Culture in the post-Soviet time. Culture development in the Soviet and post-Soviet periods Soviet culture as a unique cultural type

Realities of the cultural life of the post-Soviet era. The beginning of the 90s. It took place under the sign of the accelerated decay of the Unified Culture of the USSR into separate national cultures, which not only rejected the values \u200b\u200bof the total culture of the USSR, but also the cultural traditions of each other. Such a sharp opposition of various national cultures led to the growing of sociocultural tensions, to the emergence of military conflicts and caused the disintegration of a single sociocultural space.

But cultural development processes are not interrupted with the decay of state structures and the fall in political regimes. The culture of new Russia is organically related to all previous periods of the country's history. At the same time, the new political and economic situation could not but affect culture.

The relationship with the authorities changed dramatically. The state has ceased to dictate its demands to culture, and the culture has lost the guaranteed customer.

The overall rod of cultural life has disappeared - a centralized management system and a single cultural policy. The definition of further cultural development paths was the case of society itself and the subject of sharp disagreements. The search range is extremely wide - from following by Western samples to the apology of isolationism. The lack of a unifying sociocultural idea is perceived by a part of society as a manifestation of a deep crisis, which turned out to be Russian culture by the end of the XX century. Others consider cultural pluralism of the natural norm of a civilized society.

The elimination of ideological barriers has created favorable opportunities for the development of spiritual culture. However, the economic crisis experienced by the country, a difficult transition to market relations strengthened the risk of cultural commercialization, the loss of national traits in the course of its further development, the negative impact of the Americanization of individual spheres of culture (primarily a musical life and cinema) as a kind of payback for "admission to universal values ".

The spiritual sphere is experiencing in the mid-90s. acute crisis. In the complex transitional period, the role of spiritual culture as a treasury of moral landmarks for society is increasing, the politicization of culture and cultural figures leads to the realization of functions unusual for it, deepens the polarization of society. The desire to send countries to market development rails leads to the impossibility of the existence of individual spheres of culture, objectively needing state support. The possibility of the so-called "free" development of culture on the basis of low cultural needs of fairly wide segments of the population leads to an increase in confusion, promotion of violence and, as a result, rising crime.

At the same time, the section continues to deepen between elite and massive forms of culture, between the youth environment and the older generation. All these processes unfold against the background of a quick and sharp increase in the uneven access to consumption not only material, but cultural goods.

In the sociocultural situation, which established in Russian society by the mid-90s, a person, like a living system, which is the unity of the physical and spiritual, natural and socio-cultural, hereditary and inseparable acquired, can no longer develop normally.

Indeed, most people as market relations strengthen are increasingly alienated from the values \u200b\u200bof domestic culture. And this is a completely natural trend for the type of society, which is created in Russia at the end of the XX century. All this, which has become a reality over the past decade, summarizes society to the limit of accumulation of explosive social energy.

In a word, the modern period of the development of domestic culture can be designated as a transitional. For the second time in a century, the real cultural revolution occurred in Russia. In modern domestic culture, numerous and very contradictory trends are manifested. But they can, relatively speaking, combine into two groups.

The first trend: destructive, crisis, promoting the full subordination of the Russian culture standards of Western civilization.

The second trend: progressive, fed by the ideas of patriotism, collectivism, social justice, traditionally understood and professioned by the peoples of Russia.

The struggle between these inherently antagonistic trends is apparently and will determine the main direction of the development of the domestic culture of the third millennium.

Culture of Russia and the Epoch "Postmodern". Modern cultural processes occurring in Russia - the inener of the global development of the end of the XX - early XXI centuries, the transition from the industrial to the post-industrial society, from "Modern" to Postmodern.

The spiritual state of Western culture and art of modernity was named postmodernism. It was born from the tragic awareness of the inability to restore the universal harmony through an alone. The main value of "postmodernism" is the "radical plurality". According to the German researcher, the problems of modern culture V. Velsh, this plurality is not a synthesis, but an eclectic combination of heterogeneous elements, the elastic face between the creator of values \u200b\u200band their consumer, between the center and the periphery, which turns values \u200b\u200binto the antisimol through the loss of their deep bonds with the spiritual component of culture .

Thus, in the world of postmodernism, deerrochase of culture occurs, making it impossible to approve the new value system. Because of this, modern person is doomed to be in a state of spiritual amorphosis. He is able to overcome everything, but nothing can arrange it from the inside. Therefore, the external forms of restriction of people become so necessary, who in every way to strengthen the Western world through the fashion, public opinion, standardization of life, increase its comfort, etc.

By virtue of the same reasons, the first place in the culture began to occupy the media. They are even assigned the name of the "fourth power", meaning three others - legislative, executive and judicial.

In modern domestic culture, unsecast values \u200b\u200band orientations are combined in conjunction: collectivism, cobatriness and individualism, egoism, deliberate politicization and demonstrative apoliticality, statehood and anarchy, etc. Indeed, today, as it were, such not only not only associated with each other coexist, but each other mutually exclusive phenomena, as the newly acquired cultural values \u200b\u200bof Russian abroad, anew rethinking classical heritage, the values \u200b\u200bof the official Soviet culture.

Thus, the overall picture of the cultural life of Russia, characteristic of postmodernism, is widespread in the world by the end of our century. This is a special type of worldview, aimed at refusing all the rules and traditions, establishing any truths focused on unrestrained pluralism, recognizing equivalent to any cultural manifestations. But postmodernism is not able to reconcile irreconcilable, since it does not push fruitful ideas for this, it only combines contrasts as the source material of further cultural and historical creativity.

