of view has been formed: providing freedom to culture, the right to cultural identity, the state takes upon itself the development of strategic tasks of cultural construction and the responsibility for the protection of the cultural and historical national heritage, the necessary financial support for cultural values. However, the specific implementation of these provisions continues to be questionable. The state, apparently, is not fully aware that culture cannot be left at the mercy of business, its support, including education, science, is of great importance for maintaining the moral and mental health of the nation. Despite all the contradictory characteristics of the national culture, society cannot allow separation from its cultural heritage. A decaying culture is little adapted to transformations.
Various opinions are also expressed about the ways of developing culture in modern Russia. On the one hand, it is possible to strengthen cultural and political conservatism, as well as to stabilize the situation on the basis of ideas about Russia's identity and its special path in history. However, this is fraught with a return to the nationalization of culture. If in this case there will be automatic support for cultural heritage, traditional forms of creativity, then, on the other hand, foreign influence on culture will inevitably be limited, which will greatly complicate any aesthetic innovations.
On the other hand, in the context of Russia's integration under outside influence into the world system of economy and culture and its transformation into a "province" in relation to global centers, it can lead to the dominance of alien tendencies in domestic culture, although the cultural life of society in this case will also be more stable account of the commercial self-regulation of culture.
In any case, the key problem remains the preservation of the original national culture, its international influence and the integration of cultural heritage into the life of society; integration of Russia into the system of universal culture as an equal participant in world artistic processes. Here, state intervention in the cultural life of the country is necessary, since only in the presence of institutional regulation it seems possible to fully use the cultural potential, radically reorient the state cultural policy, and ensure the accelerated development of the domestic cultural industry within the country.
Numerous and very contradictory tendencies are manifested in modern domestic culture, partially indicated above. In general, the current period of development of national culture is still transitional, although it can be stated that certain ways out of the cultural crisis have also been outlined.
Conclusion
In general, the world culture of the 20th century is a process, the complexity and inconsistency of this process is aggravated by the fact that for a significant period of time the world was split into two camps along ideological lines, which introduced new problems and ideas into cultural practice. At the same time, the challenge posed to humanity by global problems applies both to world culture as a whole and to each national culture separately. Here the decisive role belongs to the dialogue of different cultures, the global cultural process.
In this sense, for the culture of modern Russia, the main task is to develop a strategic course for the future in a rapidly changing world. The solution to this problem is quite difficult, since it rests both on the need to realize the deep contradictions inherent in our culture throughout its historical development, and on a new perception of the achievements of Russian culture.
If the potential of modern Russian culture is seen as large enough to respond to the challenges of the modern world, then the current state of culture is far from ideal. There is a need to move away from thinking that focuses on maximalism, a radical revolution and reorganization of everything and everything in the shortest possible time and move on to a long, complex, but undoubtedly fruitful consistent development of national culture.
Literature
A.A. Danilov "History of Russia XX century". M., 2001
Anthology of world philosophy. In 3 vols.T.2. - M.: Thought, 1969.
Barulin V.S. Social Philosophy. Part 2. - M.: Publishing House of Moscow State University, 1993.- 240s.
Belova T. Culture and power. - M, 1991.
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Good day, dear friends! Andrey Puchkov is on the line. Today I present to your attention a new article about modern Russian culture. This topic is included in the list of topics from the USE codifier in history. And so, it can be checked in tests. I must say right away that the article was written by our new author. So, this is, so to speak, a test of the pen. 🙂
So let's go!
As we all know, the 90s of the XX century were marked by the collapse of the USSR, and accordingly, the single culture that existed in the Soviet Union also broke up into smaller subcultures. And since there were more cultures, tension began to grow between them, since they were all inherently different and could no longer coexist together in a single socio-cultural space.
The new state, which was formed after the collapse of the Soviet Union, found itself in completely new conditions - both economic and political. The modern culture of Russia also found itself in a new environment. On the one hand, she was no longer subject to the influence of censorship. On the other hand, culture has lost an important customer for itself - the state.
As a result of this (after all, no one else dictated the norms and rules!) Culture had to be re-formed by the people themselves, including the creation of a new core. Naturally, all this was the cause of many disagreements. As a result, opinions were divided into two camps: some believed that the lack of a common idea in culture is a crisis, while others said the opposite is a natural phenomenon.
