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Features of the development of modern culture. Features of the culture of modern Russia

22.04.2019

One of the most important for modern culture problems is the problem of traditions and innovation in the cultural space. The stable side of culture, the cultural tradition, thanks to which the accumulation and transmission of human experience in history occurs, gives new generations the opportunity to update previous experience, relying on what was created by previous generations. IN traditional societies the assimilation of culture occurs through the reproduction of samples, with the possibility of minor variations within the tradition. Tradition in this case is the basis for the functioning of culture, significantly complicating creativity in the sense of innovation. Actually, the most “creative” process in our understanding traditional culture Paradoxically, the very formation of a person as a subject of culture, as a set of canonical stereotypical programs (customs, rituals), appears.

The transformation of these canons themselves is quite slow. Such is the culture of primitive society and later traditional culture. Under certain conditions, the stability of a 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 abandoning cultural traditions altogether. It is hardly possible for a culture to exist 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 great 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 October Revolution, when attempts to completely deny and destroy the previous culture led in many cases to irreparable losses in this area.

Thus, if it is possible to talk about reactionary and progressive tendencies in culture, then, on the other hand, it is hardly possible to imagine the creation of culture “from scratch,” completely discarding the previous culture and tradition. The question of traditions in culture and the attitude towards 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 we are talking about work of art, invention, etc. In this sense, replication in one form or another of what is already known, already created earlier is dissemination, not the creation of culture.

The need to spread culture seems to require no 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 opposing and conflicting tendencies of a given historical era. At first glance, culture, considered from the point of view of content, breaks down into various areas: morals and customs, language and writing, the nature of clothing, settlements, work, education, economics, the nature of the army, socio-political structure, legal proceedings, science, technology, art, religion, all forms of manifestation of the “spirit” of the people. In this sense, cultural history becomes of paramount importance for understanding the level of cultural development.

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 multitude of original cultures that are in dialogue and interaction with each other, and dialogue and interaction occur not only along the axis of the present time, but also along the “past-future” axis.

But on the other hand, culture is not only the totality of many cultures, but also world culture, a single cultural flow from Babylon to the present day, from East to West, and from West to East. And first of all, with regard to world culture, the question arises about its future fate - is what is observed in modern culture (the flourishing of science, technology, information technology, regionally organized economy; and also, on the other hand, the triumph of Western values - the ideals of success, separation of powers, personal freedom, etc.) - flourishing human culture in general, or, conversely, 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, as a fairly high level of mastery of the forces of nature, certainly carries a powerful charge of technical progress and contributes to the achievement of an abundance of material wealth. 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, and the concept of culture, on the contrary, has come as close as possible to the concept of spiritual progress. TO negative qualities civilization is usually attributed to its tendency to standardize thinking, its orientation toward absolute fidelity to generally accepted truths, and its inherent low assessment of the independence and originality of individual thinking, which are perceived as a “social danger.” If culture, from this point of view, forms a perfect personality, then civilization forms an ideal law-abiding member of society, content with the benefits provided to him. Civilization is increasingly understood as synonymous with urbanization, overcrowding, the tyranny of machines, and as a source of dehumanization of the world. Indeed, no matter how deeply the human mind penetrates into the secrets of the world, spiritual world the man himself remains largely mysterious. Civilization and science by themselves cannot ensure spiritual progress; culture is needed here as the totality of all spiritual education and upbringing, which includes the entire spectrum of intellectual, moral and aesthetic achievements of mankind.

In general, for modern, primarily world culture, two ways to solve the crisis situation are proposed. If, on the one hand, the resolution of the crisis tendencies of culture is assumed along the path of traditional Western ideals - strict 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 moral improvement of man, as well as 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 that are more “natural” for man and life - with limited healthy needs, a sense of unity with nature and the cosmos, forms of human existence free from the power of technology.

Philosophers of our time and the recent past take one position or another regarding technology; as a rule, they associate technology (understood quite broadly) with a crisis of culture and civilization. The mutual influence of technology and modern culture is one of the key problems 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 of humanity.

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 image culture is increasingly associated, on the one hand, with ideas on a cosmic scale, and on the other hand, with the idea of a universal ethical paradigm. It is also worth noting the formation of a new type of cultural interaction, expressed primarily in the rejection of simplified rational solution schemes cultural problems. All higher value acquire the ability to understand foreign cultures and points of view, critical analysis own actions, recognition of someone else's cultural identity and someone else's 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 dialogical relationships and compromise. This logic of cultural communication also presupposes corresponding principles of action.

All cultures of the world inevitably deal with the division of labor between the sexes. Much research and discussion has been devoted to exactly how this separation is accomplished. Like culture, the recognition and understanding of the differences associated with gender, and, of course, the similarities between the sexes, has played a huge role in the formation of modern psychological knowledge.

