The development of modern culture in Russia. Cultural life of modern Russia

Culture in modern society is going through a state defined by the vast majority of researchers as "crisis", "critical", "borderline", "threshold" or "interepochal". The overflow of the epistemological space with such a number of synonyms in modern science testifies to intense attempts to comprehend the socio-cultural process in post-Soviet Russia. On the one hand, modern culture is influenced by the socio-political and socio-economic mechanisms that are being formed today in society. On the other hand, culture itself has notable influence on them, thus acting as a kind of catalyst for the social process. Such a situation is considered in modern science as a "transitional type of culture", when the cultural situation goes beyond the boundaries of the previous qualitative state ("culture type"), but still does not reach the integrity of a new type and another system level.

Modern stage of rethinking cultural property and the further fate of Russian culture largely depend on its spiritual state, the social and civic position of each Russian, as well as on the development of the wealth of domestic and world culture. Therefore, the current cultural situation in our country cannot be assessed unambiguously and categorically, since, firstly, it is extremely complex and contradictory, and secondly, the depth and scale of the changes taking place in it are still not clear enough.

To date, scientists identify the following most obvious problems of culture in modern Russia.

• 1. Blurring of spiritual identity Russian culture, which leads to the unification of customs, traditions and way of life (especially the urban population) according to foreign models. The result of mass replication of the Western way of life and behavior patterns is the standardization of cultural needs, the loss of national and cultural identity and the destruction of cultural identity.
• 2. De-ideologization of culture and elimination of the state monopoly on culture. In terms of content, this led, on the one hand, to greater freedom of creativity and freedom of choice in the field of culture, on the other hand, to a loss of control over the quality and level of cultural products offered to the consumer. All this ultimately hinders the normal process of interaction between culture and society.
• 3. Commercialization of culture. Currently, this process is one-sided: Russia's rich prefer to invest in the entertainment industry (this is still a highly profitable area). At the same time, such institutions as educational institutions, museums, theatres, libraries, classical art are not of commercial interest and are experiencing difficulties due to lack of funding. This leads to a crisis of these institutions. In this situation, the younger generation, which is increasingly moving away from spiritual culture, is of particular concern, since the discrepancy between the declared priority of universal human values ​​and real life leads to the destruction of moral foundations and legal nihilism.

Note!

Nihilism (from lat. nihil- negation) as social phenomenon expresses the negative attitude of the subject (group, class) to certain values, norms, views, ideals, individual, and sometimes all aspects of human existence.

• 4. Growing interest in national cultures. This leads to the formation of respect for them, but at the same time, the growing attention to national cultures is often used by political elites for their own selfish interests, which leads to destabilization of the social and state structure and order in society.
• 5. Cultural and communicative apathy of the population, which leads to a weakening of interest in reading in favor of visual, spectacular forms (primarily television), a drop in attendance at theaters, museums, and libraries.
• 6. The problem of the state of the Russian language, which is considered as an indicator of culture. Scientists note that today in the Russian language there have been negative changes that have led to a decrease in the level of literacy, to the spread of foreign words, to the widespread use of foul language in everyday speech.
• 7. Influence of globalization processes on Russian culture in the face of economic and political changes in life Russian society. On the one hand, the ego leads to the development of intercultural exchange and interaction, on the other hand, it creates a threat of destruction national cultures, which elicits a defense response own culture, stimulates interest in the past of culture, its origins, dominants.

In the modern cultural life of Russia, the younger generation is responsible for the preservation and development of national cultural traditions and values, as well as for the civilized integration of Russia into the world community and cultural space. Therefore, the development of a methodology for cultural policy and the development of mechanisms adequate to it, with clearly defined priorities, as well as increased attention to the relevant key problems of the formation of culture in modern Russia, are of particular relevance.