Thus, the elimination of ideological barriers created fertile ground for the creation of a spiritual culture. But the severe economic crisis and the difficult transition to a market economy contributed to its commercialization. Spiritual culture experienced an acute crisis in the 90s, since it objectively needed the support of the state.And this support was not there because of the crisis.
At the same time, a sharp division took place between the elite and mass modern Russian culture, as well as between the older generation and the younger. At the same time, access to material and cultural goods grew unevenly, which made the formation of a new culture even more difficult. So what is the modern culture of Russia?
Music
In today's world, music is always a means of self-expression, almost always a hallmark, and rarely an indulgence of fashion. If we talk about modern Russian music and culture, then massively stormy meetings of new albums are a thing of the past. People in anticipation often switch to new performers for themselves, looking for new and new favorites; they rejoice at the new album, but without fanaticism, as, for example, in the days of Beatlemania. Listeners in general can be divided into two categories: connoisseurs and amateurs.
Connoisseurs buy albums, listen to them for hours, understand the biographies of singers and treat the act of listening to music as a sacrament. They all know about genres and lyrics, and will certainly point you to a mispronounced song title. Fans, on the other hand, can list the names of groups, perhaps they will remember the names of popular soloists, but they will not be able to call themselves adherents of any genre or group.
In fact, these are music lovers who listen to everything. Some even listen to the same thing for decades, something twenty years or more ago, reminiscent of their youth. It can be Yuri Vizbor, Mikhail Krug and Chopin at the same time - because Vizbor was sung in his school years, Krug was a student, and Schubert was played by his father in childhood.
This is where self-expression comes into play. It is impossible to constantly listen to the songs of one or several groups all your life or always listen to the classics, all the same, once rock “falls on the soul” and pop music ...
One can say about music as an image: traditionally, middle-aged people should love bards and classics, pensioners - classics and something “singing, melodic”. The 40-year-old rocker and the 65-year-old disco lover, although they meet more and more often, still remain exceptions to the rule in the eyes of young people.
Nostalgia for the Soviet Union covers a significant part of the population, plus lately one can often see nationalists. All of them are distinguished by their great love for the Soviet stage - Russian rock (like Aria and Nautilus) or bards (Tsoi, Vysotsky). Of these, those who are younger often listen to rap or modern Russian rock (Spleen, Grob).
Architecture
In architecture, in modern Russian culture, the loft style is gaining popularity - the interior of housing in a former factory building. Details in the loft style are very important - the interior spaces are decorated in the best traditions of the factory past - stairs, factory fixtures, various pipes, etc. - all this becomes an interior item. Outside, the building is practically no different from an ordinary factory, and most often it is those factory buildings that are ready to become a historical monument that are taken for housing. However, in Russia the old building is being demolished and a similar, stronger one is being built in its place.
Painting
The painting of modern Russian culture is characterized by somewhat gloomy currents. The tragic reflection of the events of Soviet history, characteristic of the “perestroika” years, has been replaced by the “exposing of ulcers” of modern reality. Images of people with the seal of moral, physical and spiritual degradation (Vasily Shulzhenko), images of man-animals (Geliy Korzhev, Tatyana Pazarenko), sometimes artists depict decay and destruction (V. Brainin), or simply gloomy city landscapes (A. Palienko) became popular. , V. Manokhin).
Painting by Vasily Shulzhenko
However, it is still impossible to choose any few styles that prevail over the rest. In the fine arts of modern Russia, by and large, all genres and trends are represented - from classical landscapes to post-impressionism. An important role in the restoration and development of artistic creativity was played by the artist I. S. Glazunov, rector of the Academy of Painting, Sculpture and Architecture.
Painting "Return". Artist Tatyana Nazarenko
It is widely believed that in the 90s there was a crisis of culture. And really, what associations do people have? People often recall the sharp reduction in state funding for cultural spheres, the low incomes of scientists and the outflow of highly qualified specialists from universities. However, few people remember the advantages.
For example, thanks to the fall of the USSR, art gained freedom, there was no censorship, and universities and other higher educational institutions were able to teach students according to their programs, and, finally, there was freedom of research for scientists. But along with this, according to the recollections of many, there is a negative influence of the West (films, books).
Along with this, there is a demolition of monuments erected under the Soviet Union. Another of the negative assessments can be drawn to the fact that many note the low quality of the translation of Western books and films that came to Russia along with perestroika.