Modern Russian culture of the 21st century requires multilateral and in-depth consideration. It is in close contact with the past centuries. Its current state of culture is directly related to 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. She transforms, recycles and absorbs new trends. Thus, in order to trace the development of culture in modern Russia, you need to pay attention to world phenomena as a whole.

Now the problems of modern culture in Russia are of paramount importance. First of all, we are talking about a powerful factor social development. Culture permeates every aspect of human life. This applies both to the basics of material production and needs, and to the greatest manifestations of the human spirit. The culture of modern Russia is increasingly influencing the solution of program goals in the social sphere. In particular, this concerns the construction of a rule of law state, the disclosure of human creative abilities, the strengthening and formation of 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, everyday life, work, and so on. There is a special institute - the Department of Culture. Depending on their status, they resolve and coordinate certain issues. As for its social influence, it is, first of all, a necessary aspect of the activity of a social person. That is, it is observed to be regulated by certain rules that are accumulated in traditions, symbolic and sign systems, and new trends. Today, the development of culture in modern Russia is associated with a number of issues. They were set by the life of society itself. Currently, all guidelines are aimed at something qualitatively new. Thus, there is a sharp change in the understanding of innovative and traditional trends in social development. On the one hand, they are required in order to deeply master the cultural heritage. On the other hand, it is necessary to be able to go beyond the usual ideas that have already become obsolete. The Culture Department must also undergo corresponding reorganization changes. It is also necessary to overcome a number of reactionary traditions. They have been planted and developed over centuries. These traditions manifested themselves in the consciousness, behavior and activities of people constantly. To adequately address these issues, it is necessary to understand how culture develops in modern Russia.

The emergence of the modern world has contributed to significant changes in human consciousness. People's views are turned to the limits of life. Self-awareness becomes a trend. The focus on one's own historical and cultural forms has resumed. The future is seen primarily in the processes of expanding international relations. All countries must be involved in the global cultural and historical process. Significant social changes have occurred. 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 are innovation and traditions in the cultural space. Thanks to the stable side of the latter, the transmission and accumulation of human experience from a historical point of view occurs. As for traditional societies, here the assimilation of culture is carried out through the worship of past models. Within traditions, of course, there may be minor variations. They're in in this case represent the basis for the functioning of culture. From the point of view of innovation, creativity is greatly hampered. Creating a culture out of nowhere is not possible. Previous traditions cannot be completely discarded. 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 to distribute them. Cultural creativity is a source of innovation. It is involved in the process of general development. Here one can see a reflection of a wide range of opposing trends of the historical era.

Nowadays culture finds its embodiment in a variety 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 must 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, 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. Understanding other people's points of view is becoming more important these days. The same can be said about the following: The desire to compromise. Ability to build dialogic relationships. Recognition of the legitimacy of the existence of most truths. Acceptance of someone else's cultural identity. Critical analysis of your own actions.

Modern Russian culture is characterized by the presence of numerous and contradictory trends. They have been partially identified in this article. As for the current period of development of national culture, it is transitional. It is also safe to say that certain ways out of the crisis have emerged. What is world culture last century as a whole? This is a very controversial and complex phenomenon. It is also greatly aggravated by the fact that the world has long been conventionally split into two camps. In particular, this applies to ideological characteristics. Thus, cultural practice was enriched with new ideas and problems. Global issues have forced humanity to take on the challenge. This affected world culture as a whole. And not only on her. The same can be said about each national heritage separately. In this case, dialogue between different cultures is a decisive factor. As for Russia, it is necessary to develop and adopt the correct strategic course. It is worth noting that the world situation is constantly changing. The solution to the "cultural" problem is very challenging task. First of all, we are talking about the need to understand the existing deep contradictions that are inherent in Russian culture. Moreover, this applies to its entire historical development. Domestic culture still has potential. It is sufficient to provide answers to the challenges posed by the modern world. As for the current state of Russian culture, it is very far from ideal. There is a need for a change in thinking. It is currently in to a greater extent focused on maximalism. In this case, a radical revolution is needed. We are talking about a real reorganization of everything and everyone, and in the shortest possible time. The development of national culture will certainly be difficult and long.

Conclusion

How big is the difference between men and women? From all of the above, we can conclude that gender differences are not as great as is commonly believed. We cannot say with 100% certainty that gender differences can be justified biologically. 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, and play certain games. Means mass media create stereotypes of femininity and masculinity in our society that we cannot ignore. We grow up, trying for the most part to live up to our role, to be a real man or a real woman, not always agreeing with what society prescribes to us.

As mentioned earlier, there are many restrictions imposed by women or male role. Women's problems include: low wages, low status and little power, as well as being overwhelmed with household responsibilities. Male factors include: deprivation of meaningful relationships, insufficient social support, physical problems caused by overwork at work and risky behavior. These restrictions indicate that roles must change. Of course, we 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, and feminine. It is simply necessary to reduce the negative consequences that our gender role imposes on us, and this is only possible if we incline to some extent towards gender equality.