It is worth noting today the positive factors in the development of Russian culture:

• 1) the number of types and forms of artistic creativity has expanded, as well as the range of cultural undertakings has been enriched due to the development of various kinds of public associations, movements, clubs and associations;
• 2) domestic cultural exchange has become richer;
• 3) the feeling of cultural isolation disappeared;
• 4) in galleries, museums, exhibitions returned many artistic values, previously unfairly consigned to oblivion;
• 5) the huge humanitarian potential of Russian culture – philosophical, cultural, sociological, psychological, economic thought – is in demand and in many respects is being re-acquired;
• 6) the use of specific and targeted support for various initiatives, carried out in the form of targeted programs.

Such programs include the following.

• 1. Target programs federal character:
  • – "Formation, restoration, preservation and effective use of museum funds";
  • - "Support for young talents in the field of culture and art";
  • - "Preservation and development of national cultures of the peoples of Russia, interethnic cultural cooperation."
• 2. Target programs regional character:
  • - for example, "Development of culture and tourism in the Bryansk region" (2014-2020).
• 3. Target programs municipal character:
  • - for example, "Development and preservation of culture and art in the city of Bryansk" (2013-2017).

The study of the place and role of culture in social life, the patterns of its development is of great practical importance. AT modern conditions becomes clearly visible: it is impossible to carry out economic and political programs excluding cultural level population. In other words, raising the cultural level is a necessary prerequisite for socio-economic growth.

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 problems 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 habitual ideas who have already outlived theirs. 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 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. There is a reflection of a wide range of opposing tendencies here. 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 very challenging 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.

Bibliography:

Adam and Eve. Almanac of Gender History / Ed. L.P. Repina. – M., St. Petersburg, 2003

Bem S. Transforming the gender inequality debate. // Feminism and Gender Studies. Reader / Ed. IN AND. Uspenskaya. Tver: Tver Center for History and Gender Studies, 1999.

Voronina O., Klimenkova T. Gender and culture // Feminism and gender studies. Reader / Ed. IN AND. Uspenskaya. Tver: Tver Center for History and Gender Studies, 1999. C.158

Gapova E. Gender issues in anthropology // Introduction to gender studies. Part I. / Ed. I.A. Zherebkina. Kharkiv, St. Petersburg: KhTsGI; Publishing house "Aletheia", 2001.

Gender Studies. Tutorial. - M., 2002

Gender Studies. Reader. - M., 2002

Gender Studies: Feminist Methodology in the Social Sciences / Proceedings of the 2nd

Dvorkin A. Ginocide or Chinese footbinding // Anthology of gender theory. Sat. per. / Comp. and comments by E.I. Gapova and A.R. Usmanova. Minsk, 2000.

Zdravomyslova E., Temkina A. Social construction of gender as a feminist theory // Woman. gender. Culture. M.: MTsGI, 1999.

Kozlova N.N. Socio-historical anthropology. M.: Klyuch-S, 1998. p. 125

Kulizade Z. Gender in Azerbaijan. - B., 2003

Personality. Culture. Society / Scientific and practical journal, volume II, issue 1. - M., 2000

International Summer School on Gender Studies. - Kharkov, 1998

Mythology and everyday life: gender approach in anthropological disciplines / Materials

Noskov V.V. History and "gender history" // Gender history: pro et contra. St. Petersburg: Nestor, 2000.

Ushakin S. The field of sex // Woman. gender. Culture. M.: MTsGI, 1999.

Faradzheva F.F. Gender and culture. - B., 2002

Feminism and Gender Studies. Reader / Under the general. ed. V.I.Uspenskaya. - Tver, 1999

Feminism and Gender Studies. Reader / Ed. IN AND. Uspenskaya. Tver: Tver Center for History and Gender Studies, 1999.

Foucault M. Will to Truth: Beyond Knowledge, Power and Sexuality. M.: Kastal, 1996.