In difficult historical and natural conditions, Russia has surrendered, created its original original culture, fertilized by the influence of both the West and the East, and, in turn, which enriches other cultures with its impact. Before the modern domestic culture is a challenging task - to develop your strategic course for the future in a rapidly changing world. The solution of this global task is extremely difficult, as it rests on the need to aware of the deep contradictions inherent in our culture throughout its historical development.

Our culture may well give an answer to the challenges of the modern world. But for this, it is necessary to move to such forms of its self-consciousness, which would cease to reproduce the same mechanisms of the irreconcilable struggle, tough confrontationality, the lack of "mid". We certainly need to go away from thinking oriented to maximalism, a radical coup and reorganization of everything and everything in the shortest possible time.

Modern models for the development of a multinational culture of Russia. The troubled time, which is now experiencing domestic culture, is not a new phenomenon, but constantly repeated, and the culture always found certain answers to the time challenges, continued to evolve. The whole world was at the crossroads at the turn of the XXI century, this is a change in the type of culture itself, which was formed within the framework of Western civilization over the last centuries.

The revival of culture is the most important condition for updating our society. The definition of the paths of further cultural development was the subject of sharp discussions in society, because the state has ceased to dictate its requirements to culture, the centralized management system and a single cultural policy disappeared.

One of the existing points of view is that the state should not interfere in the affairs of culture, as it is fraught with the establishment of its new dictate over the culture, and the culture itself will find funds for their survival.

Another point of view is more reasonable, the essence of which is that, providing freedom of culture, the right to cultural identity, the state takes on the development of the strategic tasks of cultural construction and the obligation to protect the cultural and historical national heritage, the necessary financial support for cultural values.

The state should be aware that culture cannot be given to the deposit of business, its support, including education, science, is of great importance for maintaining moral, mental health. The crisis of spirituality causes strong mental discomfort in many people, as the mechanism of identification with ultra-personal values \u200b\u200bis seriously damaged. Without this mechanism, there is no culture, and in modern Russia all super-permanent values \u200b\u200bhave become dubious.

Despite all the contradictory characteristics of domestic culture, society cannot allow separation from its cultural heritage. The decaying culture is little adapted to transformations, for the pulse to the creative change comes from the values \u200b\u200bthat are cultural categories. Only integrated and strong national culture can relatively easily adapt new goals to their values, master new samples of behavior.

In this regard, three models of development of multinational culture are presented in modern Russia:

the victory of cultural and political conservatism, an attempt to stabilize the situation on the basis of ideas about the identity of Russia and its special path in history. In this case:

returns to the population of culture,

automatic support for cultural heritage, traditional forms of creativity,

restricted foreign influence on culture,

domestic artistic classic remains a matter of cult, and aesthetic innovations cause suspicion.

By nature, this model is short-lived and inevitably leads to a new crisis, but in the context of Russia, it can exist long enough;

the integration of Russia under the influence of from outside to the global system of farms and culture and turning it into the "province" in relation to the global centers. When approving this model:

there is a "MacDonalization" of domestic culture,

the cultural life of society is stabilized on the basis of commercial self-regulation.

The key problem is the preservation of the original national culture, its international influence and integration of cultural heritage in the life of society;

integration of Russia into the system of universal culture as an equal participant in world artistic processes. To implement this model, it is necessary to fully engage the cultural potential, to radically reorient the state cultural policy, to ensure the accelerated development of the domestic cultural industry within the country, to fully encourage the inclusion of creative workers into world-wide networks of artistic production and communications. It is this model that deserves decisive support, for the culture is focused, which should actively influence politics and the economy, and on spiritual life.

Thus, the culture of Russia of the newest time is a difficult and ambiguous phenomenon. On the one hand, it always determined the trends of the sociocultural process in the world, on the other, turned out to be influenced by Western culture in the broad sense of the word.

Domestic culture in the era of the newest time has passed several of the most essential stages: the presenter (until 1917); Soviet (until 1985) and the current stage of democratic transformations. At all these stages, a large role of the state was manifested in the development of culture, the relative passivity of the population, a large gap between the culture of the masses and its most prominent representatives.

Having entered into the path of capitalist development later leading countries of the West, Russia in the flame years managed to achieve a lot in the field of economics. In the spiritual terms of Russia at the turn of the XIX-XX centuries. Gave world culture a number of outstanding achievements. The controversial nature of the development of culture in the Soviet period led to the accumulation of numerous contradictions, the permission of which is not yet completed.

The direction of development of culture in the future will be determined by many factors, primarily exemption from external dependence, taking into account the identity of Russia and its historical development experience. At the turn of the Millennium, Russia again ended up at a crossroads. But no matter how much its fate has developed, Russian culture remains the main wealth of the country and the pledge of the unity of the nation.

At the turn of the Millennium, humanity was thrown a challenge in the form of global problems, in the face of which he will have to act as a single subject accepting conscious and agreed solutions. In this creation of universal unity, a decisive role belongs to a mutually engraving dialogue of various cultures, a global cultural process.

Russian culture has long been an important role in this process. Russia has a special civilizing and organizing function in the global socio-cultural space. Russian culture has proven its vitality, confirmed that the development of democracy, moral cleansing is impossible without the preservation and increase in the accumulated cultural potential. Russia is a country of great literature and art, bold science and a recognized education system, ideal aspirations to universal values, cannot but be one of the most active creators of the culture of the world.