Of course, everything changes over time. More and more women are entering management and other male-dominated jobs, and the wage gap between men and women is narrowing somewhat. Men do slightly more housework, and many spend more time with their children than their fathers did. However, it is clear that we still have a very long way to go.

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

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

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

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History of Russian culture in brief overview we propose to trace it according to the structural typology of N.A. Berdyaev, developed by him in a series of works about its features, path, fate, etc. In these works, the scientist outlined and defined its several main stages. This historical typology of Berdyaev can be considered as a basis, but with additions related to the events of the last century.

Stage of Slavic-European civilization (X – beginning of the 13th century)

By this period, called Kievan Rus, the foundations of the organization of society have already been formed. There was a written language, the basis of statehood was laid, and legal institutions appeared. All this gave impetus to further evolution East Slavic culture. Strengthening the country and increasing territories was carried out simultaneously with Eastern Slavs and neighboring tribes. “Dual faith” - a bizarre symbiosis of paganism and Christianity gives rise to original picture existence, combining different religious ideas.

not solving problems, but moving away from them to new lands,
no man's land, God's land,
sense of temporality
no need for deep rooting in one place.

This method of conducting peasant farming in terms of territory and number of participants constituted a large part of ancient Russian culture, which is difficult to study, since it has no written sources.

Artistic culture and history based on written sources

The history of Russia at that time is studied using the main artifacts related to urban culture: chronicles, letters, architectural monuments, arts and crafts, paintings from treasures and burials. Based on the analysis of artistic written sources, two stylistic directions are distinguished:

monumental historicism
epic lyricism.

Monumental historicism

This style became widespread at the end of the 10th century. and dominated until beginning of XII V. This was a period of familiarization and equal entry of Rus' into Christianity, understanding of its role in the new culture. This is confirmed by the surviving architectural, pictorial and literary evidence of this period. They are characterized by a sublime and majestic mood, they are filled with importance. The style of monumental historicism accurately reflected the spirit of the times of the reign of the Rurik dynasty. For the heroic era of the country, this was the primary style, identical to the Romanesque style for the West. It was equivalent to the state one and corresponded to the demands of the princely environment, the desire of the young country to create its own image, its own principles, and compare itself with the culture and history of the world.

Empirical lyricism

This style is also called secondary; it was formed by the middle of the 12th century. This time is characterized by increased feudal fragmentation. Art became closer to man; it began to highlight the features of individual people, and not just the breadth of the state, as was the case in the previous period.

Chamber forms appeared in architecture; it became more animated, more festive, rather than masculine.
of that period became “The Tale of Igor’s Campaign.” This is an epic and emotional work that reflects the history of Rus', along with the thoughts, emotions, sorrows and joys of a real person.
Temples are being erected everywhere, monasteries are being built, schools of icon painting and crafts are being founded, and the events that take place are recorded in chronicles.

The versatility of the development of artistic culture of that time can be judged by the way writing crystallized and artistic training developed.

Novgorod becomes the center of veneration of Sophia,
Vladimir - Our Lady,
in Chernigov and Ryazan - princely images of Boris and Gleb.

Appanage Rus' - culture of the 13th – 14th centuries

The 13th century went down in history as the beginning of the Golden Horde period. “Tatar Rus'” entered the phase of “moral monumentalism.” Gradually, the fragmentation of the country into appanage principalities was overcome, which helped to free ourselves from the yoke.

The profound changes that have taken place mid-XIII centuries, provide grounds for the isolation of this period, since they also had a great influence on the type of Russian culture. Much research has been carried out on that era, and there are different opinions in assessing the consequences of the invasion of the steppe people. Gumilev believed that it saved the country from being subjugated by Europe, which, in his opinion, would have brought much more harm to Russia.

These events left a significant mark, but the Mongol-Tatar yoke could not radically change the Russian agricultural culture to a nomadic one. But the invasion of the Horde stopped development and caused irreparable damage. Temples were destroyed, libraries and cities were burned, and crafts were in a depressed state. The invasion of nomadic tribes was perceived as God's punishment, a universal disaster, which was unthinkable to resist.

When the yoke was thrown off, the culture and history of Russia became different. The main consequence of the invasion is regression in all areas of life. In the second half of the 13th century, development seemed to freeze. Even in Novgorod lands, where the Horde did not “reach”, there was a gloomy stagnation, accompanied only by the renewal of fortifications.

The atmosphere of the era, people's experiences can be understood by literary sources in the genre " military stories", biographies of martyrs for the faith, sermons.

Muscovite Rus' - stage XIV - XVII centuries

The period from the end of the 14th to the 17th century. went down in history as the time of formation of the Eurasian civilization. The emergence of a centralized independent state with power in Moscow formed a different picture in different spheres of life. This was conducive to the generation of a renewed concept of values and the universe.