Reader of feminist texts. Translations. / Ed. E.Zdravomyslova, A.Temkina. - St. Petersburg, 2000

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, 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. AT traditional societies the assimilation of culture occurs through the reproduction of samples, 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 like historical memory- 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 trends 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, viewed from the point of view of content, breaks down into various areas Keywords: manners and customs, language and writing, the nature of clothing, settlements, work, the setting of education, the economy, the nature of the army, the 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 technologies, regionally organized economy; and also, 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 material culture like enough high step mastering 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 wide variety of purposes, while 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 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 perfection 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 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 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 new look culture is increasingly associated, on the one hand, with the ideas of a cosmic scale, 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.

Culture in modern society is going through a state defined by the vast majority of researchers as "crisis", "critical", "borderline", "threshold" or "interepochal". The overflow of the epistemological space with such a number of synonyms in modern science testifies to intense attempts to comprehend the sociocultural process in post-Soviet Russia. On the one hand, modern culture is influenced by the socio-political and socio-economic mechanisms that are being formed today in society. On the other hand, culture itself has a significant impact on them, thus acting as a kind of catalyst for the social process. Such a situation is considered in modern science as a "transitional type of culture", when the cultural situation goes beyond the boundaries of the previous qualitative state ("culture type"), but still does not reach the integrity of a new type and another system level.

The current stage of rethinking cultural values ​​and the further fate of Russian culture largely depend on its spiritual state, social and civic position of every Russian, as well as on the development of the wealth of domestic and world culture. Therefore, the current cultural situation in our country cannot be assessed unambiguously and categorically, since, firstly, it is extremely complex and contradictory, and secondly, the depth and scale of the changes taking place in it are still not clear enough.

To date, scientists identify the following most obvious problems of culture in modern Russia.

1. Erosion of the spiritual identity of Russian culture, which leads to the unification of customs, traditions and way of life (especially the urban population) according to foreign models. The result of mass replication of the Western way of life and behavior patterns is the standardization of cultural needs, the loss of national and cultural identity and the destruction of cultural identity.

2. De-ideologization of culture and the elimination of the state monopoly on culture. In terms of content, this led, on the one hand, to greater freedom of creativity and freedom of choice in the field of culture, on the other hand, to a loss of control over the quality and level of cultural products offered to the consumer. All this ultimately hinders the normal process of interaction between culture and society.

3. Commercialization of culture. Currently, this process is one-sided: Russia's rich prefer to invest in the entertainment industry (this is still a highly profitable area). At the same time, such institutions as educational institutions, museums, theatres, libraries, classical art are not of commercial interest and are experiencing difficulties due to lack of funding. This leads to a crisis of these institutions. In this situation, the younger generation, which is increasingly moving away from spiritual culture, is of particular concern, since the discrepancy between the declared priority of universal human values ​​and real life leads to the destruction of moral foundations and legal nihilism.

Note!

Nihilism (from Latin nihil - negation) as a social phenomenon expresses the negative attitude of the subject (group, class) to certain values, norms, views, ideals, individual, and sometimes all aspects of human existence.

4. Growing interest in national cultures. This leads to the formation of respect for them, but at the same time, the growing attention to national cultures is often used by political elites for their own selfish interests, which leads to destabilization of the social and state structure and order in society.

5. Cultural and communicative apathy of the population, which leads to a weakening of interest in reading in favor of visual, spectacular forms (primarily television), a drop in attendance at theaters, museums, and libraries.

6. The problem of the state of the Russian language, which is considered as an indicator of culture. Scientists note that today in the Russian language there have been negative changes that have led to a decrease in the level of literacy, to the spread of foreign words, to the widespread use of foul language in everyday speech.

7. Influence of globalization processes on Russian culture in the context of economic and political changes in the life of Russian society. On the one hand, the ego leads to the development of intercultural exchange and interaction, on the other hand, it creates a threat of destruction of national cultures, which causes a response in the defense of one's own culture, stimulates interest in the past of culture, its origins, and dominants.

In the modern cultural life of Russia, the younger generation is responsible for the preservation and development of national cultural traditions and values, as well as for the civilized integration of Russia into the world community and cultural space. Therefore, the development of a methodology for cultural policy and the development of mechanisms adequate to it, with clearly defined priorities, as well as increased attention to the relevant key problems of the formation of culture in modern Russia, are of particular relevance.