Revolution and culture. The 1917 revolution divided Russia's artistic intelligentsia into two parts. One of them, even if not all taking in condemnation (as many called the country of the Soviets), believed in the renewal of Russia and gave their strength to the service of the revolutionary case; Another negatively contemptively referred to the Bolshevik power and in various forms supported her opponents.
V. V. Mayakovsky in a peculiar literary autobiography "I myself" in October 1917, I described my position like this: "Take or not take? There was no such question for me (and for other Muscovites-Futurists). My revolution. " During the Civil War, the poet worked in the so-called "Growth Satira" windows (growth - Russian telegraph agency), where satirical posters, caricatures, inching pictures with brief poetic texts were created. The enemies of Soviet power were ridiculous in them - generals, landlords, capitalists, foreign interventions, said the tasks of economic construction. Future Soviet writers served in the Red Army: for example, D. A. Furmanov was a division commissioner, which Chapaev commanded; I. E. Babel was a fighter of the famous 1st equestrian army; A. P. Gaidar at sixteen he commanded the youth squad in Khakassia.
In white movement, future emigrants participated: R. B. Gul fought as part of the voluntary army who made the famous "ice campaign" from Don to Kuban, G. I. Gazdanov, after graduation, 7th grade of the gymnasium entered a volunteer to the Army of Wrangel. His diaries of the period of the Civil War I. A. Bunin called the "Cast Day". M.I. Tsvevaeva wrote a cycle of poems under the meaningful name "Swan Stan" - filled with religious images in white Russia. The work of the Civil War Capture For Human Nature was permeated by the works of emigrant writers M. A. Alda-Nova ("Suicide"), M. A. Osorgin ("History of History"), I. S. Shmelev ("The Sun of the Dead").
In the future, Russian culture developed by two streams: in the Soviet country and in the conditions of emigration. The writers and poets I. A. Bunin, awarded in 1933 of the Nobel Prize on Lee-Teatura, D. S. Merezhkovsky and 3. N. Hippius, leading authors of the Anti-Soviet software book "Kingdom of Antichrist". Some writers, such as V.V. Nabokov, entered the literature already in emigration. It was abroad that the world famous artists of V. Kandinsky, O. Tadkin, M. Shagala.
If the works of emigrant writers (M. Aldanov, I. Shmelev et al.) Were permeated with the topic of the harm of revolution and civil war, the work of Soviet writers breathe was breathing with revolutionary pathos.
From artistic pluralism to socialist realism. In the first post-revolutionary decade, the development of culture in Russia has been inherent experimented, the search for new artistic forms and funds is the revolutionary artistic spirit. The culture of this decade, on the one hand, leaving its roots in the "Silver Age", and on the other hand, he took the tendency from the revolution to renunciation from classical aesthetic canons, to thematic and plot novelty. Many writers have seen their duty in serving the ideals of the revolution. This was manifested in the politicization of Mayakovsky's poetic creativity, in creating Meyerhold the movement of the "Theater October", in the formation of the Association of Artists of Revolutionary Russia (AHRR), etc.
The poets S. A. Yesenin, A. A. Akhmatova, O. E. Mandelshtam, B. L. Pasternak, who began their poetic path at the beginning of the century. A new word in the literature said a generation that came to her already in Soviet times, "M. A. Bulgakov, M. A. Sholokhov, V. P. Kataev, A. A. Fadeev, M. M. Zoshchenko.
If in the 20s. Literature and visual art differed exceptional diversity, in the 30s, in the conditions of ideological dictate, writers and artists were imposed by the so-called socialist realism. According to its canons, the reflection of reality in the works of literature and art should be subject to the tasks of socialist education. Gradually, instead of critical realism and various avant-garde directions, pseudorealism was established in artistic culture, i.e. Idealized image of Soviet reality and a Soviet person.
Artistic culture was under the control of the Communist Party. At the beginning of the 30s. Numerous unification of art workers were eliminated. Instead, they created uniform unions of Soviet writers, artists, filmmakers, artists, composers. Although they formally, they were independent public organizations, the creative intelligentsia had to obey the power. At the same time, the union, having money and houses of creativity, created certain conditions for the work of the artistic intelligentsia. The state contained theaters, financed the shooting of movies, provided artists with studios, etc. From creative figures, only one was required to serve the Communist Party. Writers, artists and musicians who retired from the canons imposed by the authorities were expected to "study" and repression (O. E. Mandelshtam, V. E. Meyerhold, B. A. Pilnyak and many others died in Stalin's dungeons.
A significant place in Soviet artistic culture was held by historical and revolutionary topics. The tragedy of the revolution and the civil war was reflected in the books of M. A. Sholokhov ("Silent Don"), A. N. Tolstoy ("Walking on the flour"), I. E. Babel (Collection of "Konarmy"), paintings M. B. Grekova ("Tacanka"), A. A. Dinah ("Defense Petrograd"). In cinema, the honorable place was held by films devoted to the revolution and civil war. The most famous among them were "Chapaev", a filmmaking about Maxim, "We are from Kronstadt." Heroized themes did not go from the metropolitan and
with provincial theater scenes. The characteristic symbol of the Soviet visual art of Javi-las sculpture V.I. Mukhina "Worker and collective farmer", decorated the Soviet pavilion at the World Exhibition in Paris in 1937. Famous and little-known artists created pompous group portraits with Lenin and Stalin. At the same time, M. V. Nesterov, P. D. Korin, P. P. Konchalovsky and other talented artists reached outstanding success in portrait and landscape painting.
Prominent positions in global art 20-30s. She took Soviet cinema. It highlighted such directors as cm Eisenstein ("Potemkin's armadiole", "Alexander Nevsky", etc.), the investigator of the Soviet musical and eccentric comedy G. V. Alexandrov ("Merry guys", "Volga-Volga", etc.), the founder of the Ukrainian Cinema A. P. Golovko (Arsenal, "Shchors", etc.). On the artistic chaise, the stars of Soviet sound cinema were shone: L. P. Orlova, V. V. Serov, N. K. Cherkasov, B. P. Chirkov, etc.
