Creativity is an activity that generates something qualitatively new and is distinguished by originality, originality and socio-historical uniqueness. Creativity is specific to a person, since it always involves a creator - the subject of creative activity. Creative activity is a unique feature of the human race. It is multifaceted and manifests itself in all spheres of material and spiritual culture, each acquiring its own specifics, but retaining, nevertheless, a generally significant version. The meaning of creative activity is precisely in the formation of a person as an active subject of social activity. In this aspect, creativity acts as a necessary attribute of culture.

The generic human essence is a set of such human properties that, manifesting themselves in each individual personality, are preserved by representatives of the human race throughout its existence. This is the concentration of the most stable relationships in which the human personality enters. Interacting with nature, a person manifests the first property of the generic essence, his natural corporeality or objectivity. The first object that a person masters in the course of his life is his body. In the process of purposeful interaction with nature - labor, a person uses certain tools to achieve his goal. The objective result of human labor is yavl. Both the improvement of the person himself and the objects created by human labor. The second manifestation of the generic human essence is formed as a result of a natural human need in a society of people, and it manifests itself in human sociality, the public and the soulfulness that arises as a result of their manifestation. Being from birth within a certain society, a person cannot do without a society of people throughout his life. Finally, the third manifestation is the spirituality of a person after his humanization (this is fully manifested after the appearance of experiences in a person). Real human spirituality is defined as a value relationship, the main way of existence of which is yavl. experience of meaning. Value is the significance of an object, person or phenomenon revealed in the process of experiencing for the experiencing person. Creativity should be interpreted as a source of something eternal, enduring in culture.

Creation. Concept and essence. Types of creativity.

Creativity is an activity that generates something qualitatively new and is distinguished by originality, originality and socio-historical uniqueness. Creativity is specific to a person, because it always presupposes a creator - the subject of creative activity.

It is customary to distinguish types of creative activity in accordance with the type of thinking that underlies each of them. On the basis of conceptual and logical thinking, scientific creativity develops, on the basis of a holistic-figurative - artistic, on the basis of constructive-figurative - design, on the basis of constructive-logical - technical. Consider the features of the creative process in science, technology, art and design. Lotman calls culture and art two ways of seeing the world, or "the eyes of culture". With the help of science, culture comprehends the existent and natural, and art is the living of the unexperienced, the study of the never-before, the passage of roads not traveled by culture. The creative process in science is limited by logic and facts, the scientific result reflects the current state of the scientific picture of the world, and the goal of scientific creativity is the desire to achieve objective truth. In artistic creation, the author is limited by the limits of his own talent and skill, moral responsibility and aesthetic taste. The process of artistic creation includes equally conscious and unconscious moments, a work of art becomes like an initially open system, a text that exists in a certain context and has an internal unspoken subtext. As a result of artistic creativity, a work of art is the embodiment of the inner world of the artist, recreated in a generally significant, self-valuable form. Technical creativity is conditioned by the present needs of civilization in achieving the greatest comfort and maximum adaptation to the environment. The result of technical creativity is a technical device, a mechanism that best meets the needs of a person. Design creativity arises at the intersection of technical and artistic creativity and is aimed at creating a thing that has not only a functional and expedient, but also an expressive external form. The result of design creativity is the reconstruction of the object-thing human environment. Design art revives the forgotten thesis of ancient culture: "Man is the measure of all things." Designers are faced with the task of creating things commensurate with a person, creating such a household and industrial object environment that would contribute to the most effective solution of production problems and would allow the maximum realization of a person’s abilities and intentions. Creativity is an indispensable condition for the emergence of culture and the realization of the generic human essence. In creativity, a person expresses himself as a free individuality and is freed from any external restrictions, firstly, related to the physical capabilities of a person: physical, physiological and mental, and, secondly, related to the social life of a person. Creativity as a valuable process in itself is carried out when, taking place in certain socio-cultural conditions: social, economic, political, moral and religious, legal and ideological, setting a certain actual cultural level, it sets previously unprecedented goals, is implemented in a search, selective way and receives result, expanding the measure of freedom of the creator. It is creativity, when a person focuses on his spiritual side, that contributes to the liberation of a person from the interfering conventions of the surrounding world. Culture and creativity make a person free from the oppression of his gender and age parameters, from the oppression of communality and from the dictates of mass character and standardization. It is creativity as a way of being culture and self-realization of the individual that becomes a mechanism for preserving the unique human individuality and self-worth of the individual. The Creator is HOMO FABER - a man-creator who has risen above the natural environment, above everyday needs, above the creation of only practically necessary. Consequently, the first of all possible manifestations of creativity is the formation of a creative personality.