The Russian principalities, freeing themselves from the shackles of the yoke, rallied around Moscow, creating a state of a new type. It was a means of defending sovereignty. To this day, the state has extreme significance in the minds of people, which was acquired back in those days.

The interests of the state and power turned out to be higher than personal gain and even more important than laws. The formation of the Moscow kingdom took over the baton of Orthodoxy from Constantinople, which had fallen in those days. The Byzantine state sank into oblivion. Elder Philotheus in his letters Vasily III voiced new messianic aspirations in the concept

Stage-by-stage history of the culture of great Russia during the Moscow period

The evolution of Russian culture during the Moscow period can be divided into three stages:

Russian Pre-Renaissance (end of the 14th century - mid-15th century)

This time was marked by the victory in the Battle of Kulikovo, and with it came an emotional leap national identity. During this period, literature, art, and the rise of individuality began to flourish. Vivid examples can be the names of Daniil Cherny. Theophanes the Greek. By these values, the development of Russia can be compared with the Proto-Renaissance and the Italian early Renaissance. The Renaissance bypassed Russian history. All resources were used to create and develop a country with its center in Moscow. The most majestic temples are built there, icons and frescoes are created, books are written.

"Sovereign monumentalism"(second half of the 15th century - 16th century)

It is characterized by the final formation of the Moscow kingdom. The country began to expand towards the eastern aisles, Kazan was taken. Gradually the state turned into a vast Eurasian empire.

In all spheres of the country's life there is a settlement and ordering, for example,

the arrangement of the state is described in the “Degree Book”,
systematization of historical information - in the Personal Chronicle,
religious canons - in “Stoglava”, in “Great Cheti-Menaia”,
family problems - in Domostroy.

A new one appears architectural style– Moscow. The Kremlin and the Assumption Cathedral are being rebuilt; they are a symbol of Russia to this day.

Russian Renaissance or Baroque (XVIIV.)

During this period, also called the “rebellious age,” many events took place. Change of dynasties, Polish intervention, peasant revolts. The culture of this period, despite many dramatic pages in history, is enlightened and alive.

The architecture is rich in color, intricate in shape and decorative.
Paintings are decorative, at the same time realistic features appear in them, objects become more voluminous due to the transfer of chiaroscuro. The first Russian parsuns appeared - a synthesis of portrait and icon.
Heroes with humane traits also appear who live in real life, such as the first Russian novel “The Tale of Savva Grudnitsyn.”

In art and literature, the individual origin and the author's point of view are conveyed.

History of culture and art of Russia (XVIII century - beginning of XX century)

The period of Imperial Russia is the time of the presentation of its new appearance. Russian culture gravitates toward European culture, is influenced by it, but remains original. The gigantic Eurasian civilization is public to the West and East, but retains its independence. This era can be divided into three time periods.

Story XVIII culture century

This is a time of radical reform. Since the adoption of Christianity, Russia has turned to the West at the behest of the ruler for the second time. Cultural metamorphoses under the reign of Peter I are as contradictory and complex as the innovations of Prince Vladimir.

Peter's movement to Europe was continued by his heirs. Everything became a period of deep transformations affecting different sides. Main feature was the mastery of the results and achievements of European culture, mostly through education. Changes took place under pressure from the top and from within, since the prerequisites for them had already matured in the previous century. Such traits as realism, individuality, and rationality are now dressed in European attire.

The rapidity of reforms led to their uneven assimilation in different strata of society. A split arose between the Europeanized upper classes and the lower classes, mired in the “quagmire of Asiaticism.” In addition to disunity according to social standards, at this time a crack formed between ethnic and national culture. In the future, the efforts of many people will be aimed at bridging this gap.

Story XIX culture century

This is the period of its beginnings and knowledge gained in Europe. Their merger gave impetus to further development. This century is called the Russian Golden Age. A huge list of names, discoveries, plans, achievements, brilliant creations allows us to say that during this period Russia played a significant role in the history of world culture. Then her individuality was most clearly revealed, primary questions were asked and solutions to problems were given. This is a period of searching for cultural community and spirituality.

The main thing about the Silver Age

The turn of the 19th and 20th centuries in the history of Russia is called it. Despite its short duration, it can be distinguished as a separate type. The turning point of time gave this era freedom, an active change of course and trends. An avalanche of fresh ideas, ideas, judgments, and paradigms that had a contradictory orientation swept over the country. Creative life became intense. Unions, associations, circles arose and multiplied, involving a large number of new members.

In dialogue different cultures The focus also changes: this is not just a retrospective study, but a desire to join and comprehend, plunging into the very depths. Merger different types arts, worldviews, and a desire for unity - was one of the important features of this time. But the period was not monolithic; there were many incompatible ideas, multidirectional movements, demonstrating a degree of freethinking.

History of Russian culture - stage of the 20th century.

