The portal of educational literature! Post-Soviet culture: non-existence of society and cultural landscape.

"It may not be eternal to be non-existence ..." Died Vadim Vitalevich Sikorsky. At the 91st year of life. One of the gican of the once numerous and mighty tribe of Soviet poets, or rather the poets of the Soviet era. He made his debut with the book "Lyrics" in 1958 by a mature man, and by the standards

The post-Soviet power of the post-Soviet government was created from the remnants (material and experience) of the Soviet, but in Western samples. From the Western government was borrowed, of course, not all, but only that part of her particle, which in Western ideology and propaganda was inflated and

Cultural Front Agents Book of Historian from Great Britain Francis Stonor Sonders "CIA and World of Arts: The Cultural Front of the Cold War" for the first time reveals the details of how the USA built up their "soft power" in 1950-1960. "The best propaganda is her absence."

Chapter V. Post-Soviet Central Asia. Deruption and migration "Without Russia, we are just asia, and nothing more" Chokan Valikhanov (1835-1865) - the Great Kazakh Educator, a scientist, traveler. The Politics of Tsarist Russia in relation to conquered countries has always differed

Question: Latin America in the second half of the twentieth century. Features of the socio-economic and political development of Latin America countries. Fight for democratic transformations. Two ways of the development of "Construction of Socialism" (Cuba, Chile, Nicaragua) or integration into the world economy (Mexico, Brazil, Bolivia).

In the economy of Latin America countries by the end of the 40s. XX century The production of raw materials and food for export prevailed. Along with large plants and factories, new technologies operated numerous small backward production. Especially the survivi were remnants of old in agriculture. One of the main brakes of production of production was dominated latifundismin agriculture. The latifundists owned huge lands, and the majority of the rural population suffered from landlessness.
Latin American emotionality, temperament, open manifestation of feelings in combination with social instability, complex economic situation and low life levels contributed to the characteristic of Latin Americans in combination with social instability, complex economic situation and low vital levels. Mountains, coups and counterparts replaced each other, authoritarian and dictatorial regimes were installed, were often killing political figures. Often the main force in the coup was an army.
Another characteristic feature of the socio-political life of the Latin American countries were clanness, vitality caudilist traditions("Caudillo" - leader). The people united around the strong, charismatic personalities who put forward populist slogans.
The Catholic Church was provided with a noticeable influence on social life in Latin America.
The appearance of Latin America was constantly changing. From the mid-40 - 50s. XX century There was a rapid growth of industry, which contributed to the protectionist policy of states. A sharp reduction in the import of goods and capital during World War II and at the same time, an unprecedented rise in prices for exported from Latin American countries, agrarian-commodity products allowed for large funds to develop their production. The first postwar years have become very popular ideas of democratic transformations. In 1944, folk uprisings overthrew dictatorial regimes in El Salvador, Guatemala and Ecuador. In Guatemala, a revolution began. In 1945, democratic freedoms were restored in Brazil and Argentina.
In the late 40s. XX century Democratic trends become unpopular. In many ways, it was associated with the "Cold War". In 1948 arose Organization of American states (OAS),which, according to the resolution adopted in 1954, had the right to intervention against any American state, which was under control by the International Communist Movement. " The intervention against Guatemala in 1954 was sanctioned by this resolution. Since 1947, repression against the labor movement, communists begin. A series of military coups was passed, and dictatorial regimes in Peru, Venezuela, Panama, Bolivia were installed. In Paraguay, the dictatorship of General Stres-Nera (since 1954) existed for several decades.
An important phenomenon in a number of Latin American countries during this period was national reformist parties.They sought to fasten foreign monopolies and latifundists, advocated agricultural reforms. The most famous example of National reformism has become HD Peron.in Argentina, who came to power as a result of the 1943 coup for the cohesion of different classes and social sections of the state, Pereon nominated the idea of \u200b\u200bhustineia (justice), which was declared a special, third development, purely Argentine, differing from communism and capitalism. Hustineiasis called for the unification of the nation to overcome the dependence and backwardness and constructing society of social justice. Peron won in the presidential election of 1946. The Government of Peron bought and nationalized a number of foreign companies, railways, the central bank, the means of communications, and measures were taken to social protection. But at the turn of the 40 -50s. XX century There was a deterioration in foreign economic conjuncture. The government could not continue its policy. Started strikes. In 1955, as a result of the military re-yuro, the pen was overthrown.
From the late 50s. XX century A new rise in democratic circulation began. Dictatorship fell in Peru, Venezuela, Colombia. In Nicaragua killed dictator A.Samos. Military regime in Argentina replaces the constitutional government.
At the beginning of the 60s. XX century In many countries, they have begun reforms developed by the United Nations Economic Commission for Latin America (Ecla). The concept of reforms included accelerated modernization of the economic and social! Neu structure, further industrialization, intensively developing agriculture, changes in foreign economic relations. The reformist policy was combined with the suppression of revolutionary forces. By exposing the pressure of the conservatives, the reformers often walked on a compromise. As a result, a turn to the reaction was not released.
In Guatemala, Dominican Republic, Ecuador, Honduras have established military dictatorial regimes. The reforms in Brazil were stopped in 1964 by the state coup. In 1966, the dictatorial regime was established in Argentina. In a number of countries continued partisan traffic. Partisan detachments acted in Nicaragua, Guatemala, Venezuela, Colombia. In 1967, he tried to ignite the partisan war in Bolivia Che Guevara.By the end of the 60s. XX century Latin America is again inclined towards progressive transformations. Military regimes of levonationalist orientation, which came to power as a result of coups to Peru, Panama, Bolivia, Ecuador became initiators of change in several countries. The wave of nationalization of foreign campaigns is rolled mainly in extractive and oil industry. In September 1977, Panama achieved the restoration of the country's sovereignty over the Zone of the Panama Canal (fully in 1999).
However, conservative twist, using errors and difficulties of reformers, once again managed to take revenge. Turn to the reaction began with Bolivia (1971). In 1973, military coups in Uruguay, Chile occurred. In 1975, reforms were stopped in Peru. In the second half of the 70s. XX century Most of Latin America was under the authority of dictatorial regimes.
In the 70s -80s. XX century There was a policy everywhere due to the need to modernize. In most countries, neoconservative concepts of a free market economy have been applied. Investments, loans, loans from abroad, foreign technologies were used as the main sources of financial resources. Developed export-oriented industries. Brazil joined the first to this path. The "Brazilian model" took advantage of other dictatorial regimes (Chile, Argentina, Uruguay, Bolivia). This course is characterized by a sharp decline in the life level of the population. Countries with constitutional regimes (Venezuela, Mexico) went on the path of softer measures, with less social costs.
The economic results of modernization were quite favorable. There were noticeable shifts in the economy. Industry developed. The reverse side of the modernization was the rapid growth of external debt and increased inflation, tightening social policy, the growth of unemployment.
As a result of the population's struggle, dictators are falling. The democratization process is almost everywhere. It was especially influenced by the revolution in Nicaragua (1979). Constitutional rule in Ecuador, Peru, Bolivia, Argentina, Brazil, and others are restored. However, the socio-economic situation of Latin America remains unstable. An example was the economic collapse in Argentina at the end of the XX century. The exception was Brazil, Chile, Colombia and Panama.
Latin America's real misfortune was the production of drugs exported to the United States. The highest development drug business received in Colombia, Bolivia and Peru. This sphere is involved in large masses of the population.

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 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.

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"),

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").

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 60-70s. Appeared military Prose. "New Sample" - Books B. P. Astafieva ("Starfall"), G. Ya. Baklanova ("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.

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. is its deideologization and pluralism creative search. In elite artistic literature and fine art The post-Soviet Russia for the fore the works of the avant-garde direction were 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 concert halls and opera theater Many countries of the world were S. S. Prokofiev (Symphonic 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). World famous used opera and ballet performances 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 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).

Great opportunities for creative work Architects opened in last decade 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 legacy 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 Two opposite trends were observed: the art of a politicized, vanishing reality, and art, formally socialist, but, essentially, critical reflective reality (due to 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.

The political culture of the post-Soviet Russia is a transitional culture. It consists of heterogeneous political values, installations and standards of political activities that relate to various political systems: authoritarian and democratic. It is mistaken to assume that the declaration of the insolvency of the communist values \u200b\u200band the ideals of the subject political culture Soviet type can quickly lead to the formation of political culture of active citizenship. Civil culture has its pace and dynamics of formation that do not coincide with changes in economic and social nature, although it is influenced.