A creative person, regardless of the field of his activity, as a rule, is distinguished by high intelligence, relaxed thinking, ease of association, fearless play with ideas and at the same time the ability to build logical schemes and establish interdependencies, patterns. A creative person must have independence of opinions and judgments, assessments, the ability to correctly and reasonably prove and defend his point of view. First of all, vigilance in search of a problem and the ability to raise questions are important for a creative person. A creative person must have the ability to focus and hold it for a long time on any issue, topic or problem, to concentrate attention in the process of searching for a heuristic solution. Creative intelligence is distinguished, as a rule, by the ability to operate with vaguely defined concepts, to overcome logical inconsistencies, to have the ability to curtail mental operations and bring distant concepts closer. A creative person must be demanding of himself and others and self-critical. Doubt in generally accepted truths, rebelliousness and rejection of tradition must be combined in it with internal discipline and strictness towards oneself. Creative people are distinguished by wit, susceptibility to the funny and the ability to notice and comically comprehend the contradiction. However, psychologists note that the enthusiasm for a creative task, detachment from the world leads to the appearance of everyday absent-mindedness and the secondary nature of relations between people, an increased desire for self-affirmation.

Culture and creativity are closely interconnected, moreover, interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize its task only by interacting with the spiritual experience of mankind, with the historical experience of civilization. Creativity, as a necessary condition, includes the habituation of its subject into culture, the actualization of some results of people's past activities. The interaction between different qualitative levels of culture that arises in the creative process raises the question of the relationship between tradition and innovation, because it is impossible to understand the nature and essence of innovation in science, art, technology, to correctly explain the nature of innovation in culture, language, and in various forms of social activity outside of dialectics. development of the tradition. Consequently, tradition is one of the internal determinations of creativity. It forms the basis, the original base of the creative act, instills in the subject of creativity a certain psychological attitude that contributes to the realization of certain needs of society.

Creative activity is the main component of culture , its essence. Culture and creativity are closely interconnected, moreover, interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize its task only by interacting with the spiritual experience of mankind, with the historical experience of civilization. Creativity, as a necessary condition, includes the habituation of its subject into culture, the actualization of some results of people's past activities.

What do we mean by creativity? Creativity - the creation of new cultural, material values.

Creativity is an activity that generates something qualitatively new and is distinguished by originality, originality and socio-historical uniqueness. Creativity is specific to a person, since it always involves a creator - the subject of creative activity; in nature there is a process of development, but not creativity. .

The most adequate definition of creativity was given by S.L. Rubinstein, according to which creativity is an activity that “creates something new, original, which, moreover, is included not only in the history of the development of the creator himself, but also in the history of the development of science, art, etc.” . Criticism of this definition with reference to the creativity of nature, animals, etc. is unproductive, because it breaks with the principle of cultural-historical determination of creativity. The identification of creativity with development (which is always the generation of the new) does not advance us in explaining the factors of the mechanisms of creativity as the generation of new cultural values.

Creativity is a general criterion of human activity and therefore it is supranational. But creativity is still a tool. No doubt, the tool is the only one. But the process must have a purpose. Meaningless movement does not exist from the very beginning.

Creativity as a criterion for the development of culture

Society, creating artificial nature, simultaneously forms people who are able to consume the culture encrypted in it. So the culture of society reveals its dual nature. On the one hand, they are petrified accumulated forms of activity, fixed in objects, on the other hand, mental forms of activity, fixed in the minds of people. The living culture of society arises from the unity of the objective and conceivable components. The material and spiritual, objective and subjective components of the culture of one society may not coincide with the elements of the culture of other peoples or eras. Thus, the food or clothing of some peoples does not fit into the culture of others: after all, each society creates its own "cultural objects" and its own "cultural individuals". It is from the sum of these poles that concrete historical types of cultures arise.

And no matter what material and spiritual elements of culture we consider, we will certainly see in them a concrete imprint of our time. Paintings by Raphael and Aivazovsky, songs of medieval bards and Vysotsky, bridges of Florence and St. Petersburg, Phoenician ships, the Fulton steamer and modern aircraft carriers, the baths of Rome and eastern sulfur baths, Cologne Cathedral and St. Basil's Cathedral, Australian aboriginal dances and break, Greek tunics and Georgian cloaks - everything and everywhere bears the stamp of time. People who have assimilated these specific historical types of cultures will naturally differ from each other both in the form and in the content of the manifestation of their culture.

In culture, the national and universal are dialectically united. She is always national. From the best achievements of all national cultures, the world universal culture is formed. But "universal" does not mean non-national. Having enriched the treasury of world culture, Pushkin and Tolstoy remain great Russian writers, just as Goethe is German, and Mark Twain is American. And, speaking of culture, both the "denationalization" of world culture and its closure in the limited space of the narrowly national are equally mistaken.