1917 - 1991 years of the twentieth century refer to Soviet Russia. This is a difficult and paradoxical time that has yet to be objectively assessed. It reflected the most contradictory features of the national character. Totalitarianism sought to bring culture to a uniform form, but external monolithicity was combined with individual creativity, which can be seen in an allegorical form both at the everyday level and in the underground. It is worth adding to the assessment of the significance of Russian culture of the Soviet period and it can be considered as a legacy of pre-revolutionary culture. About 10 million emigrants believed in their mission to preserve and enhance it. This is confirmed by their educational, scientific, and publishing work. Features spiritual life of the Silver Age and the development of these ideas reflected in their works

N.A. Berdyaev, S.N. Bulgakov, B.P. Vysheslavtsev, I.A. Ilyin, N.O. Lossky, G.P. Fedotov, G.V., Florovsky, S.L. Franc.

There remains to be an objective study and assessment of the works of the Russian Abroad as an integral part of all-Russian culture.

Modern stage of history

As Berdyaev predicted, after the “fifth” there is the formation of a “sixth” post-Soviet Russia. The most important achievement here, despite all the obstacles and problems, is:

liberation from the prohibitions of ideology,
addition of previously prohibited works and names,
acquaintance with foreign Russian culture.

The modern progress of Russian culture is explained by the dynamic development of self-knowledge, the search for community, and the disclosure of its role in world culture.

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Introduction 3

1. General trends and features of the development of modern culture 5

2. Features cultural process in modern Russia. 10

Literature 15

Introduction

Modern Russian culture requires deep and multifaceted consideration. On the one hand, being in direct contact with the Russian culture of past centuries in the sense of at least simply a chronological “neighborhood,” modern culture is closely linked with accumulated cultural experience, even if it outwardly denies it or plays with it. On the other hand, being part of world culture, modern Russian culture absorbs, processes, and transforms trends related to the development of culture as a whole. Therefore, to understand the modern culture of Russia, it is necessary to turn to both the Russian culture of previous eras and to world culture as a whole, to general trends cultural development modernity.

It can also be noted that cultural problems are acquiring paramount importance today also because culture is a powerful factor in social development. “Permeating” all aspects of human life - from the foundations of material production and human needs to the greatest manifestations human spirit, culture is playing an increasingly important role in achieving the program goals of the social movement, which include the formation and strengthening of civil society, the disclosure of human creative abilities, and the construction of the rule of law. Culture affects all spheres of social and individual life - work, everyday life, leisure, area of thinking, etc., on the way of life of society and the individual. Culture acquires social influence, first of all, as a necessary aspect of the activity of a social person, which, by its nature, involves the organization of joint activities of people, and, consequently, its regulation by certain rules accumulated in sign and symbolic systems, traditions, etc.

In a radical way, questions of cultural development are posed in our time precisely because these questions are posed by the very life of our society; orientation towards a qualitatively new state of society leads to a sharp turning point in the understanding of traditionalist and innovative trends in social development. They require, on the one hand, deep development cultural heritage, expanding the exchange of genuine cultural values between peoples, and on the other hand, the ability to go beyond the usual, but already outdated ideas, to overcome a number of reactionary traditions that have developed and been implanted over the centuries, constantly manifesting themselves in the consciousness, activities and behavior of people. In resolving these issues, a significant role is played by knowledge and an adequate modern understanding of modern Russian culture as part of world culture.

The modern world has made significant changes in human consciousness - the human gaze is turned to the limits of life, which is not limited in consciousness by the dates of birth and death. There is a tendency to realize oneself in the context of historical time, in orientation both to one’s historical and cultural roots and to the future, which is seen primarily as a process of expanding international relations, involving all countries of the world in the global cultural and historical process. Thus, significant, first of all, social changes further confirm the importance, on the one hand, of issues of cultural identity, and, on the other hand, of issues of intercultural interaction.

1. General trends and features of the development of modern culture

One of the most important problems for modern culture is the problem of traditions and innovation in the cultural space. The stable side of culture, the cultural tradition, thanks to which the accumulation and transmission of human experience in history occurs, gives new generations the opportunity to update previous experience, relying on what was created by previous generations. In traditional societies, the assimilation of culture occurs through the reproduction of samples, with the possibility of minor variations within the tradition. Tradition in this case is the basis for the functioning of culture, significantly complicating creativity in the sense of innovation. Actually, the most “creative” in our understanding of the process of traditional culture, 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 is the culture of primitive society and later traditional culture. Under certain conditions, the stability of a 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 abandoning cultural traditions altogether. It is hardly possible for a culture to exist without traditions. Cultural traditions as historical memory are an indispensable condition not only for the existence, but also for the development of culture, even if it has great creative (and at the same time negative in relation to tradition) potential. As a living example, we can cite the cultural transformations of Russia after the October Revolution, when attempts to completely deny and destroy the previous culture led in many cases to irreparable losses in this area.