The formation of market relations, the diversity of the forms of ownership of an independent economic entity, various social interests create conditions for changing the type of political orientations. However, objectively developing social differentiation processes only imply a tendency to fold the diversity of political subcultures, but it cannot be tightly prescribed. The meanings and values \u200b\u200bof political activity can be formed on the basis of confessional and ethnic preferences, which are determined by the socio-economic situation of a particular group, individual. However, as practice shows, changes in the cultural code of political behavior occur very slowly. Therefore, the political decisions of the Russian ruling elite, calculated on the culture of political participation, are often encountered on the actual dominant subdigital political culture of the population. The inconsistency of the new structure of political institutions and standards of the former subdinctive culture is the basis of political crises and conflicts.

The type of political culture of modern Russian society can be called soon fragmented.This definition reflects the fact that the fragmentary political culture is not a single whole, but connects the elements of heterogeneous subcultures. It reflects the situation of split in society, the state of transition. For fragmentary political culture, the lack of consent between carriers of various subcultures relative to basic values, ideals and society goals is characterized. This generates increased conflict and social

tensions that determine political instability in society. The modern political culture of Russia is characterized by a low degree of public confidence in state institutions of power, ignoring legitimate ways to resolve conflicts. The lack of agreement on basic values \u200b\u200bturns the majority of the population to recognize the priority of local or regional interests. Under the conditions of the domination of such political culture, the balance of interests and values \u200b\u200bcan be maintained exclusively by strong power. In the future, the democratization process should lead to transforming a fragmentary political culture into a pluralistic culture, the basis of which is at the same time coexistence and dialogue of various subcultures.

Culture of Russia of the Soviet and post-Soviet period

1. Culture of Russia of the Soviet and post-Soviet periods

1 Soviet culture 1917-1929.

2 Soviet culture 1929-1956.

3 Soviet culture 1956-1991.

4 Culture of Russia Post Soviet period

1. Culture of Russia of the Soviet and post-Soviet

Periods

In the development of Soviet culture, three main stages can be distinguished. The first one covers 1917-1929. and marked the struggle between the tendency to ideological and cultural pluralism and the desire of the party state to suppress the diversity and the creation of totalitarian culture. The second stage falls on 1929-1956. and is characterized by the domination of ideologically monopoly culture, the dominance of the method of socialist realism in the field of artistic activity.

1.1 Soviet culture 1917-1929.

By October 1917, Russia was in the state of the deepest crisis. The First World War and the losses associated with it and deprivation caused economic ruining and extremely aggravation of socio-political contradictions. The authorities captured the Bolsheviks, an economic chaos aggravated in the country, aggravated by the cruel civil war.

Initially, the new Russian government has not been able to deal with cultural problems in full. Nevertheless, soon after October measures were taken to centralize the management of literature and art. The slogans reflecting the political and ideological position were proclaimed new power And designed to strengthen its position among the wide sections of the population of Russia. The main goal of the future was declared a root restructuring of people's consciousness, education of a new type of man, a builder of a socialist society.

Among the first events in the field of culture were the creation of the People's Commissariat of Enlightenment (People's Commissariat), designed to implement the decision of the Soviet government, the nationalization of theaters, museums, libraries and other cultural facilities. In January 1918, decree came out, according to which the school was separated from the church, and the church from the state. The sphere of church rites was narrowed, the negative attitude of the population was injected to them and the religion as a whole. So, the rite of wedding was canceled, he was replaced by the civil registration of marriage.

Repressions against servants of the Church and antireligious propaganda became one of the important points in the policy of Soviet power. The magazine "Revolution and Church" began to be published, the newspaper "Suguriza", and in 1925 the "Union of Sugurizians" was created. The main objectives of the ruling party were the organization of the activities of education and culture in the new conditions, as well as the promotion of communist ideas among the wide social layers. In 1917, 3/4 of the country's adult population were illiterate, and an increase in the educational level of the basic mass of the country's inhabitants was becoming angright. To this end, a large-scale program for the elimination of illiteracy has been developed (Likbez). In December 1919, the government adopted a decree "On the elimination of illiteracy among the population of the RSFSR", according to which the entire population from 8 to 50 years old should be led by a diploma in his native and Russian languages. The program provided for the creation of a network of primary schools, frameworks of liquiscation, as well as the opening of Rabafakov (faculties) to prepare in universities of young people who did not have secondary education.

In 1923, the Society "Down with illiteracy" was organized in the USSR. By 1932, it united over 5 million people. According to the 1926 census, the literacy of the population was already 51.5%, including the RSFSR - 55%. Mass form of training personnel in 1921-1925 Steel School FDU (factory apprenticeship). Frames of the lower managerial link and secondary technical personnel (masters, brigadiers, mechanics) were preparing in technical schools, specialized schools, in short-term courses. The main type of professional educational institution of this level was technical schools with a 3-year learning period.

The attitude of the authorities to the old intelligentsia remained contradictory: from attempts to attract individual representatives to the persecution and repression in relation to those who suspected in the absence of loyalty to the new government. Lenin argued that most of the intelligentsia "is inevitably impregnated by the bourgeois world." During the civil war and destroyed, the Russian intelligentsia suffered heavy losses. Some of the prominent figures of humanitarian culture died, many have lost the conditions necessary for normal operation. A. Blok died of illness and exhaustion, N. Gumilev was shot allegedly for participating in the White Guard plot. More tolerant Bolsheviks belonged to representatives of the scientific and technical intelligentsia, seeking to attract experienced specialists to solving the urgent problems of economic construction. One of the tasks set by the Soviet government was the formation of a new intelligentsia, solidarity with the Bolshevik policies.

During the civil war, the support of the new government was used by the three-year-established community of cultural figures in October 1917, proclaiming the basis of his creativity class approach. His leaders (A.A. Bogdanov, V.F. Pletnev, etc.) called upon the proletariat to refuse the artistic heritage of the past and the creation of "brand new", socialist forms of art. The network of prosticultural organizations has covered the entire Soviet Russia, which has become almost 400 thousand people. This union brought a mass of vulgar, primitive, pseudo-agricultural samples in new literature And other types of art, being imparted by an impartial criticism of MA Bulgakov in the novel "Master and Margarita". In the 20s Polychult left his temporary travelers, the most talented prose and poets.

In the field of higher education, the government also conducted a class policy, creating favorable conditions for admission to workers and peasants to universities. The number of universities increased rapidly, in the early 20s. Having reached 224 (in 1914 there were 105). At the same time, ideological control over the activities of the highest educational institutions: Their autonomy was eliminated, scientific degrees were canceled, an obligatory study of Marxist disciplines was introduced.

During the period of the civil war, there was a blank emigration. The country left more than 2 million people, including hundreds of thousands of highly qualified specialists, some of them subsequently acquired world famous abroad. Outside of Russia, the outstanding figures of artistic culture were also found, including F.I. Shalyapin, S.V. Rakhmaninov, I.A. Bunin, A.I. Kubrin, I.S. Shmelev, B.F. Khodasevich, V.V. Nabokov, K.A. Korovin, M.Z. Chagal. The philosophical steamer received sad fame, at which in 1922 a large group of famous thinkers was sent from Russia (N. Berdyaev, C.N. Bulgakov, N.O. Lossky, I. Ilyin, P.A. . Sorokin et al.)

And although the predominant part of the intelligentsia remained in the homeland, which occurred the outflow of the minds led to a noticeable decrease in the spiritual and intellectual potential of society. The level of its (potential) as a whole, noticeably fell not only as a result of material and human losses, but also due to the tough control over the cultural sphere of the ruling Bolshevik party, whose policy provided for ideological monopoly, restriction of freedom of creativity.

In the early 1920s It was created centralized state system culture management. The People's Commissarprost actually submitted to the separation department and the propaganda of the Central Committee of the Party (Agitprope). In 1922, the Main Directorate of Literature and Publishing Houses (chrodit) was established in 1922, which issued permits for the publication of works, as well as, being endowed with the right of censorship, was lists of works prohibited for sale and distribution.

Soviet political leadership considered it necessary to conduct a cultural revolution, to create a new type of culture based on a class approach and proletarian ideology. However, even while maintaining this installation, during the entire existence of Soviet culture, certain periods of its development were unlike one to another.

The greatest originality was distinguished by the 1920s, when there were differences in the party and society on the way to transition to socialism. The Bolshevik government was forced to go to some liberalization of their policies, primarily economic and partly cultural. A new economic policy (NEP) was proclaimed, which lasted until the end of the 20s. This time was simultaneously the most striking period of development of Russian Soviet culture, distinguished by relative spiritual freedom. Creative activity of writers and artists revived, various ideological and artistic flows and groupings arose. The rivalry between them was accompanied by a turbulent controversy, a bold experimentation. In general, cultural and artistic pluralism (albeit even a limited Bolshevik regime) turned out to be very fruitful.