But, culture not only introduces a person to the achievements of previous generations accumulated in experience. At the same time, it relatively severely restricts all types of his social and personal activities, regulating them accordingly, in which its regulatory function is manifested. Culture always implies certain boundaries of behavior, thereby limiting human freedom. Z. Freud defined it as "all the institutions necessary to streamline human relationships" and argued that all people feel the sacrifices required of them by culture for the sake of opportunities for living together ". This should hardly be argued, because culture is normative. In the noble environment of the past century, it was the norm to respond to a friend’s message that he was getting married with a question: “And what kind of dowry do you take for a bride?” But, the same question asked in a similar situation today can be regarded as an insult. Norms have changed, and forget about it shouldn't.

However, culture not only limits human freedom, but also ensures this freedom. Rejecting the anarchist understanding of freedom as a complete and unrestricted permissiveness, Marxist literature for a long time simplistically interpreted it as a "conscious necessity." Meanwhile, one rhetorical question is enough (is a person who has fallen out of a window free in flight if he realizes the need for the operation of the law of gravitation?) to show that the knowledge of necessity is only a condition of freedom, but not yet freedom itself. The latter appears there and then, where and when the subject has the opportunity to choose between different behaviors. At the same time, the knowledge of necessity determines the boundaries within which free choice can be exercised.

Culture is able to provide a person with truly unlimited possibilities for choice, i.e. to exercise his freedom. In terms of an individual, the number of activities to which he can devote himself is practically unlimited. But each professional type of activity is a differentiated experience of previous generations, i.e. culture.

Mastering the general and professional culture is a necessary condition for the transition of a person from reproductive to creative activity. Creativity is the process of free self-realization of the individual. Finally, in the leisure environment, culture constantly forces a person to choose what to devote his time to (theatre? cinema? TV? book? walk? going to visit?), what exactly to prefer (KVN on the first program, interview of a famous politician on the second or "horror movie" "via a cable channel?), how to implement the choice made (watch KVN at home, or at a party, or at home, but in the presence of guests?). Any district library is able to offer so many alternatives to choose from that an inexperienced reader may even be confused. And this is no coincidence. The less a person knows about the world of culture, the narrower his possibilities of choice, the less free he is. And vice versa. It is no coincidence that the famous Russian philosopher N.A. Berdyaev considered freedom to be the most important essential characteristic of culture.

The fruits of civilization and culture, which we use daily in everyday life, we perceive as something quite natural, as a result of the development of production and social relations. But behind such a faceless idea there is a great number of researchers and great masters mastering the world in the course of their human activity. It is the creative activity of our predecessors and contemporaries that underlies the progress of material and spiritual production.

Creativity is an attribute of human activity - it is a historically evolutionary form of human activity, expressed in various activities and leading to the development of personality. The main criterion for the spiritual development of a person is the mastery of a complete and full-fledged process of creativity.

Creativity is a derivative of the individual's realization of unique potentials in a certain area. Therefore, there is a direct connection between the process of creativity and the realization of human abilities in socially significant activities, which acquire the character of self-realization.

Thus, creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, which helps to expand the limits of human capabilities.

It should also be noted that it is not so important in what exactly the creative approach manifests itself, in the ability to “play” on a loom, like on a musical instrument, or in opera singing, in the ability to solve inventive or organizational problems. Creativity is not alien to any kind of human activity.

As a result of solving the tasks set in the work, it should be noted that culture and creativity are two inextricably linked processes. Raising the level of culture of society increases the number of creative individuals brought up on the cultural achievements of previous generations. And at the same time, the creativity of one person is a powerful foundation for the development of the culture of a class, nation, humanity.