Thus, if it is possible to talk about reactionary and progressive tendencies in culture, then, on the other hand, it is hardly possible to imagine the creation of culture “from scratch,” completely discarding the previous culture and tradition. The question of traditions in culture and the attitude towards 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 we are talking about 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 dissemination, not the creation of culture. The need to spread culture seems to require no 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 opposing and opposing trends of a given historical era.

At first glance, culture, considered from the point of view of content, is divided into various spheres: morals and customs, language and writing, the nature of clothing, settlements, work, education, economics, the nature of the army, socio-political structure, legal proceedings, science, technology , art, religion, all forms of manifestation of the “spirit” of the people. In this sense, cultural history becomes of paramount importance for understanding the level of cultural development.

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 types 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 multitude of original cultures that are in dialogue and interaction with each other, and dialogue and interaction occur not only along the axis of the present time, but also along the “past-future” axis.

But on the other hand, culture is not only the totality of many cultures, but also world culture, a single cultural flow from Babylon to the present day, from East to West, and from West to East. And first of all, with regard to world culture, the question arises about its further fate - is what is observed in modern culture (the flourishing of science, technology, information technology, 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, conversely, its “decline”.

Since the twentieth century, the distinction between the concepts of culture and civilization has become characteristic - culture continues to carry a positive meaning, and civilization receives a neutral assessment, and sometimes even a direct negative meaning. Civilization, as a synonym for material culture, as a fairly high level of mastery of the forces of nature, certainly carries a powerful charge of technical progress and contributes to the achievement of an abundance of material wealth. 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, and the concept of culture, on the contrary, has come as close as possible to the concept of spiritual progress. The negative qualities of civilization usually include its tendency to standardize thinking, its orientation toward absolute fidelity to generally accepted truths, and its inherent low assessment of the independence and originality of individual thinking, which are perceived as a “social danger.” If culture, from this point of view, forms a perfect personality, then civilization forms an ideal law-abiding member of society, content with the benefits provided to him. Civilization is increasingly understood as synonymous with urbanization, overcrowding, the tyranny of machines, and 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 ensure spiritual progress; culture is needed here as the totality of all spiritual education and upbringing, which includes the entire spectrum of intellectual, moral and aesthetic achievements of mankind.

In general, for modern, primarily world culture, two ways to solve the crisis situation are proposed. If, on the one hand, the resolution of the crisis tendencies of culture is assumed along the path of traditional Western ideals - strict 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 moral improvement of man, as well as improvement of his material conditions, then the second way to resolve crisis phenomena involves the return of the human race either to various modifications of religious culture or to forms of life that are more “natural” for man and life - with limited healthy needs, a sense of unity with nature and space, forms of human existence free from the power of technology.

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 ideas of historical and organic integrity, then the new image of culture is increasingly associated, on the one hand, with ideas of a cosmic scale, and on the other hand, with the idea of a universal ethical paradigm. It is also worth noting 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 someone else's culture and points of view, critical analysis of one's own actions, recognition of someone else's cultural identity and someone else's truth, the ability to incorporate them into one's position and recognition of the legitimacy of the existence of many truths, the ability to build dialogic relationships and compromise are becoming increasingly important. This logic of cultural communication also presupposes corresponding principles of action.

2. Features of the cultural process in modern Russia.

The beginning of the 90s of the last century is characterized by the accelerated disintegration of the unified culture of the USSR into separate national cultures, for which not only the values general culture USSR, but also each other’s cultural traditions. The sharp opposition of different national cultures led to an increase in cultural tension and caused the collapse of a single socio-cultural space.

The culture of modern Russia, organically connected with previous periods of the country's history, found itself in a completely new political and economic situation, which radically changed many things, first of all, the relationship between culture and power. The state stopped dictating its demands to culture, and culture lost its guaranteed customer.

Since the common core has disappeared cultural life As a centralized management system and a unified cultural policy, determining the paths of further cultural development became a matter for society itself and a subject of intense disagreement. The range of searches is extremely wide - from following Western models to an apology for isolationism. The absence of a unifying cultural idea is perceived by part of society as a manifestation of the deep crisis in which it finds itself. Russian culture by the end of the 20th century. Others consider cultural pluralism to be the natural norm of a civilized society.

If, on the one hand, the elimination of ideological barriers created favorable opportunities for the development of spiritual culture, then, on the other hand, the economic crisis experienced by the country and the difficult transition to market relations increased the danger of the commercialization of culture and the loss of national traits in the course of its further development. The spiritual sphere in general was experiencing an acute crisis in the mid-90s. The desire to direct the country towards market development has led to the impossibility of the existence of certain spheres of culture that objectively need state support. support.
At the same time, the division between elite and mass forms of culture, between youth and the older generation continued to deepen. All these processes are unfolding against the backdrop of a rapid and sharp increase in uneven access to the consumption of not only material, but cultural goods.