The indicative sign of the turbulent cultural and public life of the 20th Gg. - Creative discussions. So, in 1924, the subject of discussion was the formal method in art. Actor mass distribution Ideas and opinions were new magazines, and later playing a prominent role in the socio-political and artistic life of the country ("New World", "Young Guard", "October", "Star", etc.).

Formation new culture It happened in an atmosphere of increased artistic activity, intense creative and aesthetic search. Literature has most intensively developed, still retained the diversity of schools, flows, groups inherited creative potential Silver century art. Among the large number of works created at this time, there was a lot of masterpieces that made the glory of Russian Soviet literature. Their authors - E.I. Zamyatin, MA Bulgakov, M. Gorky, M.M. Zoshchenko, A.P. Platonov, MA Sholokhov, S.A. Yesenin, N.A. Klyuev, B.L. Pasternak, O.E. Mandelshtam, A.A. Akhmatova, V.V. Mayakovsky, M.I. Tsvetaeva and other word masters - were looking for new ways and forms of creative expression, while continuing to develop the best traditions of high Russian culture.

Literature 20s. It is characterized by a large genre variety and thematic wealth. In prose the greatest heyday reached the genres of the story, story, essay. Brightly showed themselves in the small genres of I.E. Babel ("Konarmy"), M.A. Sholokhov ("Don Stories"), P. Platonov, and others. Over the Romanians-Epopheys worked M. Gorky ("Life of Klim Samgin"), M.A. Sholokhov ("Silent Don"), A.N. Tolstoy ("walking in torment"), MA Bulgakov (" White Guard"). Poetry during this period was extremely popular; There was an acute struggle of innovative associations and their leaders.

In the 20s Numerous literary associations and groupings operated: "Serats of the Brothers", "Forge", "Pass", Lef, Rappa, and others. They declared themselves for the same and new modernist flows: constructivists, ameists, futurists, cubobuturists, imagineers, Obanuts.

By the end of the second decade, talented young writers L.M. were put forward on the front edge of the literary process. Leonov, M.M. Zoshchenko, E.G. Bagritsky, B.L. Pasternak, I.E. Babel, Yu.K. Olesh, B.P. Kataev, N.A. Zabolotsky, A.A. Fadeev. Created their famous works MA Bulgakov ("Dog's Heart", "Fat Eggs", "Turbine Days", "Run") and A.P. Platonov ("Kotlovan", "Chevengur").

Worried about the takeoff of drama. The theater as a democratic kind of artistic creativity has not so much served the goals of political agitation and class struggle, how much the vital and socio-psychological problems of the era highlighted the life and socio-psychological problems of the epoch, and most importantly, boldly experimented in the field of advanced art, found new forms of trustful communication of actors with spectators.

In the first post-revolutionary decade, despite the regulation of the activities of this type of art, the cultural management bodies (first of all, with respect to the repertoire) theatrical life remained dynamic and diverse. The brightest phenomenon of Russian theatrical Life MHAT continued to remain (Moscow Art Academic Theater), at the head of which were the founders of the Russian theater director K.S. Stanislavsky and V.I. Nemirovich-Danchenko. This theater is especially beloved by the audience and after the revolution (with a somewhat modified title) preserved loyalty to realistic traditions, humanistic ideas, requirements of high professional skill.

From the Studio Mchat outstanding theater director E.B. Wahtangov, for whose creativity, the idea of \u200b\u200bserving the theater is high and aesthetic ideals, a sharp sense of modernity, the original stage form. With the name Vakhtangov connected the brightest event in the theatrical life of the pore - the possession of the play "Princess Turandot" K. Gotszi in February 1922

Academic, traditional theaters (MCAT and BDT) were opposed to the so-called "left" theaters, who were demanding the "Theater October", the destruction of old art and the creation of a new, revolutionary one. The political and aesthetic manifesto "left" art was the play of Mayakovsky "Misteria-Buff", staged by VE. Meyerhold in November 1918, according to a number of theaters, this play marked the beginning of Soviet drama.

It should be noted that in the period of "military communism", and during the NEP period, all theaters were prescribed from top to put the plays for revolutionary topics.

In the visual art of the 20th year, the same as in the literature coexisted a variety of directions and groupings with their platforms, manifestos, expressive systems. Many currents interacted among themselves, united and again diverged, shared, disintegrated. In 1922, as if continuing the ideological and aesthetic traditions remaining the partnership of mobile art exhibitions remaining in the past, artists Association was created revolutionary Russia (AHRR). In 1928, she was transformed into the Association of Revolution Artists (AHR) and took the dominant position in artistic life.

In 1925, the Group appeared in the Society of Stankovists (OST), whose members opposed without clear art, opposing the renewed realistic painting. Different in your artistic ideas And the methods of artists united alternative societies "Moscow painters" and "Four Arts". Among the famous masters, new creative unions can be called A.V. Lentulova, I.I. Mashkova, I.E. Grabar, A.V. Kuprina, p.p. Konchalovsky, M.S. Sarian, R.R. Falc.

This period was the time of rivalry of two main directions in the development of art: realism and modernism. In general, there was a noticeable influence of the Russian avant-garde on the cultural life of the country. In painting, various modernist installations were characteristic of CD Malevich, M.Z. Shagal, V.V. Kandinsky. In music as bright experimenters declared themselves S.S. Prokofiev, D.D. Shostakovich. In the theater, new methods of dramatic art were created by E.B. Vakhtangov, Sun.E. Meyerhold; In the cinema, the creators of Novations are considered to be S.M. Eisenstein, V.I. Pudovkin. Style diversity - sign of that time.

1.2 Soviet culture 1929-1956.

From the late 20s. Radical changes have emerged in the life of the Soviet society. A marketplace of the country's economic development was discarded, which was due to the strengthening of the power of the Communist Party, who settled the task to mobilize all the resources for accelerated socialist construction. A totalitarian political system was developed, a sharp limitation of fiction, coagulation of the forms of ideological pluralism and the establishment of a rigid party and state control over all areas of society's life. It had a negative impact on the development of culture. Sharp Cultural Policy Change in 1929-1934. accompanied by the elimination of remnants of artistic pluralism and literary fractionality.

In the 1930s. There were indigenous changes in organizing artistic life, in the management of cultural processes, the functioning of literature and other types of art. In 1932, the Central Committee of the CPSU (b) adopted a resolution "On the restructuring of literary and art organizations", according to which instead of the previous associations and groups in each form of art, it was necessary to create creative unionsTo make the activities of the artistic intelligentsia to put on party-ideological control. In 1932, the Union of Soviet architects and the Union of Composers of the USSR were created. In 1934, the first All-Union Congress of Soviet writers was held, who announced the only true method of art - Socialist realism. In fact, this method began to be used as an instrument for restricting creative quest.

The concept of socialism required the reflection of reality in its revolutionary development. From cultural figures, they were expected to glorify the leaders and the Soviet lifestyle, chanting the labor enthusiasm and selfless struggle of the people for the "bright future", voluntary self-denial of individuals from personal interests in favor of public. Dogmatic canons (not inferior to the "degree of holiness" religious) regarding the content, form and social purpose of artistic works. The method of socialist realism was strictly prescribed to artists in all spheres of culture, he asked a tough ideological framework for any species of artistic creativity. Dissenters with established requirements expected persecution and opal. Nevertheless, some cultural figures managed to create bright and peculiar works in this unfavorable period, approved by universal values \u200b\u200band captured epochemical images and events.

Literature. Completed (launched in the previous period) work on major works M. Gorky ("Life of Klim Samgin"), MA Sholokhov ("Silent Don", "Raised Tsina"), A.N. Tolstoy ("walking in torment"), N.A. Ostrovsky ("How Steel hardened"). A number of talented works wrote V.P. Kataev, Yu.N. Tynyanov, E.L. Schwartz

For fiction 30s. were especially heavy. Most of the previous creative groups were dissolved, many writers underwent repression. The victims of the Stalinist regime became D.I. Hamm, N.A. Klyuev, O.E. Mandelshtam and many other creative personalities. Works that did not meet the strict requirements of party censorship were not published and did not reach the reader.

Regulation of socialist realism caused serious harm literary process. The writers were imposed on the controversial criteria for human assessments and reality. In the official literature, wandering topics and techniques, simplified images, hypertrophied optimism, aimed at chanting the heroic of labor accomplishments on numerous Stalinist construction sites. By fulfilling the social order, angued by the Pharisee Pharmaceutical Power, M. Gorky publicly recalled the work of the builders of the Belomorsk-Baltic Channel - a large-scale socialist "correction" of the camp mass.