Revolution and culture. The revolution of 1917 divided the artistic intelligentsia of Russia into two parts. One of them, although not accepting everything in the Council of Deputies (as many then called the country of the Soviets), believed in the renewal of Russia and devoted her strength to serving the revolutionary cause; the other was negatively contemptuous of the Bolshevik government and supported its opponents in various forms.
In October 1917, V. V. Mayakovsky, in his original literary autobiography “I Myself,” described his position as follows: “To accept or not to accept? There was no such question for me (and for other Muscovites-futurists). My revolution. During the Civil War, the poet worked in the so-called "Windows of Satire ROSTA" (ROSTA - Russian Telegraph Agency), where satirical posters, cartoons, popular prints with short poetic texts were created. They ridiculed the enemies of the Soviet government - generals, landlords, capitalists, foreign interventionists, spoke about the tasks of economic construction. Future Soviet writers served in the Red Army: for example, D. A. Furmanov was the commissar of the division commanded by Chapaev; I. E. Babel was a fighter of the famous 1st Cavalry Army; A.P. Gaidar at the age of sixteen commanded a youth detachment in Khakassia.
Future emigrant writers participated in the white movement: R. B. Gul fought in the Volunteer Army, which made the famous “Ice Campaign” from the Don to the Kuban, G. I. Gazdanov, after graduating from the 7th grade of the gymnasium, volunteered for the Wrangel army. I. A. Bunin called his diaries of the period of the civil war “Cursed Days”. M. I. Tsvetaeva wrote a cycle of poems under the meaningful title "Swan Camp" - a lamentation filled with religious images for white Russia. The theme of the perniciousness of the civil war for human nature was permeated by the works of émigré writers M. A. Aldanov (“Suicide”), M. A. Osorgin (“Witness of History”), I. S. Shmelev (“The Sun of the Dead”).
Subsequently, Russian culture developed in two streams: in the Soviet country and in emigration. Writers and poets I. A. Bunin, awarded the Nobel Prize in Literature in 1933, D. S. Merezhkovsky and Z. N. Gippius, the leading authors of the anti-Soviet program book “The Kingdom of the Antichrist”, worked in a foreign land. Some writers, such as V. V. Nabokov, entered literature already in exile. It was abroad that the artists V. Kandinsky, O. Zadkine, M. Chagall gained world fame.
If the works of émigré writers (M. Aldanov, I. Shmelev, and others) were permeated with the theme of the perniciousness of the revolution and civil war, the works of Soviet writers breathed revolutionary pathos.
From artistic pluralism to socialist realism. In the first post-revolutionary decade, the development of culture in Russia was characterized by experimentation, the search for new artistic forms and means - a revolutionary artistic spirit. The culture of this decade, on the one hand, was rooted in the Silver Age, and on the other hand, it adopted from the revolution a tendency to renounce classical aesthetic canons, to thematic and plot novelty. Many writers saw it as their duty to serve the ideals of the revolution. This was manifested in the politicization of Mayakovsky’s poetic work, in the creation of the “Theatrical October” movement by Meyerhold, in the formation of the Association of Artists of Revolutionary Russia (AHRR), etc.
The poets S. A. Yesenin, A. A. Akhmatova, O. E. Mandelstam, B. L. Pasternak, who began their poetic path at the beginning of the century, continued to create. A new word in literature was said by the generation that came to it already in Soviet times - M. A. Bulgakov, M. A. Sholokhov, V. P. Kataev, A. A. Fadeev, M. M. Zoshchenko.
If in the 20s literature and fine arts were exceptionally diverse, then in the 30s, under the conditions of ideological dictate, the so-called socialist realism was imposed on writers and artists. According to its canons, the reflection of reality in works of literature and art had to be subordinated to the tasks of socialist education. Gradually, instead of critical realism and various avant-garde trends in artistic culture, pseudo-realism was established, i.e. idealized image of Soviet reality and Soviet people.