Due to the above reasons, the first place in culture began to be occupied by the media, called the “fourth estate”.
In modern Russian culture, incompatible values and orientations are strangely combined: collectivism, conciliarity and individualism, egoism, enormous and often deliberate politicization and demonstrative apoliticality, statehood and anarchy, etc.

If it is quite obvious that one of the most important conditions Since the renewal of society as a whole is the revival of culture, specific movements along this path continue to be the subject of heated debate. In particular, the subject of dispute is the role of the state in regulating culture: whether the state should intervene in cultural affairs, or whether culture itself will find the means for its survival. Here, apparently, the following point of view has been formed: ensuring freedom of culture, the right to cultural identity, the state takes upon itself the development of strategic tasks of cultural construction and responsibilities for the protection of cultural and historical national heritage, the necessary financial support of cultural values. However, the specific implementation of these provisions remains in question. The state, apparently, is not fully aware that culture cannot be left to business; its support, including education and science, is of great importance for maintaining the moral and mental health of the nation. Despite all the contradictory characteristics of national culture, society cannot allow separation from its cultural heritage. A disintegrating culture is little adapted to transformation.

Various opinions are also expressed regarding the ways of cultural development in modern Russia. On the one hand, it is possible to strengthen cultural and political conservatism, as well as stabilize the situation based on ideas about the identity of Russia and its special path in history. However, this is fraught with a return to the nationalization of culture. If in this case there is automatic support for cultural heritage and traditional forms of creativity, then, on the other hand, foreign influence on culture will inevitably be limited, which will greatly complicate any aesthetic innovations.

On the other hand, in the conditions of Russia’s integration under external influence into the world system of economy and culture and its transformation into a “province” in relation to global centers can lead to the dominance of alien trends in domestic culture, although the cultural life of society in this case will also be more stable for account of commercial self-regulation of culture.

In any case, the key problem remains the preservation of the original national culture, its international influence and the integration of cultural heritage into the life of society; integration of Russia into the system of universal human culture as an equal participant in world artistic processes. Here, state intervention in the cultural life of the country is necessary, since only with institutional regulation is it possible to fully utilize the cultural potential, radically reorient state cultural policy, and ensure the accelerated development of the domestic cultural industry within the country.

In modern Russian culture, numerous and very contradictory trends are manifested, partially outlined above. In general, the current period of development of national culture is still transitional, although it can be stated that certain ways out of the cultural crisis have emerged.

Conclusion

In general, world culture of the 20th century is a process, the complexity and inconsistency of this process is aggravated by the fact that for a significant period of time the world was split into two camps along ideological lines, which introduced new problems and ideas into cultural practice. At the same time, the challenge posed to humanity by global problems applies both to world culture as a whole and to each national culture separately. Here the decisive role belongs to the dialogue of different cultures, the global cultural process.

In this sense, the main task for the culture of modern Russia is to develop a strategic course for the future in a rapidly changing world. The solution to this problem is quite difficult, since it rests on both the need to understand the deep contradictions inherent in our culture throughout its historical development, and a new perception of the achievements of Russian culture.

If the potential of modern Russian culture is seen as great enough to respond to the challenges of the modern world, then the current state of culture is far from ideal. There is a need to move away from thinking focused on maximalism, a radical revolution and reorganization of everything and everyone in the shortest possible time and move on to a long, complex, but undoubtedly fruitful consistent development of national culture.

Literature

A.A. Danilov “History of Russia XX century”. M., 2001

Anthology of world philosophy. In 3 volumes. T.2. - M.: Mysl, 1969.

Barulin V.S. Social philosophy. Part 2. - M.: Moscow State University Publishing House, 1993.- 240 p.

Belova T. Culture and power. - M, 1991.

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The processes of cultural development are not interrupted by the collapse government agencies and the fall of political regimes. Culture new Russia was organically connected with all previous periods of the country's history and at the same time experienced the impact of the new political and economic situation.

The relationship between culture and power has changed dramatically. The state stopped dictating its demands to her, and she lost her “guaranteed customer.” The common core of cultural life - the centralized control system - has disappeared; The ideological principles on which the unified cultural policy was based were destroyed. Defining Paths further development became a matter of society itself and the subject of heated debate. Some perceive the absence of a unifying sociocultural idea as a manifestation of the deep crisis in which Russian culture found itself by the end of the 20th century. Others consider cultural pluralism to be the natural norm of a civilized society.

The collapse of the USSR and the collapse of the communist system led to a disruption of the usual foundations of life for millions of people. Moral guidelines and moral standards were eroded. With the disappearance official ideology an ideological vacuum was created. The Russian Orthodox Church has launched active activities in the field of education, upbringing and culture.