Movie
As for the films of the 90s, as we could see above, opinions are divided into two camps. But what can be said about Russian cinema now? Recently, many cinema halls with modern technology and the latest equipment have been opened in Moscow. In addition, in Russia, thanks to the emergence of new directors, films began to be made, which, perhaps, are hardly inferior to those in the West.
The Russian film festival "Kinotavr" is held annually in Sochi, and the film festival of the CIS and Baltic countries in Anapa - "Kinoshock". Several Russian films have received international awards - the film "Playing the Victim" received the main prize of the Rome Film Festival in 2006, and the film "The Return" by Andrei Zvyagintsev won two "Golden Lions" at the Venice Film Festival. The film directed by Nikita Mikhalkov "12" also received the "Golden Lion" in Venice and was also nominated for an Oscar in 2008.
Despite the flourishing of pop culture in music and its focus on the needs of the masses, world-famous musicians and performers began to come to Russia. In 2012 and 2013 English rock musician Sting visited Russia, at the same time another English musician, Elton John, also came. In 2009, an important event for Russian music was the holding of the Eurovision Song Contest in Moscow.
In addition to a significant push in the field of cinema and music, the architectural image of the capital of Russia and other cities is gradually changing. From 1992-2006 monuments to A. A. Blok, V. S. Vysotsky, S. A. Yesenin, G. K. Zhukov, F. M. Dostoevsky were erected and memorials to the victims of political repressions were opened.
From this we can conclude that Russian culture has moved away from the standards familiar to the Soviet layman and reflects reality in a new way.
The processes of cultural development are not interrupted by the collapse of state structures and the fall of political regimes. The culture of the new Russia was organically connected with all previous periods of the country's history and at the same time experienced the impact of the new political and economic situation.
The relationship between culture and power has changed radically. The state stopped dictating its requirements to her, and she lost her “guaranteed customer”. The common core of cultural life has disappeared - the centralized control system; the ideological principles on which the unified cultural policy was based were destroyed. Determining the paths for further development has become the business of the society itself and the subject of heated discussions. Some perceive the absence of a unifying socio-cultural idea as a manifestation of a deep crisis in which Russian culture found itself by the end of the 20th century. Others see cultural pluralism as the natural norm of a civilized society.
The collapse of the USSR and the collapse of the communist system led to the breaking of the habitual foundations of life for millions of people. Moral guidelines and moral norms were blurred. With the disappearance of official ideology, an ideological vacuum has formed. The Russian Orthodox Church launched an active work in the field of education, upbringing and culture.
The state cultural policy in post-Soviet Russia is aimed at solving a national problem - the preservation and accumulation of the country's cultural potential and ensuring the continuity of traditions. The state seeks to support the education system, scientific research, various trends and trends in the artistic life of the city and the countryside, the center and the province, as well as to ensure the availability of educational, cultural and educational institutions. The new concept of cultural policy is the basis of the federal targeted programs for the preservation and development of culture and art, adopted in 1993 and 1997 and given the status of presidential programs. In addition to them, similar regional programs have been developed and adopted. In 1996, the Council for Culture and Art under the President of the Russian Federation was formed. It was supposed to become an advisory body that would inform the head of state about the state of affairs in the field of culture and art and take part in the discussion of state policy in this area and conduct an examination of draft laws. Throughout the 90s. a new legal framework for activities in the field of culture was created. Federal program “Culture of Russia. 2001-2005" in accordance with the priorities of state policy, it included three subprograms - "Development of culture and preservation of cultural heritage", "Archives of Russia" and "Cinematography of Russia". In the Federal program 2006-2011. the task of preserving cultural heritage was also in the first place. A significant place was given to the formation of a single cultural space and the creation of conditions to ensure equal access to cultural values and information resources for various groups of citizens. The question of adapting cultural institutions to market conditions was still acute. It is no coincidence that this task is included in the program as one of the main ones. Even under the conditions of political and economic stabilization, less budgetary funds were allocated for culture than was planned in the Federal Program. In 2011, the development of a new federal program "Culture of Russia" for 2012-2016 began.
Average. Federal and regional programs were financed only by 65-70% of what was planned, therefore, they were not fully implemented. The Council under the President played the role of a "decorative and advisory" body rather than an advisory one. Gradually, its functions were reduced to awarding state prizes in the field of literature and art.