Artistic culture was under the control of the Communist Party. In the early 30s. Numerous associations of art workers were liquidated. Instead, united unions of Soviet writers, artists, cinematographers, artists, and composers were created. Although formally they were independent public organizations, the creative intelligentsia had to be completely subordinate to the authorities. At the same time, the unions, having at their disposal funds and houses of creativity, created certain conditions for the work of the artistic intelligentsia. The state maintained theaters, financed the shooting of films, provided artists with studios, etc. The only thing required of artists was to faithfully serve the communist party. Writers, artists and musicians who deviated from the canons imposed by the authorities were expected to be “elaborated” and repressed (O. E. Mandelstam, V. E. Meyerhold, B. A. Pilnyak and many others died in the Stalinist dungeons).
A significant place in Soviet artistic culture was occupied by historical and revolutionary themes. The tragedy of the revolution and civil war was reflected in the books of M. A. Sholokhov (“Quiet Flows the Don”), A. N. Tolstoy (“Walking through the torments”), I. E. Babel (collection of stories “Konarmiya”), paintings by M. B. Grekova (“Tachanka”), A. A. Deineki (“Defense of Petrograd”). In the cinema, films devoted to the revolution and the civil war occupied an honorable place. The most famous among them were "Chapaev", a film trilogy about Maxim, "We are from Kronstadt." The glorified theme did not leave the capital and
from provincial theater scenes. A characteristic symbol of Soviet fine art was the sculpture by V. I. Mukhina “Worker and Collective Farm Woman”, which adorned the Soviet pavilion at the World Exhibition in Paris in 1937. Famous and little-known artists created pompous group portraits with Lenin and Stalin. At the same time, M. V. Nesterov, P. D. Korin, P. P. Konchalovsky and other talented artists achieved outstanding success in portrait and landscape painting.
Prominent positions in the world art of the 20-30s. occupied by the Soviet cinema. It featured such directors as SM. Eisenstein (“The Battleship Potemkin”, “Alexander Nevsky”, etc.), the founder of the Soviet musical-eccentric comedy G. V. Aleksandrov (“Merry Fellows”, “Volga-Volga”, etc.), the founder of Ukrainian cinema A. P. Dovzhenko (Arsenal, Shchors, etc.). The stars of the Soviet sound cinema shone in the artistic sky: L. P. Orlova, V. V. Serova, N. K. Cherkasov, B. P. Chirkov and others.
The Great Patriotic War and the artistic intelligentsia. Not even a week had passed since the day of the Nazi attack on the USSR, when “Windows TASS” (TASS - Telegraph Agency of the Soviet Union) appeared in the center of Moscow, continuing the traditions of the propaganda and political posters and cartoons “Windows ROSTA”. During the war, 130 artists and 80 poets took part in the work of Okon TASS, which published over 1 million posters and cartoons. In the first days of the war, the famous posters "The Motherland Calls!" (I. M. Toidze), “Our cause is just, victory will be ours” (V. A. Serov), “Warrior of the Red Army, save!” (V. B. Koretsky). In Leningrad, the association of artists "Fighting Pencil" launched the production of posters-leaflets in a small format.
During the Great Patriotic War, many writers turned to the genre of journalism. Newspapers published military essays, articles, and poems. The most famous publicist was I. G. Ehrenburg. Poem
A. T. Tvardovsky "Vasily Terkin", front-line poems by K. M. Simonov ("Wait for me") embodied the feelings of the people. A realistic reflection of the fate of people was reflected in the military prose of A. A. Bek (“Volokolamsk highway”), V. S. Grossman (“The people are immortal”),
V. A. Nekrasov (“In the trenches of Stalingrad”), K. M. Simonov (“Days and nights”). Performances about front-line life appeared in the repertoire of theaters. It is significant that the plays by A. E. Korneichuk "The Front" and K. M. Simonov "Russian People" were published in newspapers along with reports from the Soviet Form Bureau on the situation on the fronts.
Front-line concerts and meetings of artists with the wounded in hospitals became the most important part of the artistic life of the war years. Russian folk songs performed by L. A. Ruslanova, pop songs performed by K. I. Shulzhenko and L. O. Utesov were very popular. The lyrical songs of K. Ya. Listov ("In the dugout"), N. V. Bogoslovsky ("Dark Night"), M. I. Blanter ("In the forest near the front"), which appeared during the war years, were widely used at the front and in the rear. , V. P. Solovyov-Sedogo ("Nightingales").