Genuine art was forced to go in the underground - "Catacombs". Some talented creators began to write to the table. Among the awakened, rejected in these cruel years - Masterpieces Bulgakov, Zamyatina, Platonova, the autobiographical cycle "Requiem" Akhmatova, the diaries of Svanina, verses of the repressed Mandelstam, Klyuev and Klychkov, the compositions of Harms and Pilnyak, afterwards, after several decades, published. But the socialist realism did not stop the development of Russian literature, and, no matter how paradoxically sounds, served as a kind of "dam," which somewhere raised her level and made it hardened in difficult rows.

Artists constrained by narrow frames tried to go in the spheres and genres, to a lesser extent subjected to party control. Partly, thanks to this circumstance, the Soviet children's literature flourished. Beautiful works for children, for example, created S.Ya. Marshak, K.I. Chukovsky, S.V. Mikhalkov, A.P. Gaidar, a.l. Barto, L.A. Cassil, Yu.K. Olesh.

Increased interest in the historical genre, as evidenced, in particular, the unfinished Roman A.N. Tolstoy "Peter First" (1929-1945), historical epic A.S. Novikov-Surf "Tsushima" (1932-1935).

Lyrical poems were published relatively little, but a genre of mass song was very popular. National fame came to the poets-songwriters M. Isakovsky (Katyusha, "and who knows it"), B. Lebedev-Kumacha ("Song about the Motherland", "Cheerful Wind"); The whole country sang a song about Kakhovka to verses M. Svellov. Many songs written in the spirit of social optimism and revolutionary romanticism, oddly strange, lost the features of the attendant official.

Mass kinds of art - theater and cinema rapidly developed. If in 1914 there were 152 theater in Russia, then by January 1, 1938 there were 702. The cinema was enjoyed the attention of the ruling party and the state, since it was distinguished by a rapid and sustainable impact on the consciousness of people; 30-40s. Became the time of formation of the Soviet cinematic school. Its achievements are associated with the names of the directories S.M. Eisenstein, G.V. Aleksandrov, C.A. Gerasimov, M.I. Romma, Vasilievy brothers. Coin-Volga-Volga, "Merry Guys", "Circus", Historical Films "Chapaev", "Alexander Nevsky", "Peter First", Suvorov, were very popular.

It was on a rise and musical culture. The State Symphony Orchestra of the USSR (1936), the USSR Public Dance Ensemble (1937), continued to be creative by the Russian People's Choir. M. Pyatnitsky, song ensemble and dance of the Red Army. Songs of composers IO were extremely popular. Dunaevsky, M.I. Blanter, V.P. Solovyova-gray. Morticulture recognition won famous singers and singers - L.O. Rocks, S.Ya. Lemeshev, I.S. Kozlovsky, k.I. Shulzhenko, L.P. Orlova, L.A. Ruslana. High peaks in the field of opera, symphonic, tool music reached composers D.D. Shostakovich, S.S. Prokofiev, D.B. Kabalevsky, A.I. Khachaturian.

In painting and sculpture of the 30s. Socialist realism dominated. In this vein worked and received official recognition B.V. Johanson, A.A. Deineka, S.V. Gerasimov. However, their contemporaries were not appreciated - talented artists K.S. Petrov-Vodkin, P.D. Corin, V.A. Favorsky, p.p. Konchalovsky. The leading position occupied a portrait genre in which the objects of the image became, first of all, party and government figures (first of all Stalin), as well as officially recognized science and art figures, simple workers - transit of production. In 1937, at the height of Stalin's terror, the talented exalted image of the Soviet era appeared - the monumental statue of the "Worker and the collective farmer" V.I. Mukhina, who has become an idealized statehood.

In 1935-1937 At the initiative of the Central Committee of the CPSU (b), a discussion was held on the issue of overcoming formalism and "weariness" in literature and art. Ground criticism and persecutions were subjected to Shostakovich, Eisenstein, Meyerhold, Babel, Pasternak, and others. The works of creative figures who did not fit into the procrusteo bed of socialism, did not printed and were not executed or subjected to censored "correction", all kinds of restrictions and semi-set. In fact, the creativity of representatives of the Russian avant-garde turned out to be a ban.

In the 30s. There was a noticeable growth in education and science - at that time the priority areas of Soviet culture. In the formation of the most important achievement was the elimination of illiteracy. The correspondence of 1939 showed that the literacy of the adult population increased to 81.2%. Primary and incomplete secondary education prevailed. A single educational system was formed ( primary School - 4th grade, incomplete average - 7 classes and average - 10 classes), rapid pace New schools were built and opened. More than 30 million children studied in the secondary school - three times more than the revolution.

The leadership of the country were tasked with the creation of a modern industrial society, lifting the economy using science achievements. In the development of the higher education system, the emphasis was focused on the preparation of specialists of natural science, technical, engineering profile. The number of university graduates has increased dramatically. Before the war, the total number of specialists with higher education exceeded a million.

According to the census, by that time, the ranks of the intelligentsia as a whole increased significantly. Compared to 1926, its number and number of people engaged in mental labor increased by about 5 times. The change in its status was recorded in the Constitution of the USSR of 1936, where it was said that "the socialist intelligentsia is an integral part labor population countries".

For two decades of Soviet power, noticeable progress in the field of science was achieved: the number of scientists approached 100 thousand, which exceeded the pre-revolutionary level almost 10 times. In the USSR, there were about 1800 research institutes (in 1914 - 289). In science in the 30-40s. Such great scientists worked as V.I. Vernadsky, I.P. Pavlov, I.V. Kurchatov, P.L. Kapitsa, S. V. Lebedev.

But in the structure of Soviet science there were obvious disproportions. The development of humanities was restrained by a narrow ideological framework. The obstacle to the development and enrichment of public, humanitarian sciences was the domination of the Marxist-Leninist doctrine and the dogmatism arising from it, the obligation of pluralism of approaches and opinions. Strengthening pressure on these sciences and the corresponding educational disciplinesThe approval of a complete ideological monopoly occurred after the exit in 1938 of the Stalinist "short course of history of WCP (b)", in which guideling primitive assessments were given issues of the latest history allocated from class items. The same negative goal was the above-mentioned in the early 50s. "Directive Proceedings" "continued authority" "Marxism and issues of linguistics", "Economic problems of socialism in the USSR" containing simplistic dogmas.

Great Patriotic War (1941-1945). Many of the problems and contradictions of the Soviet society exposed war. It was the time of moral lifting, the spiritual unity of the people. In order to achieve victory over the external enemy, power was forced to postpone the "witch hunt", introduce a temporary moratorium on mass repressions for dissent and "unauthorized initiative". For thinking people These years, despite all the burden, seemed to "sip of freedom." The activity of creative intelligentsia has increased.

In the art of the military years, the theme of patriotism, the heroic struggle of the people against the German invaders, which appeared already in the early years of war, marked by tragedy and bitterness of lesions. It was then that the poem A.T. Tvardovsky "Vasily Terkin", military prose A.P. Platonova, Patriotic Lyrics A.A. Akhmatova and B.L. Pasternak.

In the literature of wartime "Level of Truth" as a whole was much higher than in the pre- and postwar years. This can be said about the prose K.M. Simonova, V.S. Grossman, A.A. Beck, and about poetry M.V. Isakovsky, P.G. Antokolsky, M.I. Alieger, and about journalism I.G. Ehrenburg, A.N. Tolstoy, L.M. Leonova, A.P. Gaidar. Significant works on the military theme were created by A.A. Fadeev, B.N. Polevoy, MA Sholokhov, O.F. Berggolts, N.S. Tikhonov.

A large role in mobilizing the people to fight fascism was played by Sovinformbüro, in which the author's author's team included well-known writers, including M. Sholokhov, I. Erenburg, K. Simonov, A. Fadeev. The forms of his work featured mobility and accessibility, as evidenced, for example, posters "TASS windows". Agitparks, radio channels, front-line concert brigades were made in the fight against fascism.

A bright event in the Soviet music art was the 7th (Leningrad) symphony D.D. Shostakovich defenders dedicated to defenders Cities on the Neva. Patriotic songs of composers V.P. acquired wide popularity. Solovyova-Sedoya, I.O. Dunaevsky, A.V. Alexandrova, B.A. Mokrousov, M.I. Blancher.

The second half of the 40s is the beginning of the 50s. The deterioration of the socio-political atmosphere in the country has affected the state of culture. Hope of people to update life after the end of the war were not justified. Fearing the spiritual awakening of the people, the government resumed an offensive to freedom of creativity. The functions of the ubiquitous regulation and the provision of emergency all-permissive control in the field of culture were assigned to the Department of Culture and the Ministry of Higher Education of the USSR. The party leadership itself openedly interfered into the work of writers, composers, directories, which led to a decrease in the artistic level of works, the domination of the mediocre, embellishing the validity of the samples, the elevation of the so-called "gray classics".