It is worth noting today the positive factors in the development of Russian culture:

1) the number of types and forms of artistic creativity has expanded, as well as the range of cultural undertakings has been enriched due to the development of various kinds of public associations, movements, clubs and associations;

2) domestic cultural exchange has become richer;

3) the feeling of cultural isolation disappeared;

4) in galleries, museums, exhibitions returned many artistic values, previously unfairly consigned to oblivion;

5) the huge humanitarian potential of Russian culture – philosophical, cultural, sociological, psychological, economic thought – is in demand and in many respects is being re-acquired;

6) the use of specific and targeted support for various initiatives, carried out in the form of targeted programs.

Such programs include the following.

1. Targeted programs of a federal nature:

– "Formation, restoration, preservation and effective use of museum funds";

- "Support for young talents in the field of culture and art";

- "Preservation and development of national cultures of the peoples of Russia, interethnic cultural cooperation."

2. Targeted programs of a regional nature:

- for example, "Development of culture and tourism in the Bryansk region" (2014-2020).

3. Target programs of a municipal nature:

- for example, "Development and preservation of culture and art in the city of Bryansk" (2013-2017).

The study of the place and role of culture in social life, the patterns of its development is of great practical importance. In modern conditions, it becomes clear that economic and political programs cannot be carried out without taking into account the cultural level of the population. In other words, raising the cultural level is a necessary prerequisite for socio-economic growth.

One of the components of a person's identity, associated with his perceived belonging to a particular nation, country, cultural space; stems from the acquired awareness of the commonality of culture, history, language with a particular social group.

A kind of social nihilism, the essence of which is a general negative, disrespectful attitude towards law, laws, normative order: the cause of legal nihilism is the legal ignorance of the bulk of the population.

The process of rapprochement of nations and states of the world and strengthening the relationship between them, accompanied by the development of common political, economic, cultural and value standards.

©2015-2019 site
All rights belong to their authors. This site does not claim authorship, but provides free use.
Page creation date: 2017-06-30

The culture and spiritual life of the society of post-communist Russia is characterized by tendencies that emerged during the period of perestroika. The process of returning to society the names and phenomena of domestic and world culture, rejected by the communist regime, continued. The transition to market relations put representatives creative intelligentsia in unusual conditions. On the one hand, the state for the first time removed all prohibitions on creativity, but, on the other hand, it stopped funding creative activities. Already in 1993, vernissages of émigré artists Oscar Rabin, Dmitry Krasnopevtsev, Igor Zakharov-Ross took place. The Central House of Artists hosted an exhibition of works by Arkady Petrov "Dance Floor", made in the manner of Sots Art, the leading representatives of which are artists Vitaly Komar and Alexander Melamid, poets Dmitry Prigov and Timur Kibirov. The Tretyakov Gallery opened the Great Utopia exhibition, which included more than a thousand paintings of the Russian avant-garde from 1915-1932. The works of Russian religious philosophers - N. A. Berdyaev, V. S. Solovyov, V. V. Rozanov, P. A. Florensky, books of emigrant writers - S. D. Dovlatov, A. D. Sinyavsky, A. A. Zinoviev, Sasha Sokolov. Poetry lovers had the opportunity to personally get acquainted with the well-known in their homeland, as well as new works created abroad by the Russian poet, laureate Nobel Prize according to the literature of Joseph Brodsky. After twenty years of forced emigration, the great Russian writer A. I. Solzhenitsyn returned to Russia. The publication of the works of outstanding figures of Russian culture (Varlam Shalamov, Nikolai Erdman, Vasily Grossman, and others), who were subjected to political repression during the years of Stalinist terror, continued.