War chronicles were shown in all cinemas. Filming was carried out by operators in front-line conditions, with great danger to life. The first full-length documentary film was dedicated to the defeat of the Nazi troops near Moscow. Then the films "Leningrad on Fire", "Stalingrad", "People's Avengers" and a number of others were created. Some of these films were shown after the war at the Nuremberg trials as documentary evidence of Nazi crimes.
Artistic culture of the second half of the XX century. After the Great Patriotic War, new names appeared in Soviet art, and from the turn of the 50s and 60s. new thematic directions began to form. In connection with the exposure of Stalin's personality cult, overcoming the frankly "varnishing" art, which was especially characteristic of the 30s and 40s, took place.
Since the mid 50s. Literature and art began to play the same educational role in Soviet society that they played in Russia in the 19th and early 20th centuries. The extreme ideological (and censorship) tightness of social and political thought contributed to the fact that the discussion of many issues of concern to society was transferred to the sphere of literature and literary criticism. The most significant new development was the critical reflection of the realities of Stalin's time. Publications in the early 60s became a sensation. works by A. I. Solzhenitsyn (“One Day in the Life of Ivan Denisovich”, stories) and A. T. Tvardovsky (“Terkin in the Other World”). Together with Solzhenitsyn, the camp theme entered the literature, and Tvardovsky's poem (along with the poems of the young E. A. Yevtushenko) marked the beginning of an artistic attack on Stalin's personality cult. In the mid 60s. In the 18th century, M. A. Bulgakov’s novel The Master and Margarita, written before the war, was published for the first time, with its religious and mystical symbolism, which is not characteristic of Soviet literature. However, the artistic intelligentsia still experienced the ideological dictates of the party. So, B. Pasternak, who received the Nobel Prize for the novel Doctor Zhivago declared anti-Soviet, was forced to refuse it.
Poetry has always played an important role in the cultural life of Soviet society. In the 60s. poets of a new generation - B. A. Akhmadulina,
A. A. Voznesensky, E. A. Yevtushenko, R. I. Rozhdestvensky - with their citizenship and journalistic orientation, the lyrics became idols of the reading public. Poetic evenings in the Moscow Polytechnical Museum, sports palaces, and higher educational institutions were a huge success.
In the 60-70s. military prose of a “new model” appeared - books by V. P. Astafiev (“Starfall”), G. Ya. Baklanov (“The Dead Have No Shame”), Yu. V. Bondarev (“Hot Snow”), B. L. Vasilyeva (“The Dawns Here Are Quiet...”), K.D. Vorobyeva (“Killed near Moscow”), V.L. Kondratiev (“Sashka”). They reproduced the autobiographical experience of writers who went through the crucible of the Great Patriotic War, conveyed the merciless cruelty of the war they felt, and analyzed its moral lessons. At the same time, the direction of the so-called village prose was formed in Soviet literature. It was represented by the work of F. A. Abramov (the trilogy "Pryasliny"), V. I. Belov ("Carpenter's stories"), B. A. Mozhaev ("Men and women"), V. G. Rasputin ("Live and remember", "Farewell to Matera"), V. M. Shukshin (stories "Villagers"). The books of these writers reflected labor asceticism in the difficult war and post-war years, the processes of peasantization, the loss of traditional spiritual and moral values, the complex adaptation of yesterday's rural dweller to urban life.
In contrast to the literature of the 1930s and 1940s, the best works of prose of the second half of the century were distinguished by a complex psychological pattern, the desire of writers to penetrate into the innermost depths of the human soul. Such, for example, are the "Moscow" stories of Yu. V. Trifonov ("Exchange", "Another Life", "House on the Embankment").
Since the 60s. performances based on action-packed plays by Soviet playwrights (A. M. Volodin, A. I. Gelman, M. F. Shatrov) appeared on the theater stages, and the classical repertoire in the interpretation of innovative directors acquired an actual sound. Such were, for example, the productions of the new Sovremennik theaters (directed by O. N. Efremov, then G. B. Volchek), the Taganka Drama and Comedy Theater (Yu. P. Lyubimov).