The economic reform of 1992, aimed at the transition to a market economy, caused tangible damage to the socio-cultural sphere. State funding for culture began to decline: from 81% in 1993 to 60% in 1997 of the 1991 level. From 1985 to 1995, budget funding for science decreased 15-18 times in comparable prices.
A sharp reduction in state funding for science, public education, cultural and educational institutions and, as a result, delays in the payment of wages led to the impoverishment of workers in these industries. The most active part of the specialists changed jobs. By 1996, the number of people employed in scientific research institutes had decreased by more than 2 times compared to 1990. The "scientific brain drain" abroad for the year amounted to 3.5 thousand people. In the 1995/96 academic year, Russian schools lacked 13,500 teachers.
Under these conditions, cultural institutions had to look for alternative sources of funding. A system of paid education emerged. Funds for financing research projects were created, state scientific funds (RFBR, RGNF) were opened, as well as Russian branches of foreign funds. Sponsorship appeared - financing of cultural organizations or events by commercial structures. Many cultural institutions have themselves engaged in commercial activities.
Despite the transition to a multi-channel system of financing and the reduction of public spending, budget funds continue to be the main source in the field of education, science and culture in general. Privatization in the sphere of culture affected, first of all, the production of goods and servants - handicraft enterprises, the printing industry, cultural and leisure centers. The fastest pace of private business mastered areas that bring profit - show business, gallery business, distribution of audio and video products, publishing.
In difficult material conditions, most scientific institutes, universities, theaters, musical groups managed to survive. Moreover, new scientific institutes, universities, academies, museums, film studios, theaters, concert halls, orchestras were created. So, in St. Petersburg, to the three existing state symphony orchestras in 1992-1993. added six new ones. From 1990 to 1997 more than 500 museums were opened in the country. The number of scientific institutions increased over this period by 40%.
Far from all institutions of culture and science registered in the first half of the 1990s were destined for a long life. Many of them failed to secure sustainable funding and were closed.
There was a sharp decline in film production, especially noticeable after the rise of previous years. If in 1985 86 feature films were released, then in 1991 - 375, and in 1996 - only 30. The critical state of domestic film production led to the adoption in 1996 of the Law "On State Support for Cinematography". Although the measures envisaged by him were not fully implemented, the revival of domestic cinema began.
The decentralization of cultural management has led to the activation of the cultural life of the Russian provinces. Many cities have become venues for major scientific conferences, various festivals and celebrations of folk art, and exhibitions of fine arts.
Much has been done to preserve the cultural heritage. The historical names of many Russian cities and streets, which were renamed during the years of Soviet power, have been returned. New museums of historical and local lore profile have been created. A significant contribution to the restoration of monuments of religious architecture is made by the Russian Orthodox Church, under whose jurisdiction the previously closed churches and monasteries were transferred. The most valuable objects belonging to the national heritage, such as the cathedrals of the Moscow Kremlin, are used jointly by the state and the church. The most valuable collections of icons remained in the expositions of state museums.
Improvement of the economic situation of the country in the 2000s. allowed to expand work on the restoration of cultural monuments. For the 300th anniversary of St. Petersburg, museum and park complexes of the city were restored. In Moscow, after reconstruction, the Tsaritsyno Museum-Reserve was opened in 2007, in 2011 - the Bolshoi Theater and the Great Hall of the Moscow Conservatory.
All cultures of the world inevitably deal with the division of labor between the sexes. A lot of research and discussion has been devoted to exactly how this separation is carried out. Like culture, the recognition and understanding of differences associated with sex, and, of course, similarities between the sexes, has played a huge role in the formation of modern psychological knowledge.
The modern culture of Russia in the 21st century requires a multilateral and in-depth consideration. It is closely related to 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.
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.
Now the problems of modern culture in Russia 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 has an ever greater influence on the solution of the program goals of the social sphere. In particular, this concerns building a state of law, revealing the creative abilities of a person, strengthening and forming a civil society. The development of culture in modern Russia has an impact on many areas. This applies to the individual, the way of life of society, the sphere of thinking, leisure, life, work, and so on. There is a special institution - the Department of Culture. Depending on the status, certain issues are resolved and coordinated by them. As for its social influence, 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. 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.