In 1993, prose writer Vladimir Makanin was awarded the Russian Booker Prize. Following this, the editors of Nezavisimaya Gazeta established the national Antibooker Prize, which is awarded annually in a number of categories. Literary prizes were awarded to the works of such contemporary writers, like Yuri Buida, Yuri Davydov, Mark Kharitonov, Sergei Gandlevsky, Oleg Chukhontsev, Andrey Sergeev, Vyacheslav Pietsukh, Viktor Pelevin, Boris Akunin (G. Sh. Chkhartishvili), Tatyana Tolstaya, Lyudmila Ulitskaya and others, whose popularity in our country in last years grew extraordinarily. Generally domestic literature turn of the XXI century. reflected the confusion and misunderstanding of people generated by the collapse of the "united and mighty" Union (for example, Fazil Iskander's story "Pshada"), but new "heroes" appeared in it: "new Russian" nouveau riches, the unemployed and homeless (for example, the story of Zoya Boguslavskaya "Windows to the South" and Oksana Robski's novel-essay "Casual"). About Russian national character and Russian history in satirical and ironic language was written by Vyacheslav Pietsukh ("The Fourth Rome", "Hand"). Three generations of the Russian intelligentsia of the XX century. presented in Andrei Dmitriev's story "The Closed Book", artistically continuing the traditions of Russian realistic literature. The detective genre gained particular popularity in Russia, the recognized leaders of which were the works of Alexandra Marinina (A. A. Marina) and Daria Dontsova (A. A. Dontsov).

In an open environment new Russia before the world, contacts with compatriot emigrants were also expanding, congresses were successfully held, meetings with well-known figures cultures living outside of Russia. The Days of Slavic Literature and Culture began to be held annually in Moscow. The returned cultural values ​​were comprehended. In June 1993, the Decree of the President of the Russian Federation "On the Creation of the International Fund for the Revival of the Valaam Archipelago and the Spaso-Preobrazhensky Valaam Monastery" was issued. The Russian Academy of Sciences and the Russian American University in Moscow organized and held a round table "The Revival of Russia: Concepts and Reality", which was attended by Vasily Aksenov, Vladimir Bukovsky, Alexander Zinoviev and other domestic scientists, politicians and cultural figures.

New social strata were actively involved in the cultural and creative process. The revival of the traditions of Russian patronage began. The largest financial and industrial groups collected collections of works by contemporary avant-garde artists, arranged concerts of world pop stars. Joint ventures provided assistance to domestic cinema. The Moscow Conference of Industrialists and Entrepreneurs has established a scholarship named after E. R. Dashkova for the best students and graduate students Russian Academy Sciences and Moscow state university, and the Association of Automobile Manufacturers - the Triumph Award, awarded for outstanding contribution to the development of culture and art. Finally, in 1997, with the support of the Moscow government, the NASTA insurance group and the Russian Industrial Bank established the Kumir national actor's award. A significant public outcry was caused by the emergence of the national theater competition " golden mask"and the acting award" Crystal Turandot ". The formation of the legislative foundations for patronage has begun, but in general, patronage of culture in our country has not yet received proper distribution.

The state also supported the national culture. In 1995, the reconstruction of the complex of buildings of the State Tretyakov Gallery, and on the occasion of the 50th anniversary of the Victory in the Great Patriotic War in Moscow on Poklonnaya Hill, a grand opening of the historical and memorial museum complex took place. State prizes were awarded in the field of literature, art, science and technology. In July 1993, the Fundamentals of Legislation were adopted Russian Federation on the Archival Fund of the Russian Federation and Archives". At the initiative of the government, work began on the exchange and return of cultural property lost by our country during the period of violent political upheavals of the 20th century. Already in the summer of 1992, the State Commission for the Restitution of Cultural Property was formed, and a legislative At the same time, efforts were made to make available to the public the treasures of world culture, long hidden in the museum's storerooms due to possible international complications. A. S. Pushkin and the Hermitage (St. Petersburg) hosted exhibitions of works of art imported into the USSR after World War II (for example, the collection of gold objects "Priam's Treasures" collected by the famous German archaeologist Heinrich Schliemann was shown for the first time). under the auspices of the Russian federal and Moscow rights jubilee celebrations dedicated to the 850th anniversary of Moscow (autumn 1997) and the 200th anniversary of the birth of A. S. Pushkin (summer 1999) were widely held.