The main trends in the development of post-Soviet culture. One of the features of the development of Russian culture at the turn of the XX-XXI centuries. is its de-ideologization and pluralism of creative search. In the elite fiction and fine arts of post-Soviet Russia, works of the avant-garde trend came to the fore. These include, for example, books by V. Pelevin, T. Tolstoy, L. Ulitskaya and other authors. Avant-gardism is the predominant trend in painting as well. In the modern domestic theater, the productions of director R. G. Viktyuk are imbued with the symbolism of the irrational principle in a person.
Since the period of "perestroika" began to overcome the isolation of Russian culture from the cultural life of foreign countries. Residents of the USSR, and later the Russian Federation, were able to read books, see films that were previously inaccessible to them for ideological reasons. Many writers who had been deprived of citizenship by the Soviet authorities returned to their homeland. A single space of Russian culture emerged, uniting writers, artists, musicians, directors and actors, regardless of their place of residence. So, for example, sculptors E. I. Neizvestny (a tomb monument to N. S. Khrushchev, a monument to the victims of Stalinist repressions in Vorkuta) and M. M. Shemyakin (a monument to Peter I in St. Petersburg) live in the USA. And the sculptures of V. A. Sidur, who lived in Moscow (“To those who died from violence”, etc.), were installed in the cities of Germany. Directors N. S. Mikhalkov and A. S. Konchalovsky make films both at home and abroad.
The radical breakdown of the political and economic system led not only to the liberation of culture from ideological fetters, but also made it necessary to adapt to the reduction, and sometimes even to the complete elimination of state funding. The commercialization of literature and art has led to the proliferation of works that do not have high artistic merit. On the other hand, even in the new conditions, the best representatives of culture turn to the analysis of the most acute social problems, looking for ways of spiritual improvement of man. Such works include, in particular, the works of film directors V. Yu. Abdrashitov (“Dancer’s Time”), N. S. Mikhalkov (“Burnt by the Sun”, “The Barber of Siberia”), V. P. Todorovsky (“Country of the Deaf”) , S. A. Solovieva ("Tender age").
Musical art. Representatives of Russia made a major contribution to the world musical culture of the 20th century. The greatest composers, whose works have been repeatedly performed in concert halls and opera houses in many countries of the world, were S. S. Prokofiev (symphonic works, the opera War and Peace, the ballets Cinderella, Romeo and Juliet), D. D. Shostakovich (6th symphony, opera "Lady Macbeth of the Mtsensk District"), A. G. Schnittke (3rd symphony, Requiem). The opera and ballet performances of the Bolshoi Theater in Moscow were world famous. On its stage, there were both works of the classical repertoire and the works of composers of the Soviet period - T. N. Khrennikov, R. K. Shchedrin, A. Ya. Eshpay.
A whole constellation of talented performing musicians and opera singers who gained worldwide fame worked in the country (pianists E. G. Gilels, S. T. Richter, violinist D. F. Oistrakh, singers S. Ya. Lemeshev, E. V. Obraztsova) . Some of them could not come to terms with the harsh ideological pressure and were forced to leave their homeland (singer G. P. Vishnevskaya, cellist M. L. Rostropovich).
The musicians who played jazz music also experienced constant pressure - they were criticized as followers of the "bourgeois" culture. Nevertheless, jazz orchestras led by the singer L. O. Utyosov, the conductor O. L. Lundstrem, and the brilliant improviser-trumpeter E. I. Rozner won immense popularity in the Soviet Union.
The most widespread musical genre was the pop song. The works of the most talented authors, who managed to overcome momentary opportunism in their work, eventually became an integral part of the culture of the people. These include, in particular, “Katyusha” by M. I. Blanter, “The Volga Flows” by M. G. Fradkin, “Hope” by A. N. Pakhmutova and many other songs.
In the 60s. In the cultural life of Soviet society, the author's song entered, in which professional and amateur beginnings closed. The work of bards, who performed, as a rule, in an informal setting, was not controlled by cultural institutions. In the songs performed with the guitar by B. Sh. Okudzhava, A. A. Galich, Yu. The creative work of V. S. Vysotsky, who combined the talents of a poet, actor and singer, was filled with powerful civic pathos and a wide variety of genres.
It received even deeper social content in the 70-80s. Soviet rock music. Its representatives - A. V. Makarevich (group "Time Machine"), K. N. Nikolsky, A. D. Romanov ("Resurrection"), B. B. Grebenshchikov ("Aquarium") - managed to move from imitating Western musicians to independent works, which, along with the songs of bards, were the folklore of the urban era.
Architecture. In the 20-30s. the minds of architects were occupied with the idea of ​​the socialist transformation of cities. So, the first plan of this kind - "New Moscow" - was developed in the early 1920s. A. V. Shchusev and V. V. Zholtovsky. Projects were created for new types of housing - communal houses with socialized consumer services, public buildings - workers' clubs and palaces of culture. The dominant architectural style was constructivism, which provided for the functional expediency of planning, a combination of various, clearly geometrically defined shapes and details, external simplicity, and the absence of decorations. The creative searches of the Soviet architect K. S. Melnikov (club named after I. V. Rusakov, his own house in Moscow) gained worldwide fame.
In the mid 30s. In the 1990s, the General Plan for the Reconstruction of Moscow was adopted (redevelopment of the central part of the city, laying of highways, construction of the subway), similar plans were developed for other large cities. At the same time, the freedom of creativity of architects was limited by the instructions of the “leader of the peoples”. The construction of pompous structures began, reflecting, in his opinion, the idea of ​​​​the power of the USSR. The appearance of the buildings has changed - constructivism was gradually replaced by "Stalinist" neoclassicism. Elements of classicism architecture are clearly seen, for example, in the appearance of the Central Theater of the Red Army, Moscow metro stations.
Grandiose construction unfolded in the postwar years. New residential areas arose in old cities. The image of Moscow has been updated due to the "skyscrapers" built in the area of ​​the Garden Ring, as well as the new building of the University on the Lenin (Sparrow) Hills. Since the mid 50s. The main direction of residential construction has become mass panel housing construction. Urban new buildings, having got rid of "architectural excesses", acquired a dull monotonous look. In the 60-70s. new administrative buildings appeared in the republican and regional centers, among which the regional committees of the CPSU stood out with their grandiosity. On the territory of the Moscow Kremlin, the Palace of Congresses was built, the architectural motifs of which sound dissonant against the backdrop of historical development.
Great opportunities for the creative work of architects opened up in the last decade of the 20th century. Private capital, along with the state, began to act as a customer during construction. Developing projects for buildings of hotels, banks, shopping malls, sports facilities, Russian architects creatively interpret the legacy of classicism, modernity, and constructivism. The construction of mansions and cottages has again come into practice, many of which are built according to individual projects.