Great Patriotic War and Artistic Intelligentsia. There were no weeks from the day of the attack of the Nazis to the USSR, as the "TASS windows" appeared in the center of Moscow (TASS - the telegraph agency of the Soviet Union), continued the traditions of the campaign and political poster and caricatures of "growth windows". During the war in the work of the "TASS windows", issued over 1 million posters and cartoons, took part 130 artists and 80 poets. In the first days of the war, the famous posters "Motherland-Mother calls!" (I. M. Tidze), "Our business is right, victory will be behind us" (V. A. Serov), "The Warrior of the Red Army, save!" (V. B. Koretsky). In Leningrad, the unification of the artists "Battle Pencil" has established the release of a small format flyer poster.
In the years of the Great Patriotic War, many writers turned to the genre of journalism. Military essays, articles, poems printed in newspapers. The most famous publicist was I. G. Ehrenburg. Poem
A. T. Tvardovsky "Vasily Terkin", front-line verses K. M. Simonova ("Wait for me") embodied nationwide feelings. The realistic reflection of the fate of the people was reflected in the military prose A. A. Beck (Volokolamskoye Highway), V. S. Grossman ("People of Immortens"),
B. A. Nekrasova ("In the trenches of Stalingrad"), K. M. Simonov ("Days and Nights"). In the repertoire of theaters appeared on front-line life. It is significant that the plays of A. E. Kornechuk "Front" and K. M. Simonov "Russian people" were printed in newspapers along with the summary of the Sovin-Formbiro on the position on the fronts.
The most important part of the artistic life of the military years was the front concerts and meetings of artists with injured in hospitals. Russian folk songs performed by L. A. Ruslanovoy, pop-in-the-artist - performed by K. I. Shul-Women and L. O. Rockov. The lyric songs of K. Ya Listova ("in the dugout") appeared on the front and in the rear), N. V. Theologian ("Dark Night"), M. I. Blanter ("In the Forest of theft") , V. P. Solovyova-gray ("Nightingale").
All cinemas demonstrated a military chronicle. Film movements were carried out by operators in front-line conditions, with a great danger to life. The first full-length documentary film film was devoted to the defeat of the Hitler's troops near Moscow. Then films "Leningrad in Fire", "Stalingrad", "Folk Avengers" and a number of others were created. Some of these films were shown after the war in the Nuremberg process as documentary evidence of the crimes of the Nazis.
Artistic culture of the second half of the 20th century. After the Great Patriotic War in Soviet art, new names appeared, and from the turn of the 50-60s. New thematic on-board began to form. In connection with the exposure of the cult of the personality of Stalin, it was overcomed by frankly "varnish" art, especially characteristic of the 30-40s.
From the mid-50s. Literature and art began to play in the Soviet society the same educational role that they played in Russia XIX - early XX century. The extreme ideological (and censored) closure of social and political thought contributed to the fact that the discussion of many concerns of the Society of issues was transferred to the scope of literature and literary criticism. The most significant new phenomenon was the critical display of the realities of Stalin's time. The sensation was published in the early 60s. The works of A. I. Solzhenitsyn ("One day of Ivan Denisovich", stories) and A. T. Tedovsky ("Terkin on that light"). Together with Solzhenitsyn, a camp topic was included in the literature, and the poem of the Twardovsky (along with the poems of the young E. A. A. Yevtushenko) marked the beginning of an artistic attack on the cult of Stalin's personality. In the mid-60s. It was first published written back in the pre-war Roman M. A. Bulgakov "Master and Margarita" with his religious-mystical symbolism for Soviet literature. However, the artistic intelligentsia still experienced the ideological dictation on the part of the party. So, B. Pasternak, who received the Nobel Prize for the "Dr. Zhivago" announced by the Anti-Soviet Novel, was forced to refuse her.
In the cultural life of the Soviet society, poetry always played a big role. In the 60s. The poets of the new generation - B. A. Akhmadulin,
A. A. Voznesensky, E. A. Yevtushenko, R. I. Christmas - with their citizenship and journalistic orientation of lyrics became idols of the reading public. Poetic evenings in the Moscow Polytechnic Museum, the Palaces of Sports, Higher Educational Institutions enjoyed tremendous success.
In the 60-70s. The military prose of the "New Sample" appeared - Books B. P. Astafieva ("Starfall"), G. Ya. Baklanov ("Dead Svers do not have"), Yu. V. Bondareva ("Hot Snow"), B. L. Vasilyeva ("And the dawns here are quiet ..."), K.D. Vorobyva ("killed near Moscow"), V.L. Kontratyeva ("Sasha"). They reproduced in them the autobiographical experience of writers who were overgrown with the Great Patriotic War were transmitted, the merciless cruelty of the war was transmitted, its moral lessons were analyzed. At the same time, the direction of the so-called rustic prose was formed in the Soviet literature. It was represented by the creativity of F. A. Abramov (the trilogy of "stands"), V. I. Belova ("Carpentry Stories"), B. A. Mozhaev ("Men and Baba"), V. G. Rasputin ("Live and Remember, "Farewell to the Materia"), V. M. Shukshina (Stories "Rural Residents"). In the books of these writers, labor opposite of the heavy military and post-war years, the processes of disembarking, the loss of traditional spiritual and moral values, the complex adaptation of yesterday's rural resident to urban life were reflected.
Unlike the literature of the 30-40s., The best works of prose the second half of the century were distinguished by a complex psychological pattern, the desire of writers to penetrate the intimate depths of the human soul. Such, for example, the "Moscow" Tale of Yu. V. Tridonov ("Exchange", "Other Life", "House on the Embankment").
Starting from the 60s. On the theatrical scenes there were performances on the plenty of the plays of Soviet playwrights (A. M. Volodin, A. I. Gelman, M. F. Shatrov), and the classic repertoire in the interpretation of directors of innovators acquired the actual sound. Such were, for example, productions of new theaters "Contemporary" (director O. N. Efremov, then G. B. Volchek), the theater of drama and comedy on Taganka (Yu. P. Lyubimov).