In painting, to replace the reflection of tragic events characteristic of the "perestroika" years Soviet history the "exposure of ulcers" of modern reality has come. Images of "man-beasts" (Geliy Korzhev, Tatyana Pazarenko) and people with the seal of spiritual, moral and physical degradation (Vasily Shulzhenko, S. Sorokin), gloomy city landscapes (A. Palienko, V. Manokhin), aestheticization of decay and destruction (V. Brainin). In the visual arts, all genres and trends were represented (avant-garde, abstractionism, post-impressionism). Of particular note is the renaissance of realism (for example, the portrait genre, whose outstanding representatives are Alexander Shilov and Nikas Safronov) and neo-primitivism (N. Nedbaylo). An important role in the restoration and development of artistic creativity was played by the rector of the revived Academy of Painting, Sculpture and Architecture, the artist I. S. Glazunov, who received world fame as a supporter of neoclassicism and monumentalism.

In 1992-2006 in Moscow, monuments were erected to A. A. Blok, V. S. Vysotsky, S. A. Yesenin, G. K. Zhukov, F. M. Dostoevsky, a memorial was opened to the victims of political repressions post-war years at the cemetery of the Donskoy Monastery, the chapel of St. George the Victorious in honor of the 850th anniversary of Moscow on the 38th kilometer of the Moscow Ring Road. A well-known sculptor, President of the Russian Academy of Arts (PAX) Zurab Tsereteli (sculptural compositions of Peter the Great, the central obelisk of the Museum of the Great Patriotic War on Poklonnaya Gora, architectural and sculptural complexes on Manezhnaya Square and in the Moscow Zoo) made a great contribution to the formation of the artistic and architectural image of the capital .

Much attention was paid to the restoration of the destroyed churches of the Russian Orthodox Church- the Cathedral of Christ the Savior, the Kazan Cathedral, the Resurrection Gate with the Iberian Chapel in the center of Moscow. Among those held in Russia in the post-Soviet period restoration work The most grandiose in terms of scale and cost is the reconstruction of the entire historical and architectural complex of the Moscow Kremlin with the reconstruction of the pre-revolutionary interiors of its famous palaces, carried out by the Administration of the President of the Russian Federation with the participation of I. S. Glazunov.

Significant development in theater life countries received enterprise theaters and studio theaters (for example, O. P. Tabakova, L. I. Raihelgauz, A. A. Kalyagin, O. E. Menshikov, S. B. Prokhanova, V. B. Livanova, A. B. Dzhigarkhanyan and a number of other major directors and actors). Theatrical seasons in Moscow and the provinces began to take place under the sign of the world and domestic classics. Most often, directors turned to the dramaturgy of M. Yu. Lermontov, N. V. Gogol, N. A. Ostrovsky, A. P. Chekhov. Among the most popular plays are "Uncle Vanya", "Ivanov", "The Seagull" by A.P. Chekhov, "Masquerade" by M.Yu. Lermontov, "Marriage" and "Inspector General" by N.V. Gogol. An important milestone in the development theatrical art was the holding in Moscow in April - June 2001 of the World Theater Olympiad.

Due to the termination of funding, most cinemas were closed or refurbished, and the film distribution system was in fact completely restructured. The activity of film studios was drastically curtailed, the number of released films was reduced from 178 in 1992 to 26 in 1997. The situation of the domestic cinema was also complicated by the fact that the Russian film market was flooded mainly by American, often low-quality film products (thrillers, horror films, melodramas). At the same time, leading Russian film directors were able to create a number of films that were highly appreciated abroad, having received prizes at major international film forums: Burnt by the Sun and The Barber of Siberia by Nikita Mikhalkov, Promised Heaven by Eldar Ryazanov, Barabandiada by Sergei Ovcharov, trilogy "Moloch", "Taurus" and "Sun" by Alexander Sokurov. Great interest of moviegoers was caused by tapes that reflected acute problems modernity, such as tragedy Chechen war: "Muslim" by Vladimir Khotinenko, " Prisoner of the Caucasus"Sergey Bodrov (senior), "Checkpoint" by Alexander Rogozhkin and others. Despite the crisis of domestic cinema, continued creative activity such luminaries of film directing as Kira Muratova, Alexei German, Pavel Lungin, Stanislav Govorukhin, Alexander Sokurov.