State cultural policy in post-Soviet Russia is aimed at solving a national task - preserving and accumulating the country's cultural potential and ensuring the continuity of traditions. The state strives to support the education system, scientific research, various movements and directions in the artistic life of the city and village, center and province, as well as ensure the accessibility of educational and cultural institutions. The new concept of cultural policy forms the basis of federal target programs for the preservation and development of culture and art, adopted in 1993 and 1997 and received presidential status. In addition to them, similar regional programs were developed and adopted. In 1996, the Presidential Council for Culture and Art was formed Russian Federation. It was supposed to become an advisory body that would inform the head of state about the state of affairs in the field of culture and art and take part in the discussion of state policy in this area and conduct an examination of draft laws. Throughout the 90s. a new legal framework for activities in the field of culture was created. Federal program “Culture of Russia. 2001-2005." in accordance with the priorities of state policy, it included three subprograms - “Development of culture and preservation of cultural heritage”, “Archives of Russia” and “Cinematography of Russia”. In the Federal program 2006-2011. the task of preserving cultural heritage also came first. Significant place was paid to the formation of a single cultural space and the creation of conditions to ensure equal access to cultural values and information resources various groups citizens. The issue of adapting cultural institutions to market conditions remained acute. It is no coincidence that this task is included in the program as one of the main ones. Even in conditions of political and economic stabilization, less budgetary funds were allocated for culture than was planned in the Federal program. In 2011, the development of a new Federal program “Culture of Russia” for 2012-2016 began.

On average. Federal and regional programs were funded only 65-70% of what was planned, and therefore were not fully implemented. The Presidential Council played the role of a “decorative and advisory” body rather than an advisory one. Gradually, its functions were reduced to awarding state prizes in the field of literature and art.

Economic reform of 1992 aimed at transition to market economy, caused significant damage to the sociocultural sphere. State funding for culture began to decline: from 81% in 1993 to 60% in 1997 of the 1991 level. From 1985 to 1995, budget funding for science decreased by 15-18 times in comparable prices.

A sharp reduction in government funding for science, public education, cultural and educational institutions and, as a result, delays in payments wages led to impoverishment of workers in these industries. The most active part of the specialists changed jobs. By 1996, the number of employees in research institutes had decreased by more than 2 times compared to 1990. The “scientific brain drain” abroad for the year amounted to 3.5 thousand people. In 1995/96 academic year Russian schools lacked 13.5 thousand teachers.

Under these conditions, cultural institutions had to look for alternative sources of funding. A system of paid education arose. Funds for financing scientific research were created research projects, state scientific funds have been opened (RFBR, RGNF), as well as Russian branches of foreign funds. Sponsorship has appeared - financing by commercial structures of cultural organizations or events. Many cultural institutions themselves have engaged in commercial activities.

Despite the transition to a multi-channel financing system and reduction in government spending, budget funds continue to be the main source in the field of education, science and culture in general. Privatization in the cultural sphere affected, first of all, the production of goods and servants - handicraft enterprises, the printing industry, cultural and leisure centers. At the fastest pace, private enterprise was developing profit-generating areas - show business, gallery business, distribution of audio and video products, and publishing.

In difficult material conditions, most scientific institutes, universities, theaters, and musical groups managed to survive. Moreover, new scientific institutes, universities, academies, museums, film studios, theaters, concert halls, orchestras. So, in St. Petersburg, to the three existing state symphony orchestras in 1992-1993 six new ones have been added. From 1990 to 1997, more than 500 museums were opened in the country. The number of scientific institutions increased by 40% during this period.

Not all cultural and scientific institutions registered in the first half of the 90s were destined for a long life. Many of them were unable to secure sustainable financing and were closed.

There was a sharp decline in film production, especially noticeable after the rise of previous years. If in 1985 86 feature films were released, then in 1991 - 375, and in 1996 - only 30. The critical state of domestic film production led to the adoption in 1996 of the Law “On State Support of Cinematography”. Although the measures he envisaged were not implemented in full, the revival of domestic cinema began.

The decentralization of cultural management has led to the intensification of the cultural life of the Russian province. Many cities have become venues for major scientific conferences, various festivals and holidays folk art, fine art exhibitions.

A lot has been done to preserve cultural heritage. Returned historical names many Russian cities and streets renamed during the years of Soviet power. New museums of history and local history have been created. A significant contribution to the restoration of monuments of religious architecture is made by the Russian Orthodox Church, into whose jurisdiction previously closed churches and monasteries were transferred. The most valuable objects belonging to the national heritage, such as the cathedrals of the Moscow Kremlin, are used jointly by the state and the church. Most valuable collections icons remained on display in state museums.

Improvement economic situation countries in the 2000s. made it possible to begin work on the restoration of cultural monuments. For the 300th anniversary of St. Petersburg, the city's museum and park complexes were restored. In Moscow, after reconstruction, the Tsaritsyno Museum-Reserve opened in 2007; in 2011, the Bolshoi Theater and Great Hall Moscow Conservatory.