The main trends in the development of post-Soviet culture. One of the features of the development of Russian culture of the turn of the XX-XXI centuries. It is its deelectricity and pluralism of creative search. In the elite artistic literature and the fine arts of post-Soviet Russia, the work of the avant-gardese direction was published. These, for example, include Books V. Pelevin, T. Tolstoy, L. Ulitskaya and other authors. Avant-garde is the predominant direction in painting. In the modern domestic theater, the symbolism of the irrational principle, the productions of the director R. G. Viktyuk are penetrated in a person.
From the period of "Perestroika" began overcoming the isolation of Russian culture from the cultural life of foreign countries. Residents of the USSR, and in the future of the Russian Federation were able to read books, see movies, inaccessible to them earlier on ideological reasons. Many writers who deprived citizenship by the Soviet authorities returned to their homeland. There was a single space of Russian cult-ry, uniting writers, artists, musicians, directors and actors, regardless of their place of residence. So, for example, the sculptors E. I. Unknown (a tombstone N. S. Khrushchev, a monument to the victims of Stalinist repression in Vorkuta) and M. M. Shemyakin (a monument to Peter I in St. Petersburg) live in the United States. And the sculptures of those who lived in Moscow V. A. Sudura ("Died from violence", etc.) were established in the cities of Germany. Directed by N. S. Mikhalkov and A. S. Konchalovsky remove movies both in their homeland and abroad.
The root break of the political and economic system has led not only to the liberation of culture from the ideological entrance, but also caused the need to adapt to the reduction, and sometimes to the complete elimination of public funding. Commercialization of literature and art led to the spread of works that are not distinguished by high artistic advantages. On the other hand, in the new conditions, the best representatives of culture appeal to the analysis of the most acute social problems, are looking for ways of human cultivation. These works include, in particular, the works of Filorezhissarov V. Yu. Abdrashitov ("Time of Dancer"), N. S. Mikhalkov ("Burnt by the Sun", "Siberian Barber"), V. P. Todorovsky ("Country Deaf") , S. A. Solovyova ("Gentle age").
Musical art. Representatives of Russia made a major contribution to the global musical culture of the 20th century. The greatest composers whose works were repeatedly performed in the concert halls and the opera houses of many countries of the world, were S. S. Prokofiev (Symphony works, Opera "War and Peace", Ballets "Cinderella", "Romeo and Juliet"), D. D. Shostakovich (6th Symphony, Opera "Lady Macbeth Mtsensky County"), A. G. Schnitke (3rd Symphony, Requiem). Worldwide fame used the opera and ballet productions of the Bolshoi Theater in Moscow. On his stage, they went as the works of the classic repertoire and the creations of composers of the Soviet period - T. N. Khrennikova, R. K. Shchedrin, A. Ya. Eshpaya.
The country worked a whole constellation of talented performers and opera singers who received worldwide fame (E. Pianists G. Gillys, S. T. Richter, Screigacles D. F. Ostrakh, Svetsi S. Ya. Lemeshev, E. V. Exellov) . Some of them could not accept tough ideological pressure and were forced to leave their homeland (singer G. P. Vishnevskaya, cellist M. L. Rostropovich).
The musicians who played jazz music were constantly tested - they were criticized as followers of the "bourgeois" culture. Nevertheless, in the Soviet Union, the jazz orchestras, which were led by the singer L. O. Rockov, conductor O. L. Lundstrem, brilliant improviser-Trubach E. I. Rinner.
The most common musical genre was a pop song. The works of the most talented authors who managed to overcome in their work a momentary conjuncture, began with time an integral part of the culture of the people. These include, in particular, "Katyusha" M. I. Blanter, "Volga flow" M. G. Frakdina, "Nadezhda" A. N. Pakhmutova and many other songs.
In the 60s. The cultural life of the Soviet society entered the author's song, in which professional and amateur starts closed. Creativity of bards, who, as a rule, in the informal setting, were not controlled by cultural institutions. In the songs that were performed under the guitar, B. Sh. Okudzhava, A. A. Galich, Yu. I. Victor sprouted new motives - a purely personal, and not stencil-official relations and to public and private life. A powerful civilian pathos and a wide genre diversity was filled with creativity V. S. Vysotsky, who combined the talents of the poet, actor and singer.
An even deeper social filling was obtained in the 70s and 1980s. Soviet rock music. Its representatives - A. V. Makarevich (group "Time Machine"), K. N. Nikolsky, A. D. Romanov ("Resurrection"), B. B. Grebenshchikov ("Aquarium") - managed to move from imitation by Western musicians To independent works that appeared, along with the songs of bards, folklore of the urbanist era.
Architecture. In the 20-30s. The minds of the architects occupied the idea of \u200b\u200bsocialist transformation of cities. Thus, the first plan of this kind - "New Moscow" - was developed in the early 20s. A. V. Shushev and V. V. Zoltovsky. Projects of new types of housing - Community-Community Household Services, public buildings - workers' clubs and cultural palaces have been created. The dominant architectural style was constructivism, which envisaged the functional feasibility of planning, a combination of various, clearly geometrically outlined forms and parts, the external simplicity, no decorations. Worldwide fame received creative search for the Soviet architects K. S. Melnikov (Club. I. V. Rusakov, his own house in Moscow).
In the mid-30s. The master plan for the reconstruction of Moscow (redevelopment of the central part of the city, the gasket of motorways, the construction of the metro) was adopted, similar plans were developed for other major cities. At the same time, the freedom of creativity of architects was limited by the instructions of the "leader of the peoples". The construction of pompous structures, reflecting, on his thought, the idea of \u200b\u200bthe power of the USSR began. The external appearance of the buildings has changed - constructivism gradually resulted in "Stalin's" neoclassicism. Elements of the architecture of classicism are clearly traced, for example, in the appearance of the central theater of the Red Army, the stations of the Moscow metro.
Grand construction turned into postwar years. New residential areas arose in old cities. The appearance of Moscow was updated at the expense of "height" built in the area of \u200b\u200bthe Garden Ring, as well as the new University building on Leninsky (Sparrow) mountains. From the mid-50s. The main direction of residential construction was the mass panel house-building. City new buildings, getting rid of "Architectural Excesses", acquired a dull-minded look. In the 60-70s. New administrative buildings have emerged in republican and regional centers, among which the Commands of the CPSU were allocated by their grace. On the territory of the Moscow Kremlin, the Palace of Congresses was built, the architectural motives of which sound the dissenters against the background of the historically established development.
Great opportunities for creative work of architects opened in the last decade of the XX century. Private capital on a par with the state began to act as a customer in construction. Developing projects of buildings of hotels, banks, shopping complexes, sports facilities, Russian architects creatively interpret the heritage of classicism, modern, constructivism. The construction of mansions and cottages has come into practice, many of which are constructed by individual projects.