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 the processes of expanding 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. 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. 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 is a source of innovation. It is involved in the process of general development. Here one can trace the reflection of a wide range of opposing tendencies of the historical era.
Now culture is embodied in a multitude of created spiritual and material phenomena and values. This applies to such new elements as: works of art, moral regulators and ideals, religious beliefs, ideological concepts, scientific ideas, material infrastructure, food, means of labor. In all these elements of life, men and women should have different roles.
All this gender struggle leads to the formation of a new image of culture - 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 about the following: Willingness to compromise. Ability to build dialogic relationships. Recognition of the legitimacy of the existence of most truths. Acceptance of foreign cultural identity. Critical analysis of own actions.
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 world culture of the last 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 all its 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.
Conclusion
How big is the difference between men and women. From the foregoing, we can conclude that gender differences are not so great as is commonly believed. There is no way we can say with absolute certainty that gender differences can be justified by biological ones. Our gender role is influenced by a huge number of external factors from birth. We observe the behavior of our parents and other adults, trying to imitate people of our gender, we play certain games. The media creates stereotypes of femininity and masculinity in our society that we cannot ignore. We grow up, trying for the most part to correspond to our role, to be a real man or a real woman, far from always agreeing with what society prescribes to us.
As mentioned earlier, there are many restrictions imposed by the female or male role. Women's problems include: low wages, low status and little power opportunities, as well as being overburdened with household chores. Men can include: deprivation of meaningful relationships, insufficient social support, physical problems caused by overwork at work and risky behavior. These restrictions indicate that the roles must change. Of course, one should not strive for absolute gender equality. In certain situations, it is still worth leaving the privilege for men to be strong and courageous, and for women to be gentle, weak, feminine. It is simply necessary to reduce the negative consequences that our gender role imposes on us, and this is possible only if we incline to some extent towards gender equality.
Of course, things change over time. With an increasing number of women in managerial and other male-dominated jobs, the gender pay gap is narrowing somewhat. Men do slightly more housework, and many spend more time with their children than their fathers did. However, it is clear that we still have a very long way to go.
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One of the most important problems for modern culture is the problem of traditions and innovation in the cultural space. The stable side of culture, the cultural tradition, thanks to which the accumulation and transmission of human experience in history, gives new generations the opportunity to update previous experience, relying on what was created by previous generations. In traditional societies, the assimilation of culture occurs through the reproduction of patterns, with the possibility of minor variations within the tradition. Tradition in this case is the basis for the functioning of culture, greatly complicating creativity in the sense of innovation. Actually, the most "creative" process of traditional culture in our understanding, paradoxically, is the very formation of a person as a subject of culture, as a set of canonical stereotypical programs (customs, rituals).
The transformation of these canons themselves is quite slow. Such are the culture of primitive society and later traditional culture. Under certain conditions, the stability of cultural tradition can be attributed to the need for the stability of the human collective for its survival. However, on the other hand, the dynamism of culture does not mean the abandonment of cultural traditions in general. It is hardly possible to have a culture without traditions. Cultural traditions as historical memory are an indispensable condition not only for the existence, but also for the development of culture, even if it has a large creative (and at the same time negative in relation to tradition) potential.
As a living example, one can cite the cultural transformations of Russia after the October Revolution, when attempts to completely negate and destroy the previous culture led in many cases to irreparable losses in this area.
Thus, if it is possible to speak of reactionary and progressive tendencies in culture, then, on the other hand, it is hardly possible to imagine the creation of culture “from scratch”, completely discarding the previous culture, tradition. The issue of traditions in culture and the attitude to cultural heritage concerns not only the preservation, but also the development of culture, that is, cultural creativity. In the latter, the universal organic is merged with the unique: each cultural value is unique, whether it is a work of art, an invention, etc. In this sense, replication in one form or another of what is already known, already created earlier - is the dissemination, and not the creation of culture.
The need for the spread of culture does not seem to need proof. The creativity of culture, being a source of innovation, is involved in the contradictory process of cultural development, which reflects a wide range of sometimes opposite and opposing tendencies of a given historical era. At first glance, culture, considered from the point of view of content, is divided into various areas: customs and customs, language and writing, the nature of clothing, settlements, work, education, the economy, the nature of the army, socio-political structure, legal proceedings, science, technology. , art, religion, all forms of manifestation of the "spirit" of the people. In this sense, the history of culture acquires paramount importance for understanding the level of development of culture.