The renewed processes over the "enemies of the people" were gloomy in the postwar years and the so-called prospecting campaigns. The beginning of the exposure campaigns laid a number of party regulations 1946-1948. For literature and art issues: "On the magazines" Star "and" Leningrad "," On the repertoire of dramatic theaters and measures for its improvement "," On Opera "Great Friendship" V.I. Muradel "," On the movie "Great Life". Party critic A.A. Zhdanov and his undergraded "dissent" poured into the flow of insults against the apostates from the "General line" - A.A. Akhmatova, M.M. Zoshchenko, D.D. Shostakovich, S.S. Prokofiev and even officially recognized filmmakers A.P. Dovzhenko and S.A. Gerasimova. One of the creativity of creativity, formalism, distortion of Soviet reality was imputed to the blame, the dispensing, a subjective image of history, an incorrect placement of accents in the image of a new life, a tendentious assessment of significant events, etc.

The struggle against "low-stylism" and "cosmopolitanism" has sharply affected by the development of science. Sociology, cybernetics and genetics, nominated in the avant-garde, and genetics were announced by hostile material "fruits of pseudoscience." As a result of the recognition of the genetics "Lzhenauka" in the infamous session of the All-Union Academy of Agricultural Sciences. IN AND. Lenin (Vaschnil) in 1948 was actually defeated by a promising scientific direction. Field of fierce struggle have become public, humanitarian sciences; Orthodox dogmas were introduced into linguistics, philosophy, political economy, history. They were in every way to be encouraged by simplified dogmatic concepts of apologetic orientation.

1.3 Soviet culture 1956-1991.

soviet Culture Realism Art Postmodernism

The years "thaw". Death I.V. Stalin served as a signal to gradually mitigate the regime and palliative change in the state-political system. The second half of the 50s is the beginning of the 60s. Marked by Khrushchev economic reforms (not completely thoughtful), accelerating the pace of scientific and technological progress. Registration of a new policy occurred after the XX Congress of the CPSU, held in February 1956 on him the first secretary of the Central Committee of the CPSU N.S. Khrushchev was made by the report on the delegates "On the cult of the personality of Stalin and its consequences." The report marked the beginning of fateful changes in the lives of Soviet society, the correction of a political course, served as an impulse to the uranial cultural shifts.

Began "warming" in the public sector; It is not by chance that the Khrushchev era is called "thaw" (a successful metaphor originated from the name of the story I. Ehrenburg). The party-ideological control has slightly decreased, the sprouts of the freight, the symptoms of spiritual revival appeared. Did not pass the publication in 1966-1967. Roman MA Bulgakova "Master and Margarita". These changes led to a rapid increase in the creative activity of the intelligentsia.

The Khrushchev period is estimated ambiguous due to serious economic miscalculations and organizational mistakes admitted to the then party-state-state leader. And yet this period was the time of the wonderful achievements of the Soviet society, creating significant works in various areas of culture.

Greater success was achieved in the field of education, which became an important factor in cultural progress and changes in public life. The continuity of medium and higher school programs, one educational standard Combined with high prestige of education and intellectual labor. By the middle of the 50s. About 40 million people studied in the USSR, about 900 universities operated, the total number of students reached 1.5 million people. According to the census of the 1959 population, higher, secondary and incomplete secondary education had 43% of the population; Thus, in 20 years, this figure grew by 76.1%, despite the objective difficulties of the military years. In the mid-60s. In the USSR, one way or another was studied every third resident.

A noticeable event in the field of education was the school reform, which was conducted in 1958-1964. Its main goal was to turn school into a reserve of replenishment of the working class and technical intelligentsia. In 1958, the Law "On Strengthening School's Communications with Life and Further Development of the National Education System" was adopted. In accordance with this law, an obligatory 8-year-old part-time education was introduced and up to 11 years the duration of complete secondary education increased. The school was supposed to acquire a polytechnic profile, which contributed to the mandatory production training of high school students. Applicants who had production experience enjoyed the benefits of admission to universities.

In the 50-60s. There was races in the development of Russian science. For a number of main areas, Soviet science occupied the advanced position and stimulated technical progress; Large discoveries of talented scientists received practical implementation. Outstanding progress was achieved in the development of space, rocket meal and the use of atomic energy. In 1957, the first launch of the Earth's satellite was carried out, and in 1961 the first flight of a person was held in space. The Soviet Union first began to use atomic energy for peaceful purposes: In 1954, the first nuclear power plant began working, in 1957, Lenin's atomic icebreaker went to swim.

There were never so many tools in science as during these years. For two decades, costs for it increased almost 12 times. It is in the 50-60s. The main part of discoveries and inventions was made, for which Soviet scientists were awarded the Nobel Prize in the field of accurate and natural sciences. Thus, 9 Soviet scientists became laureates in the field of physics, including academician LD. Landau, who created the theory of superfluidity and superconductivity, academician A.M. Prokhorov and N.G. Basins, constructed the world's first laser. During this period, a significant quantitative and territorial expansion of the network of research institutes occurred, pilot stations and laboratories. In 1957, the construction of the Novosibirsk Academgorodok began, which became one of the leading scientific centers of the country in the field of applied mathematics and physics.

The processes that took place in the spiritual life of society were reflected in the literature of those years. The main historical merit of the creative intelligentsia of the second half of the 50s - early 60s. In front of the culture consists in the spiritual and moral elevation of the reader. For the first time in Soviet history, it was discovered about the value of the internal freedom of personality, about the right to sincerity and the approval of his genuine Ya. Life of people with all the difficulties and troubles, without a pompous working heroism and deliberate pathos amounted to the main theme of the best samples of literature, theater, cinema, painting .

In the time of the "thaw", a real "boom" of literary and art journals was observed, among whom "New World", "Youth", "Our Contemporary", "Young Guard", "Foreign Literature" were specially popular. The Center for the Democratic Intelligentsia has become the magazine "New World", the chief editor of which was A.T. Tvardovsky. With this magazine, a powerful endlower movement in Soviet literature is connected, the opening of genuine humanity.

Specific milestones of literary life became stories V.M. Shukshina, Roman V.D. Dudintseva "not bread together", Tale "Colleagues" and "Star ticket" V.P. Aksenova. The event, which bearing for the literary framework and deeply influenced the spiritual life of society, was a publication in 1962 in the magazine "New World" Tale A.I. Solzhenitsyn "One Day Ivan Denisovich", written in the genre autobiographical description The life of political prisoners in Stalin camps.

The years of "thaw" were the time of the heyday of Soviet poetry. Wealth of genres, diversity of creative individualities, high artistic level distinguish poetic creativity This period. New names appeared in poetry: A. Voznesensky, E. Evtushenko, B. Ahmadulin, N. Rubtsov, B. Okudzhava. Speak long ago silent N.N. Aseev, M.A. Svetlov, N.A. Zabolotsky. How one of the poetic flows spread widely by the author (bard) song. Distinguishing the simplicity and naturalness of intonation, it was most often performed under its own accompaniment (as a rule, guitars). Topical, fascinating listeners of the genuine author's sincerity of the song A. Galich, B. Okudzhava, N. Matveva, B. Vysotsky, Yu. Victor, etc.

Starting from the late 50s, the new understanding was received by the theme of the Great Patriotic War. It marked the turn to the moral evaluation of events. This approach manifested itself in the story M.A. Sholokhov "The Fate of Man", in the first part of the trilogy of K.M. Simonov "Live and Dead", in the films G.N. Chukhraya "Ballad about a soldier" and MK Kalazovova "fly cranes." The beginning to approve the direction called by the "Equal" literature (or "lieutenant prose"), presented by the famous works of Yu.V. Bondareva, G.Ya. Baklanova, V.O. Bogomolov and other talented writers.

In the post-residential period there was a creative growth of theatrical art. Theaters actively looking for their development path, gained their own style and aesthetic position.

In 1956, a studio of young actors was organized in Moscow, soon grown to the theater-studio "Contemporary". Under the direction of the director O.N. Efremova has developed a troupe, the core of which became popular Soviet actors. Volchek, E. Evstigneev, I. Kvasha, O. Tabakov. Constantly wrote the plays for the "contemporary" talented writer V.S. Roses.

In the same year, the main director of the Leningrad Bolshoi Drama Theater became G.A. Tovstonogov. The repertoire searches of the new head of the BDT walked along two channels - modern drama and world classics. The theater was close to psychological drama A.M. Volodina and VS Rosh. On his scene, L. Makarova, E. Copelian, V. Stroelik, K. Lavrov, P. Luspekayev, S. Yursky, E. Lebedev, O. Basilashvili, played their best roles.