In Soviet culture, there were two opposite trends: the art of a politicized, vague reality, and art, formally socialist, but, essentially, critical reflective reality (by virtue of the conscious position of an artist or talent overcoming censorship obstacles). It was the last direction (along with the best works created in emigration) gave samples included in the Gold Foundation of World Culture.

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

Period 1985-1991 He entered the modern history of Russia as a period of "restructuring and publicity". During the reign of the last Secretary General of the CPSU and the first President of the USSR, M.S. Gorbachev in the country and in the world there were important events: the Soviet Union and the Socialist Camp collapsed, the monopoly of the Communist Party, liberalized the economy and softened censorship, there were signs of freedom of speech. At the same time, the financial situation of the people was worsened, the planned economy collapsed. The formation of the Russian Federation, the constitution of which was approved for all the people's referendum in 1993, and the coming to power B.Neltsin was seriously affected by the cultural situation in the country. In the country from the emigration and the links returned M.L. Rostropovia, Vishnevskaya, writers A. Solzhenitsyn and T.vunovich, artist E.Negor ... At the same time, tens of thousands of scientists and specialists were emigrated from Russia, mainly in technical sciences.

In the period from 1991 to 1994, the volume of federal deductions to science in Russia decreased by 80%. The outflow of scientists aged 31-45 years abroad was 70-90 thousand annually. On the contrary, the influx of young frames has declined sharply. In 1994, the United States sold 444 thousand patents and licenses, and Russia - only 4 thousand. The scientific potential of Russia decreased 3 times: in 1980 there were over 3 million specialists engaged in science in 1996 - less than 1 million.

"Brain leakage" is possible only from those countries that have a high scientific and cultural potential. If in Europe and America, Russian scientists and specialists were accepted in the best scientific laboratories, this means that Soviet science in previous years has reached advanced borders.

It turned out that Russia, even being in the economic crisis, is able to offer dozens of world, hundreds of unique discoveries from various spheres of science and technology: treatment of tumors; discoveries in the field of genetic engineering; ultraviolet sterilizers of medical instruments; Lithium batteries, steel casting process, magnetic welding, artificial kidney, tissue, reflective radiation, cold cathodes for obtaining ions, etc.

Despite the reduction in the financing of culture, in the country, more than 10 thousand, private publishers appeared in the country, which in a short time published thousands of previously prohibited books, starting with Freud and Zimmel and ending with Berdyaev. Hundreds of new, including literary, magazines publishing excellent analytical work appeared. A religious culture was made to an independent sphere. It is not only a few times the number of believers, the restoration and construction of new churches and monasteries, the publication of monographs, yearbooks and magazines of religious themes in many cities of Russia, but also the discovery of universities, which are not dare during Soviet power and dream. For example, the Orthodox University. John the Bogosla, which has six faculties (legal, economic, historical, theological, journalistic, historical). At the same time, in the 90s, architecture and literature in the 90s did not appear, which could be attributed to the new, post-Soviet generation.

Today it is still difficult to make final conclusions on the results of the development of domestic culture in the 90s. Its creative results have not yet become cleared. Apparently, the final conclusions can only make our descendants.

Glossary:

Culture of Russia in its formation and development- aspect of the historical dynamics of Russian culture, covering the period from approximately the VIII century. And to the present.

Culture of Russia in modern culture- The actual and prognostic aspect of consideration of culture in general with an emphasis on the Russian component, on the role and place of Russia in modern culture.

88. Cultural and spiritual life in the post-Soviet Russia.

Introduction

December 26, 1991 The collapse of the USSR. At the independence of the 15th Republic of the USSR and the emergence of them on the global political arena as independent states. Of course, this event was reflected not only in the foreign policy of Russia, but also in the inner. In this paper, I would like to show how the era of restructuring and the collapse of the USSR affected the cultural and spiritual life of Russia. What is its features from culture, formerly in the Soviet Union and what is positive and negative in it.

Briefly we can say that the era of restructuring (1985-1991) refers to those periods of domestic history, for which the importance of the processes occurring in culture is especially great. M.S. Gorbachev began his reforms in the sphere of public and cultural life. According to the French historian Nicolas Verta, in the foundation of restructuring lay "Liberation of historical memory, a printed word, lively thought."