In recent years, the film distribution system in the country has been restored. So, in Moscow, several dozens of modern cinema halls were opened, equipped with modern technology, a former cinema"Russia" became cinema and concert hall"Pushkinsky", where the grand opening of the restored International Moscow Film Festival is held annually, the president of which is the chairman of the Russian Cultural Foundation and the chairman of the Union of Cinematographers of Russia, Nikita Mikhalkov. The All-Russian Film Festival "Kinotavr" is held annually in Sochi (the president of the festival since 2005 is Alexander Rodnyansky) and the film festival of the CIS and Baltic countries "Kinoshock" in Anapa (the president is Viktor Merezhko). There were also new names of film directors. So, the picture of Kirill Serebrennikov "Depicting a victim" received in 2006 Grand Prize Rome International Film Festival, and Andrei Zvyagintsev's film "The Return" received two Golden Lions at once at the Venice Film Festival. Nikita Mikhalkov's new film "12" also won the Golden Lion in Venice and was nominated for national award American Academy of Motion Picture Arts "Oscar" in 2008. Among the latest films of Russian filmmakers, one should highlight such as "Artist" and "Passenger" by Stanislav Govorukhin, "Wolfhound" by Nikolai Lebedev, "Graffiti" by Igor Apasyan, "Cargo 200" by Alexei Balabanov, " Expulsion" by Andrei Zvyagintsev, "Nothing Personal" by Larisa Sadilova, "Simple Things" by Alexei Popogrebsky, "St. George's Day" by Kirill Serebrennikov and "Traveling with Pets" by Vera Storozheva.

A notable phenomenon in the national cinema was the work of film director Fyodor Bondarchuk, who made the film "9th Company" (2005) about the events in Afghanistan and the fantastic film duology "Inhabited Island" and "Inhabited Island. Fight" (2008-2009) based on the novel by the Strugatsky brothers. Undoubtedly, important event 2008 was the release of the film project "Admiral", dedicated to A. V. Kolchak (filmed by director Andrei Kravchuk with the assistance of the First Channel of Russian TV).

The current state of spirituality and morality of the multinational Russian society is largely due to the influence of mass culture. Of course, recognizing huge contribution in the national culture of prominent figures variety art such as Iosif Kobzon and Alla Pugacheva, at the same time, it is necessary to note the growing commercialization of this sphere of artistic creativity, the desire a large number variety performers adapt to the most primitive needs of the public and transfer to Russian soil by no means the most the best samples pop culture of the West. Meanwhile, large-scale actions to organize tours of world-famous pop singers such as Elton John, Sting, Tina Turner, Eric Clapton, Steve Wonder and a number of others deserve all support and approval. In the 1990s boom in the country dance music, and rave discos gathered up to 10 thousand participants. In 1999, the musical "METRO" was staged, which became a notable event in musical life Moscow. This was followed by the musicals "Nord Ost", "Notre Dame de Paris", "12 Chairs", "The Wedding of the Jays", "ABBA", etc. An important phenomenon in the musical life of the international "show business" was the holding in Moscow in May 2009 Eurovision Song Contest.

The determining factor in shaping public opinion and social standards is the electronic media, and in the first place television, which has become, to a large extent due to its accessibility, the "ruler of thoughts" of the majority of ordinary Russians. In this regard, the broadcasting of the Kultura TV channel, which acquaints viewers with the best achievements of domestic and world culture, including works of non-commercial cinematography, has acquired great importance.