Starting from 1964, the Moscow Theater of Drama and Comedy on Taganka became the place of attraction of theatrolls. Young team under the leadership of Yu.P. Lyubimova declared himself the heir to the traditions of Stanislavsky, Vakhtangov, Meyerhold and in a new way, with a stunning temperament played the plays of W. Shakespeare and B. Brecht, stated the works of J. Reda, D. Samoilova, and others. In the "Star" corpse, A. Demidov, V. Vysotsky, N. Gubenko, V. Zolukhin, Z. Slavina, L. Filatov.

However, the "thaw" in the spiritual life of society was not devoid of contradictions. Party and ideological control was somewhat weakened, but continued to act. Recurches "Zhdanovshchina" manifested themselves in a public condemnation in 1957 Roman V.D. Dudintseva "not bread together" and in the so-called "Pasternak case". Boris Pasternak, in 1958, awarded the Nobel Prize for the Roman "Dr. Zhivago", in the same year was excluded from the Union of Writers of the USSR for the publication of this novel abroad. Personally N.S. Khrushchev arranged the separation of poet A.A. Voznesensky, Prosaika D.A. Burning, sculptor E.I. Unknown, film director M.M. Huziev. Apogee intolerance was the scandal at the exhibition in Manege in 1962, when Khrushchev in a rough form criticized the anti-garde artists for more than once incriminated formalism and the departure from the canons of realistic art.

At the end of the 50s. Writers, poets, the publicists of the democratic direction decided to independently produce typewritten magazines, including their works in them. So arose samisdat and, in particular, the most interesting from illegal publications "Syntax" edited by A. Ginzburg. It has not passed the censorship of the works of V.P. Nekrasova, V.T. Shalamova, B.Sh. Okudzhava, B.A. Ahmadulina. Arrest In 1960, A. Ginzburg interrupted the publication of the magazine, but already occurred the design of the opposition movement, which became known as "Dissident".

The period of "stagnation". The end of the 60s is the first half of the 80s. They entered the history of the USSR as the time of "stagnation". During this period were taken, and then there are practically negligible attempts to reform the economy of the Soviet society, giving it the visibility of a market nature (reform A.N. Kosygin). Refusal of even palliatives of reforms was accompanied by economic stagnation, an increase in corruption and bureaucracy. The foundations of party-state monopolism remained unshakable. There were signs of a protracted universal crisis.

The regulation of public forms of public life has increased, control over the media, education, development and teaching of social and humanities has grown. Any attempts to go beyond the framework of generally accepted dogmas in history, philosophy, sociology, political economy were criticized.

The conductor of a rigid course of prohibitions and regulations was the ideological apparatus of the CPSU Central Committee headed by M.A. Suslov. The collisions on the literary and cultural fronts unfolded on the eyes of the whole country, who excited public opinion. A.T. Tvardovsky in the poem "By the right of memory" (not accepted for publication), bitterly told about the unlimited desire to "put the cross" in the democratic conquests of "thaw": what, in order not made, decided for us a special congress: on this memory is insideous, Is it just put a cross?

In the first Brezhnev years, the struggle between the heritage "thaw" and conservative, reaction trends continued. A regressive turn in cultural policy has arrived after the Czechoslovak events of 1968 tightened censorship, the persecution of intellectual independence increased. There were indicative lawsuits on dissenters: I.A. Brodsky, A.D. Sinyavsky, Yu.M. Daniel, A. Ginzburg. In 1969, A.I. excluded from the Writers' Union Solzhenitsyn; Later, in 1974, for the publication of the Gulag Archipelago abroad, he was deprived of Soviet citizenship and sent abroad. In 1970, A.T. was forced to leave the "New World" Tvardovsky.

However, in general, congestive phenomena nevertheless affected the culture, rather than the economy and the political sphere. Powerful humanist-renewed impulse, obtained by her during the years of Khrushchev "thaw", continued to feed bright, outstanding personality In the literature, theater, cinema, painting. In the 70-80s. Artistic life in the country continued to remain very rich.

The least, the concept of "stagnation" applies to literature. According to the wealth of creative individuals, the breadth of the subject, the diversity of artistic techniques, the literature of this time is comparable to the literature of the 20s. The laureates of the Nobel Prize in Literature became MA Sholokhov (1965), A.I. Solzhenitsyn (1970), I.A. Brodsky (1987). In general, the literature of the 70-80s. Developed under the influence of ideas and mindings arising during the years "thaw." The new creative level was the "rustic", "military", "urban" prose.

The sign of time was the rethinking and new coverage of military topics. Epic scope acquired epic films about patriotic War, memories and memoirs of commander of the second world, famous heroes and veterans, statesmen. "Equal True" was presented with prose Yu.V. Bondareva, B.L. Vasilyeva, G.Ya. Baklanov, the films "Climbing" L.E. Shephenko and "Road Check" A.Yu. German. These authors revived the authenticity of the description of events and characters in the military theme. The "military" novel put his heroes into an exacerbate situation of moral choice, and in fact turned to contemporaries, encouraging them to solve "uncomfortable" questions about the conscience, honor, loyalty, the dignity of a person, about the responsible deeds in the "border" situations.

Important socio-historical and universal problems raised the village prose, revealing the role of tradition and continuity, the connection of generations, originality and specificity people's Life and national Character. The village in most cases served as writers not the topic, but by the life background, on which important events unfolded, there were not easy human destinies. In the works of "villagers" it was said about the pride and dignity of a person from the people, in the troubles and humiliation of the preserved high system of the soul. The tone of this direction was asked F.A. Abramov, V.M. Shukshin, V.G. Rasputin, V.P. Astafiev, B.A. Mozhaev.

Many proseculations tried to understand the causes of the spiritual crisis that coincided with the time "stagnation." So, Shukshin did not once appealed to the problems of looking for the truth "ordinary person," which it seems to live in a normal life, "like everyone else", but at the same time deprived of the inner rest, and therefore "death."

Acute social and psychological problems reflected urban prose. Human dramas here were played out against the background of a deformed building of life, in conditions where an extraordinary personality is experiencing a sense of internal disadvantage and difficult to alienate from surrounding people (relatives, acquaintances) and public institutions. Especially piercing this topic was performed in deeply sincere prose Yu.V. Trifonova, as well as in the works of A.G. Bitova, V.S. Makanina, D.A. Grannov, hp Petrushevskaya, V.A. Piezuha, V.I. Tokareva.

Dramaticria of the 70s. It was enriched with the acute-conflict moral and psychological plays of the Siberian writer A. V. Vampilov. His drama "Senior Son", "Duck Hunting", "Last Summer in Chulimsk" included in the repertoire of the metropolitan and peripheral theaters, films were filmed, the main roles in which the "Stars" of Cinema O. Dal, E. Leonov, N. Karachentsov et al.

Soviet cinema, closely related to the reflecting literature, despite the control, prohibitions and the "guide hand" of the dominant state order, in the 70-80s. reached the highest heyday. His best films removed E.A. Ryazanov, MA Zakharov, TM Lioznova, G.N. Delelia, N.S. Mikhalkov. Children's cinema and animation developed, embodying good and humans at a high artistic level. It is difficult, overcoming the official indifference and misunderstanding of colleagues, thoro the path of Soviet elite cinema. "The central figure is A. A. Tarkovsky, who declared himself as a philosopher and director-experimentator. His films" Ivanovo Childhood "," Andrei Rublev "," Solaris "," Mirror "," Stalker "," Nostalgia "," The sacrifice "discovered the possibility of unconventional philosophical reading time and man and, essentially, showed a new movie.

In the visual art of this period, various trends and phenomena intertwined. One of the most visible was the "stern style". His representatives (N.I. Andronov, T.T. Salakhov, P.F. Nikonov, etc.) were looking for new expressive funds, trying to achieve dynamism, laconism, simplicity, the generalization of images while maintaining their bright emotionality and sharpness. For those created by them are characterized by uncompromising, harsh unilentness, underlined drama in the image of life peripetias, as well as (somewhat exit) romantic heroization of people of "difficult professions".

A distinctive look at the world, the refusal of templates, the deep understanding of Russian history is distinguished by creativity I.S. Glazunov. The basis of its moral and aesthetic ideals is an understanding of art as a feat in the name of higher spiritual values. The most fully talent of the artist was revealed in the multifigure large-scale cloths of the 70-80s.: "Mystery of the XX century", "Eternal Russia", "Anthem Heroes". At the proposal of UNESCO Glazunov, a picturesque panel "The contribution of the peoples of the USSR into world culture and civilization was created. It decorates the headquarters of this prestigious organization together with the canvas of Picasso and other world-class artists.