Two opposite tendencies were observed in Soviet culture: politicized art, varnishing reality, and art, formally socialist, but, in essence, critically reflecting reality (due to the conscious position of the artist or talent, overcoming censorship obstacles). It was the latter direction (along with the best works created in exile) that gave samples that were included in the golden fund of world culture.

O.V. Volobuev "Russia and the world".

Chapter I. Theoretical and methodological foundations for the study of creativity and creative personality

1.1. The birth of the idea of ​​creativity and its projection on modern socio-humanitarian knowledge

1.2. The Specificity of the Cultural Approach to the Analysis of Creativity

1.3. Representativeness as an essential feature of modern culture

Chapter II. Representations of creativity in culture

2.1. Creativity as "intellectual fashion"

2.2. Features of ideas about creativity in various spheres of culture

2.3. Realization of the creative potential of modern culture 108 Conclusion 124 Literature

Dissertation conclusion on the topic "Theory and history of culture", Naumova, Ekaterina Grigoryevna

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History and cultural studies [Izd. second, revised and additional] Shishova Natalya Vasilievna

15.3. Cultural Development

15.3. Cultural Development

Culture played a big role in the spiritual preparation of the changes called perestroika. Cultural figures with their creativity prepared the public consciousness for the need for change (T. Abuladze's film "Repentance", A. Rybakov's novel "Children of the Arbat", etc.). The whole country lived in anticipation of new issues of newspapers and magazines, television programs in which, like a fresh wind of change, a new assessment of historical figures, processes in society, and history itself was given.

Representatives of culture were actively involved in real political activity: they were elected as deputies, heads of cities, and became leaders of national-bourgeois revolutions in their republics. Such an active public position led the intelligentsia to a split along political lines.

After the collapse of the USSR, the political split among cultural and art workers continued. Some were guided by Western values, declaring them universal, others adhered to traditional national values. On this basis, almost all creative ties and groups split. Perestroika abolished bans on many types and genres of art, returned to the screens films shelved and works banned for publication. The return of the brilliant culture of the Silver Age also belongs to the same period.

The culture of the turn of the 19th and 20th centuries revealed to us a whole “poetic continent” of the finest lyricists (I. Annensky, N. Gumilyov, V. Khodasevich, etc.), deep thinkers (N. Berdyaev, V. Solovyov, S. Bulgakov, etc.) , serious prose writers (A. Bely, D. Merezhkovsky, F. Sologub and others), composers (N. Stravinsky, S. Rachmaninov and others), artists (K. Somov, A. Benois, P. Filonov, V. Kandinsky and others), talented performers (F. Chaliapin, M. Fokin, A. Pavlova and others). Such a flow of "forbidden" literature had, in addition to a positive and a negative moment: young writers, poets, screenwriters were deprived of the opportunity to publish in state publications. The crisis in architecture also continued, associated with a reduction in construction costs.

The development of the material base of culture slowed down sharply, which affected not only the absence of new films and books in a freely formed market, but also the fact that, along with the best foreign examples of culture, a wave of products of dubious quality and value poured into the country.

Without clear state support (this is also evidenced by the experience of developed Western countries), in the conditions of market relations, culture has little chance of surviving. By themselves, market relations cannot serve as a universal means of preserving and increasing the spiritual and socio-cultural potential of society.

The deep crisis in which our society and culture finds itself is the result of a long neglect of the objective laws of social development during the Soviet period. The construction of a new society, the creation of a new man in the Soviet state proved impossible, because throughout all the years of Soviet power people were separated from true culture, from true freedom. A person was considered as a function of the economy, as a means, and this also dehumanizes a person, like a technogenic civilization. “The world is going through the danger of dehumanization of human life, dehumanization of man himself… Only the spiritual strengthening of man can resist such a danger.”

Researchers of various cultural concepts speak of a civilizational crisis, of a change in the paradigms of culture. The images of postmodern culture, the culture of the end of the millennium (Fin Millennium) have many times surpassed the naive decadence of the modernist culture of the end of the century (Fin de Sitcle). In other words, the essence of the ongoing changes (in relation to the change of the culturological paradigm) is that it is not culture that is in crisis, but the person, the creator, and the crisis of culture is only a manifestation of his crisis. Thus, attention to a person, to the development of his spirituality, spirit is overcoming the crisis. The Living Ethics books drew attention to the need for a conscious approach to the coming changes in the cultural and historical evolution of man and brought ethical problems to the fore as the most important condition for the development of man and society. These thoughts have something in common with the modern understanding of human life and society. Thus, P. Kostenbaum, a specialist in the education of the leading cadres of America, believes that "a society built not on ethics, not on mature hearts and minds, will not live long." N. Roerich argued that Culture is the cult of Light, Fire, veneration of the spirit, the highest service to the improvement of man. The affirmation of the true Culture in the human mind is a necessary condition for overcoming the crisis.