If we talk about modern culture itself, then it is embodied in a huge variety of created material and spiritual phenomena. These are new means of labor, and new food products, and new elements of the material infrastructure of everyday life, production, and new scientific ideas, ideological concepts, religious beliefs, moral ideals and regulators, works of all kinds of art, etc. At the same time, the sphere of modern culture, upon closer examination, is heterogeneous, because each of its constituent cultures has common boundaries, both geographical and chronological, with other cultures and eras. The cultural identity of any people is inseparable from the cultural identity of other peoples, and we all obey the laws of cultural communication. Thus, modern culture is a set of original cultures that are in dialogue and interaction with each other, and dialogue and interaction go not only along the axis of the present time, but also along the axis "past-future".
But on the other hand, culture is not only a collection of many cultures, but also a world culture, a single cultural flow from Babylon to the present day, from East to West, and from West to East. And first of all, in relation to world culture, the question arises about its further destinies - is what is observed in modern culture (the flourishing of science, technology, information technology, regionally organized economy; and, on the other hand, the triumph of Western values - the ideals of success , separation of powers, personal freedom, etc.) - the flourishing of human culture as a whole, or vice versa, its "decline".
Since the twentieth century, the distinction between the concepts of culture and civilization has become characteristic - culture continues to carry a positive meaning, and civilization receives a neutral assessment, and sometimes even a direct negative meaning. Civilization, as a synonym for material culture, as a fairly high level of mastery of the forces of nature, of course, carries a powerful charge of technical progress and contributes to the achievement of an abundance of material goods. The concept of civilization is most often associated with the value-neutral development of technology, which can be used for a variety of purposes, and the concept of culture, on the contrary, has become as close as possible to the concept of spiritual progress. The negative qualities of civilization usually include its tendency to standardize thinking, orientation towards absolute fidelity to generally accepted truths, its inherent low assessment of the independence and originality of individual thinking, which are perceived as a "social danger". If culture, from this point of view, forms a perfect personality, then civilization forms an ideal law-abiding member of society, content with the benefits provided to him. Civilization is increasingly understood as a synonym for urbanization, crowding, the tyranny of machines, as a source of dehumanization of the world. In fact, no matter how deeply the human mind penetrates into the secrets of the world, the spiritual world of man himself remains largely mysterious. Civilization and science by themselves cannot provide spiritual progress; culture is necessary here as the totality of all spiritual education and upbringing, which includes the entire spectrum of intellectual, moral and aesthetic achievements of mankind.
In the general case, for modern, primarily world culture, two ways of solving the crisis situation are offered. If, on the one hand, the resolution of the crisis tendencies of culture is supposed to be on the path of traditional Western ideals - rigorous science, universal education, reasonable organization of life, production, a conscious approach to all phenomena of the world, changing the guidelines for the development of science and technology, i.e., increasing the role of the spiritual and the moral improvement of man, as well as the improvement of his material conditions, then the second way to resolve crisis phenomena involves the return of the human race either to various modifications of religious culture or to forms of life more “natural” for man and life - with limited healthy needs, a sense of unity with nature and the cosmos, forms of human existence free from the power of technology.
Philosophers of the present and the recent past take one position or another with respect to technology, as a rule, they associate technology (understood quite broadly) with the crisis of culture and civilization. The interplay of technology and modern culture is one of the key issues to consider here. If the role of technology in culture is largely clarified in the works of Heidegger, Jaspers, Fromm, then the problem of the humanization of technology remains one of the most important unsolved problems for all mankind.
One of the most interesting moments in the development of modern culture is the formation of a new image of culture itself. If the traditional image of world culture is associated primarily with the ideas of historical and organic integrity, then the new image of culture is increasingly associated, on the one hand, with ideas of a cosmic scale, and on the other hand, with the idea of a universal ethical paradigm. It should also be noted the formation of a new type of cultural interaction, expressed primarily in the rejection of simplified rational schemes for solving cultural problems. The ability to understand foreign culture and points of view, critical analysis of one's own actions, recognition of foreign cultural identity and foreign truth, the ability to include them in one's position and recognition of the legitimacy of the existence of many truths, the ability to build dialogic relations and compromise are becoming increasingly important. This logic of cultural communication presupposes corresponding principles of action.