Characteristic feature The cultural process of this period was the design of two opposite types of culture - official and unofficial. Of course, such a opposition to some extent conditionally and is generated in the meantime. Given this reservation, it is possible to judge the main contradiction of heterogeneous Soviet culture: the official type of culture has largely exhausted the possibility of development, and the unofficial needed institutional support to expand its impact on public consciousness and social mental field. This contradiction itself was reflected in all forms of creativity during the late Soviet society and was to briefly speaking, in the following. The more stubbornly, the official culture for ideological domination sought, the more clearly its creative infertility was found and the frank the advanced intelligentsia, the critically thoughtful public showed cultural dissent, the desire to get closer to artistically minted samples of civil and individual identity freedom.

The "stagnant" policy of the prohibitions and restrictions gave rise to such a form of a spiritual protest as a dissident (from lat. Dissidens - dismissed, contrary to), which can be regarded as a radical manifestation of an unofficial type of culture. The beginning of the dissident movement is associated with demonstration on December 5, 1965 at Pushkin Square and collective appeal to the authorities to revise the decision of the Court of Writers Sinyavsky and Daniel, who were arrested in the same year for publications in the west of their literary works and accused of anti-Soviet activities. Dysident movement was not homogeneous. Writers, scientists, artists, sculptors declared by the authorities by dissidents converged, perhaps, only in one - in the desire to defend their right to dissent, to the freedom of creative self-expression. The main reason that forced many of them to openly protest, and some - to leave abroad, consisted in an internal discrepancy with official dinner who denied the freedom of creativity. Dissent closed with freedomiff. Despite the campaigns of condemnation, slander, slandering, vowels and segal restrictions, and that and the other publicly demonstrated samples of the life and creative self-independence. Man is doomed to freedom and creativity. This conclusion follows from the personal civilian courage A. Solzhenitsyn and V. Aksenov, from the actions of the heroes of their works, their persistence of civil position, independence of thinking, independence of intellect.

The appearance of the dissident was encountered in the bayona party bodies. In the decision of the Central Committee of the CPSU "On measures to further increase the political vigilance of Soviet people" (1977), dissident was determined as a harmful course discrediting the Soviet state system, so its participants were subject to criminal responsibility. In the 60-70s. For dissent, over 7 thousand people were convicted. The emigration was directed by Yu.P. Loves, artist M.M. Shemyakin, sculptor E.I. Unknown, musician M.L. Rostropovich, poets I.A. Brodsky and A.A. Galich, writers V.P. Nekrasov, A.I. Solzhenitsyn and other prominent cultural figures. These were representatives of the intellectual elite, whose creativity and civil position were classified by the authorities as "the discussed Soviet state system."

In the person of the most radical critics of the coexist party-state system, the dissident movement was beyond the framework of cultural dissent and became a form of a political opposition, which included "signed", "neformals", "human rights defenders" and others. The brightest figure of human rights movement was academician A.D. Sakharov.

The characteristic phenomenon of the period of "stagnation" was the underground, or "catacombous culture", which existed illegally and semiably as a counterculture and served as a kind of island of spiritual freedom. In spirit, she was somewhere close to dissident, but had a wider social audience. The AndGrona "drifted" advanced groups of intelligentsia, who did not endorse the intricate atmosphere of oppressive official, but avoiding the "windshield" collision with the authorities. It was the lifestyle and thinking of creative individuals, the way they are self-expression. The underground united different people who did not want them to dictate on top of what to write what kind of painting and music. Sometimes in the underground, the works replaced from the usual aesthetic rules. Shocked the public, for example, the shocking painting "Mitkov", marginal prose and dramatics of Venedikta Erofeev ("Moscow - Petushki", "Valpurgiyeva Night, or the steps of the Commander"),

The concept of art was adjacent to the AndyGrona, called "Soc-ART". It was a kind of artistic anti-spectopia, composed of fragments of the myths of public consciousness generated by the dominant official. For social art, the relief presented later with a blank prose of Viktor Pelevin ("Chapaev and Void", "life of insects", "Omon-Ra"), characterized by parody of the stylistics and the images of socialist realism.

A peculous musical accompaniment of the culture of the underground was rock and roll. In the mid-60s. A number of amateur and professional youth groups in Moscow and Leningrad, and then in other cities began to play rock music. Its main feature was to care to his world, nothing in common with the myth of the developed socialism and the visibility of its historical superiority. Hence the social pointedness of some texts and the stressfulness of execution. Possible negligence of costumes and the extravagant appearance of musicians as if additional emphasized the denial of them "Iga collectivity", the unwillingness to be such "like everyone else". Meeting the opposition of official bodies, the rock bands or moved to a semi-legal existence, or, combining the stylistry of early rock music with pop songs, created vocal instrumental ensembles (VIA) and continued concert activity. In the 70-80s. The genre and style features of Russian rock music have developed. The emphasis was done on the word, exciting minds and feelings of avant-garde young people "depurched" texts, "clown" improvisations. Her countercultural socially progressive position is "voiced" by the group "Alice" (Head - Konstantin Kinchev).

It should be recognized that the main direction ("Men-Stream") cultural Development This period was still not "catacoccal", but the transformed mass culture. The most brighter expression was the stage, a distinctly expressed personal charm of Soviet "stars": Alla Pugacheva, Sofia Rotaru, Joseph Kobzon, Lion Leshchenko, and others. In many ways, the stage took over the mission of the formation of aesthetic tastes and partly the educational function of culture. However, irony, mockery, satirical erynicity penetrated on the stage, not avoiding the influence of informal culture. It was for the years "stagnation" the lifting of pop satire was liked. Speeches A.I. Rykin, M.M. Zhvanetsky, G.V. Khazanov and others enjoyed great popularity.

Thus, the period of "stagnation" turned out to be controversial, transitional time, which determined some features of the adherent restructuring. The situation of the split of the Soviet culture was becoming more apparent, but the depth of the process of sizing it on the worldview of the opposite subsystems was not yet fully realized and revealed.

Perestroika and publicity. In 1985-1991 Attempts by radical reform of society, which, however, coming out from under all control, accelerated the collapse of the USSR, due to the collapse of party-state monopolism and planned regulation of the economy. The collapse of socialist society accompanied the aggravation of social and national conflicts, loss of influence on the social sections of the dominant type of regulated culture, decomposition of the ideological system, loss of the attractiveness of distorted communist values \u200b\u200band ideals.

Started in 1985 in the USSR, the perestroika was plotted by a democratically tuned wing of the CPSU Central Committee as a course on the Company's renewal, the "improvement" of socialism, cleansing it from deformations. Universal values \u200b\u200bwere declared the initiator of this process M.S. Gorbachev priority, standing above class and national.

Political, social, economic processes, which began in the country in 1985, nevertheless changed the institutional conditions for the functioning of the culture. The beginning of the restructuring in the field of culture is considered to be politics. The experience of the real incarnation of freedom of speech in mass socio-political movements, on the raging rallies, in the dyed literature and journalism, was a reflection in the introduction of August 1, 1990 of the new Law "On Press", which declared freedom of media And the prevention of their censorship.

In the forefront of publicity turned out to be the media, the role of which was rapidly intensified. The second half of the 90s. It became the time of the highest popularity of newspapers and magazines, especially such as "Moscow News", "Spark", "Arguments and Facts" (the circulation of the newspaper in 1989 amounted to 30 million copies, which was recorded in the Guinness Book of Records). Publishing was published on the press and television, playing the role of an indicator of the state of public consciousness. The authors of the incendial articles, supporters of democratic transformations: Popov, V. Selyunun, I. Kleamkin, V. Cipko, N. Shmelev and others. Publicistic in general can be considered the main distinguishing feature of cultural life in a perestroika time.

Publicity Along with the removal of restrictions from the media, it was abolished by many prohibitions, as well as decisions about the deprivation of the Soviet citizenship of a number of cultural figures who left the country in the 70s. Were published under the ban works A.I. Solzhenitsyn, V.N. Voinovich, V.P. Aksenova, A.A. Zinoviev. Passed property domestic literature Creativity of emigrant writers I.A. Bunina, A.T. Averchenko, MA Aldanov, printed unnecessary creations A.P. Platonova, B.L. Pasternaka, A.A. Akhmatova, B.S. Grossman, D.A. Brank. Catharsis (spiritual cleansing), to which society sought, was taking place through discoveries and shocks, in which a considerable role was played by the Edition of the Gulag Archipelago A.I. Solzhenitsyn, "Kolyma Story" B.T. Shalamov, "Kotlovanan" A.P. Platonova, Noman-Antiutopia "We" E.I. Jamine.

Against the background of the developing process of publicity, an interest in the events of the Soviet past increased. Over the years, the restructuring of newspapers and magazines have printed many publications on historical topic: articles of historical scientists, materials of "round tables", unknown earlier documents, etc. This time was largely swivel and in terms of changing historical identity.