One of the first slogans of the new era was "publicity", i.e., the installation on the expansion of the awareness of the masses about the activities of the party and the government, openness, publicity of the decisions made,

installation on a free discussion of accumulated flaws and negative phenomena in the life of the Soviet society. The publicity was conceived as the revival and modernization of state ideology, and although from the very beginning it was emphasized that it had nothing to do with the "bourgeois freedom of speech", but was not able to keep the process under state and party control. An open discussion of issues that earlier, in the era of total control, were discussed only by secretly "in the kitchens" were discussed. The facts of the abuse of party nomenclature, opened with publicity, sharply undermined the authority of the party, having deprived her monopoly on the truth.

Publicity that opened before the Soviet man the depth of the crisis in

who fell a country and put the question about the way

further development, caused a huge interest in history. It was a rapid process of restoring those pages that were silent in Soviet times. In them, people were looking for answers to the questions set by life.

"Thick" literary magazines printed unknown persons previously wide

soviet reader literary works, eyewitness memories and

memoirs representing a new look at the historical truth. Thanks

these are circulation of them sharply increased, and subscriptions to the most popular of them

("Neva", "New World", "Youth") fell into the discharge of an acute deficit and

distributed "on the limit", i.e., a limited number.

For several years in magazines and individual publications, novels came out

A. I. Solzhenitsin ("in the first circle", "Crack Corps", "Archipelago Gulag"),

Yu. Dombrovsky ("Keeper of Antiquities"), E. I. Zamyatina ("We"),

M. A. Aldanova ("Holy Elena, a small island"), B. L. Pasternak

("Dr. Zhivago"), M. A. Bulgakov ("Master and Margarita"), V. V. Nabokova

("Lolita"), B. Pilnyak ("Naked Year", "The Tale of an Outside Moon"),

A. Platonova ("Chevengur", "Kotlovan"), poetic works

G. V. Ivanova, A. A. Akhmatova, N. S. Gumileva, O. E. Mandelstam. On the

theatrical layouts are relevant to journalistic

drama. M. F. Shatrov became the most striking representative of this direction.

(Marshak) ("dictatorship of conscience"). Special public resonance caused

works in which the topic of Stalinism and Stalinist

repression. Not all of them were literary masterpieces, but they

used the constant interest of readers of the pore, because

"Opened eyes," they talked about what was to tell about before

Similar situation was observed in other art types. Sheltered

the intensive process of "return" of the creative heritage of artists,

previously under the ideological ban. Spectators were able again

see works by artists P. Filonov, K. Malevich, V. Kandinsky. IN

musical culture returned creativity A. Shnitke, M. Rostropovich,

representatives of the Andgend Music: Groups came to a wide scene

"Nautilus", "Aquarium", "Cinema", etc.

Artistic analysis of the phenomenon of Stalinism became determining

the direction and in the work of writers, musicians and artists who worked directly during the years of restructuring. As one of the most significant

works of Soviet literature was evaluated by contemporaries Roman

Ch. Aitmatova "Floha" (1986), for which, as for most

the works of Aitmatova, characterized by the combination of deep psychologist with

traditions of folklore, mythological imagery and metaphoricity.

Noticeable phenomenon in the literature of the pore, peculiar

bestseller became Roman A. N. Rybakova "Children of Arbat" (1987), in which

the era of the cult of personality is recreated through the prism of the fate of the generation of the 30s. ABOUT

the fate of scientists of genetics, on science in the conditions of totalitarian regime

it is narrated in the novels V. Dudintseva "White Clothes" (1987) and

D. A. Grannov Zubr (1987). Post-war "dedudation" children

random victims of events related to violent eviction with native

the Land of Chechens in 1944, is dedicated to Roman A. I. Podtstkin "Tuchka

golden "(1987). All these works called a big public

resonance and played a significant role in the development of Russian culture, although

often the journalistic component in them prevailed over

artistic.

A little bit created in that turning era has passed a time check.

In the visual art of the "Spirit of Time" reflected in very mediocre

and schematic paintings I. S. Glazunov ("Eternal Russia" 1988). Revenge

the popular genre, as always happened in the critical moments of history,

the poster becomes.

In art and documentary cinema of perestroika

a number of wonderful films appear, consonant era: "repentance"

T. Abladay, "Easy to be young" J. Sublishes, "It is impossible to live like that

S. Govorukhina, "Tomorrow was the war" Y. Kara, "Cold Summer Fifty

third "). However, in addition to serious, deep movies filled

reflections on the fate of the country, about its history, a lot of very weak

detailing the gloomy image of social reality. Such movies

were designed for scandalous popularity, their figurative system was built

in contrast with traditional Soviet cinema, which is accepted

it was avoided excessive naturalism, bed scenes and other vulgar

receptions. Such films in the spaciousness were called "Chernihi" ("Little

Faith "dir. V. Pichul).

A huge role in cultural and social life acquired

publicistics. Articles were printed in the magazines "Banner", "New World", "Spark",

in the "literary newspaper." Especially big love readers in those times

enjoyed the weekly "Arguments and Facts". Circulation "AIF" Perestroika

pores blocked all imaginable limits and got into the "Guinness Book of Records".

However, the widest audience had television journalistic

transmissions such as "look", "twelfth floor", "before and after midnight",

"600 seconds." Despite the fact that these transmissions went into uncomfortable for

most viewers time (late in the evening), they used very big

popularity, and the plots shown in them became the subject of universal

discussions. Journalists appealed to the most burning and exciting topics

modernity: Youth Problems, War in Afghanistan, Environmental

catastrophes, etc. Leading programs were not like traditional Soviet

speakers: Reviewed, Modern, Smune (V. Levisyev, V. Lyubimov, V. Molchanov

The results of restructuring in the field of education are ambiguous. With one

parties Publicity revealed serious disadvantages in Central and Higher School:

the weak was the material and technical base, greatly behind school and

university programs and textbooks, clearly outdated, and therefore invalid

there were traditional principles of educational work (Saturdays, Pioneer

chapets, Timurovsky troops). Thus, it became an obvious need to

immediate reforms.

On the other hand, attempts to fix the current position often

we only led to the deterioration of the quality of the educational process. Refusing from

the use of old educational literature, schools were either completely without

textbooks, or were forced to use very dubious quality

new. Introduction to school courses of new objects (such as, for example,

"Ethics and psychology of family life", "Informatics") turned out

unprepared: there were no qualified teachers who are ready

lead new disciplines or technical capabilities nor educational and methodical

literature. I have gone pioneer and Komsomol organizations were

finally abolished, but in return they did not have any new -

the younger generation fell out of the educational process. In most

cases of "reforms" have a change in the names: in mass order

ordinary high schools, vocational schools and technical schools began to call themselves

gymnasiums, lyceums, colleges and even academies. Essence with change

signs did not change. Attempts to create a flexible education system that responds

time needs, pushed to the cosiness of a significant part

teaching staff and lack of funds.

The sector of higher education, in addition to the problems common to the entire system

folk enlightenment, faced the problem of teacher deficit,

many of whom left universities in commercial firms or left

The Soviet type of culture is a historically established type of culture of the Soviet period (1917-1991), a rather complicated, full of contradictory trends and phenomena. The culture of the Soviet era of multifaceted and multifacene, it does not boil down to the glorification of the "ideal real" and "bright future", to the praise of leaders. It highlighted the official, "permitted" and opposing her "prohibited", illegal culture, culture of Russian abroad and the existing "underground" culture "underground".

Significant changes in the field of culture were manifested immediately after the events of October 1917. The nature and direction of these changes were determined by the establishments for the creation of a new, socialist culture, which was supposed to become an important element in building a socialist society. The purpose and function of culture was likened by the leader of the revolution Vladimir Ilyich Lenin (1870-1924) Building forests in the construction of the "building" of socialism. This is determined by practical significance and utilitarianism in the understanding of culture in the Soviet period.

For the first time post-revolutionary years, one of the most important tasks in the field of culture of steel overcoming the cultural retardation of the population (Likbez), the development of new artistic trends. The most radically customized representatives of the new art called for the destruction of bourgeois culture, discarded all the "older". Fame received switching movement (proletarian culture) - literary and artistic organization, the main purpose of which was the creation of proletarian culture, in opposition to its entire previous artistic culture.

The diversity of the forms of socio-economic development of the 1920s. accompanied by creative pluralism, the emergence of various associations - scientific, artistic, 308

cultural and educational. For these years, the "defect" of the silver century falls.

In the late 1920s - early 1930s. Control of the state power for the development of the spiritual culture of society increases. This leads to a coagulation of creative pluralism, the abolition of artistic groups, the creation of uniform creative unions (Union of Soviet writers, the Union of Soviet composers, etc.), with the emergence of which the relative freedom of artistic creativity has been eliminated. The main creative method was socialist realism The basic principles of which were partares, socialist ideological, which in practice led to the subordination of the literature and art of ideology and politics. Regulation of artistic creativity kept, but did not stop the development of literature, painting, music, theater, movie. At the same time, the art of this period is characterized by idealization, the embellishment of reality in accordance with ideological installations, it performed a means of manipulating with public consciousness, an instrument of class education. The use of technical means (radio, cinema) contributed to the spread of culture achievements, making them available to wide segments of the population.

During the Great Patriotic War, the culture has become a means of integration, contributing to the establishment of society into a single whole based on a powerful lifting of patriotic feelings. In the context of the overall fight against the external enemy, the contradiction of internal development is retreating into the background. Art has become an expression of will to victory, the creation of outstanding works of artistic culture contributed to some weakening of administrative and ideological control in the field of literature and art.

But for the first time the postwar years, the intervention of the party and state apparatus in the cultural life of society is again. The end of the 1940s. It was marked by a number of ideological campaigns against those representatives of the creative and scientific intelligentsia, whose works were recognized as not corresponding to the reflection of socialist reality. In propaganda of bourgeois ideology, worship before all Western, apolitical, formalism was accused Mikhail Zoshchenko (1895-1958), Anna Akhmatova(1889-1966), Sergey Eisenstein (1898-1948), Sergey Prokofiev(1891 -1953), Dmitry Shostakovich (1906-1975) and many others.

The tendencies of the liberalization of socio-political life, outlined in the second half of the 1950s - early 1960s, gave a powerful impulse for the development of artistic culture. The Thaw of the Khrushchev Powder has become the beginning of the spiritual update, the time to understand the events of the previous years. The art includes the topic of repression, the beginning of which laid the story Alexandra Solzhenitsyn (1918-2008) "One day of Ivan Denisovich". There are rehabilitation of many figures of science and culture, they are printed and executed previously prohibited, which were in the oblivion of the work of domestic and foreign authors. International cultural ties are intensified - international competitions are held in Moscow, festivals. New theaters ("contemporary") open, art exhibitions, new magazines ("New World" are published.

Changes in socio-political processes in the second half of the 1980s. and in the 1990s. (The post-Soviet period) opened the path of spiritual pluralism, the revival of the achievements of artistic culture, previously stayed in the unknowns. The culture of the Silver Century, the culture of Russian abroad, which, developing in emigration, became an integral part of Russian culture and made a great contribution to the development of the culture of the world; There is a familiarity of the general public with works of foreign art. Available works, facts, documents, certificates that open new perspectives of domestic history and culture are available.

However, in the new conditions, the contradictions of the modern cultural process were also manifested: the commercialization of art, when preference is given to spectacular, entertainment of art, bringing rapid profit, is observed, far from the best samples of mass western culture. Only awareness and overcoming this problem on a legally scale will contribute to the preservation of the cultural identity of Russia, will become the key to its existence as a civilized world power.