As you know, culture has its own internal development trends. In the second half of the 80s - early 90s. It occurred certain positive changes. In general, cultural life during the period of restructuring and publicity has become much more diverse, harder and at the same time controversial. The rapidness of ill-conceived changes, inconsistent reforms and the allowed memory in politics predetermined a bizarre combination of creative processes with devastating.

Thus, the policies of publicity have serious costs, first of all - the desire of a number of emotional journalists and politicians from the Radical-Liberals camp to expose all what happened in the supplementary period, since 1917, the real achievements of the USSR were falsified; The use of offensive metaphors like "Sovko", "Communations", "Red-brown", etc. The criminal vocabulary was used in the opposite camp.

Losing ideological and political levers, the state lost the ability to keep the situation under control. There was not enough civilian culture to carry out systemic evolutionary transformations of society, stepped restructuring from the inside, similar to the one that accomplished (with " light hands»Dan-Xiaopin) Chinese society and the state after the elimination of the Maoist regime, the entire artificial design of barren communism.

Over time, the seemingly manageable process of publicity came out of control and gave rise to an informational anarchy. Movement itself for publicity, openness, media freedom has increased cultural achievementsBut it was hyperbolized and distorted as a result of the appearance of destructive installations on the pectoral permissiveness, the total criticism of Soviet history, apologetics of liberalism, and the like. Destructive publicity acted recklessly with the "revolutionary" quasi-bolshevik scope ("We destroy the whole world to the foundation ...").

To the number of impressive negative trends can be attributed to excessive commercialization and creative depletion, profanation of a significant array of culture. In the context of the monopolization of the market, banal foreign cultural products sweating markedly and modified the Russian mass culture, which resulted in a sharp decline in the quality of the latter. The Soviet filmmaking and film distribution entered the strip of the protracted crisis, being unable to compete with a zombing American film product, which flooded cinemas and video cinemas. The attendance of traditional cultural institutions has noticeably fell: theaters, concert halls, art exhibitions. There were signs of the spiritual crisis.

In general, the draft declared restructuring suffered fiasco, being not only non-visual, but also destructive. It was initially doomed to failure due to at least three major flaws:

This project did not contain a realistic, constructive program for the translation of the socialist economy to market rails in transitional period.

In his ideological basis, incompatible doctrine-communist, social democratic, neoliberal values \u200b\u200band ideas were eclectically connected.

He had no clear prospects for the systemic evolutionary transformation of the economy, culture, ideology, social structure, the state-political system of crisis society.

The negative press on the development of a destabilized culture was deepening a crisis in socio-economic life of society. The production and economic mechanism, devoid of former centrality, was delayed. The daily lives of people increasingly worsened, and ideologically political contradictions increased. One after another declared its sovereignty of the Union republics.

Economic, financial, legal, organizational and managerial systems for the beginning of the 90s. were actually decentralized. The process of "democratization" acquired a spontaneous, unmanaged. The idea of \u200b\u200b"improvement" of socialism, nominated the initiators of restructuring, ultraradecals replaced the requirement of total refusal of socialism, even in its social-democratic edition in combination with social-partnerships. Subsequently, they were imposed by Russia and other newly educated states of the Western model of liberal-oligarchic capitalism, which in fact turned out to be an adventurous and oligarchic.

All these and their similar circumstances led to the collapse of the restructuring policy and an extensive crisis, which was unsuccessfully attempted to overcome the August cough of 1991. In December 1991, the USSR ceased to exist. A number of former Union republics were formed by a new political and economic association - the Commonwealth of Independent States (CIS).

1.4 Culture of Russia Post Soviet period

After turning the Russian Federation into an independent power, its culture began to develop in new conditions. It is inherent in a wide pluralism, but lacking spiritual tension, creative productivity, humanistic smelled. Today, such different layers coexist, as the multi-level samples of Western culture, newly acquired values \u200b\u200bof Russian abroad, anew rethinking classical heritage, a lot of values \u200b\u200bof the former Soviet culture, original innovation and unzipient epigonian local Kitch, glamor, to the limit of relatives public morality and destroying traditional aesthetics .

In the projective system of culture, a certain "exemplary" picture of the socio-cultural life "on the increase" in the format of postmodernism is simulated, the world's widespread in the world is currently. This is a special type of worldview aimed at refusing to dominate any monological truths, concepts focused on recognizing equally any cultural manifestations. Postmodernism in the Western edition, a new generation assimilated by Russian humanities, does not aim to reconcile, and even more so lead to unity various values, segments of heterogeneous culture, but only combines contrasts, combines its various parts and elements based on the principles of pluralism, aesthetic relativism and Polystylene "Mosaic".

Backgrounds of the appearance of the postmodern sociocultural situation arose in the West a few decades ago. The widespread implementation of the achievements of science and technology in the sphere of production and life has significantly changed the forms of culture functioning. The distribution of media media, household radio engineers entailed fundamental changes in the mechanisms of production, distribution and consumption of artistic values. "Cassette" culture has become an unemployed, for selection, replication and consumption are carried out through the externally free willing of its users. Accordingly, there was a special type of so-called "home" culture, with composite elements of which were in addition to the books of VCR, radio, television, personal computer, Internet. Along with the positive features of this phenomenon there is also a tendency to increasing spiritual insulation of the individual.

The state of the person of the post-Soviet culture, which for the first time in a long time was granted to himself, it is possible to characterize both a sociocultural and psychological crisis. To the destruction of the usual picture of the world, the loss of sustainable social status, many Russians were not ready. Inside civil society, this crisis was expressed in the value disorientation of social layers, displacement of moral norms. It turned out that the "communal" psychology of people formed by Soviet buildings is low-quality with Western values \u200b\u200band hasty market reforms.

Intensified "omnivorous" kitsch-culture. The deep crisis of former ideals and moral stereotypes, lost mental comfort forced the ordinary person to seek consolation in the community values, seemingly simple and understandable. Entertainment and informational functions of banal culture turned out to be more popular and familiar, rather than aesthetic delights and problems of the intellectual elite than value reference points and aesthetic attachments of high culture. In the 90s. Not only the gap of the catastrophically impoverished social layers with the "High Charter" culture and its "authorized representatives", but also there was also a well-known devaluation of uniting values, the installations of the traditional "medium" culture, whose influence on social layers began to weaken. "Westernized Pops" and the liberal ideology, concluding the unauthorized union, cleared the road to the robbed adventurous and oligarchic capitalism.

Market relations made mass culture by the main barometer in which you can observe the change in the state of society. Simplification of social relations, the decay of the hierarchy of values \u200b\u200bin general significantly worsened aesthetic tastes. At the end of the XX - early XXI century. Vulgarized, associated with primitive advertising Kitch (template crafts, aesthetic erzats), expanded the sphere of influence, activated, found new forms, adapting a considerable part of media media. Articulating home-grown patterns of "massoid" on-screen culture inevitably led to a new wave of expansion similar western, primarily American, samples. Becoming a monopolist in the art market Western movie entertainment video industry began to dictate artistic tastes, especially in a youth environment. In the current conditions, countering the processes of cultural western globalization and the professional kitych becomes more flexible and efficient. It is increasingly carried out mainly in the form of Cam.

CamT as one of the species of the synthesized elitar mass culture, represents the form popular, affordable to the wide social layers, and in the content of conceptual, semantic art, often resorting to the ulcer irony and the eternity parody (on pseudo-mapping), is a kind of amortized, neutralized " kitsch". Foreign Russian literature, close to the Camp, adequately represented in recent decades the newly spent writer-emigrant writer Vasily Aksenov. It should also be developed more active and distributed through improved multimedia technologies innovative samples of artistic creativity, to give the road to non-academic genres of art, including TRUCH - a relative camp of artistic flow, which is a parody of the modern forms of pop art and glamor.

Today, a painful transition to the market is accompanied by a reduction in government financing of culture, a decrease in the living level of a significant part of the intelligentsia. The material base of Russian culture in the 90s was undermined; In the last decade, its slow recovery occurred, the consequences of the global financial and economic crisis. One of the important and complex contemporary problems is the interaction of culture and market. In many cases, the creation of works of culture is suitable as a business that makes a profit as a conventional ordinary product, more precisely speaking, to his hypertrophied cash equivalent. It is often defeated by the desire to get the maximum benefit of "at any cost", without worrying about the quality of the created artistic product. The uncontrollable commercialization of culture is not focused on a creative person, but at the "hyperacteromic supermarket", playing by his narrow-utterative interests.

The consequence of this circumstance was the loss of a number of advanced positions by the literature, who played a leading role in the Russian (and Soviet) culture of the XIX-XX centuries; art artistic word Degraded and acquired the unusual motley and eclecticity of the sheltered genres and styles. On the shelves bookstores The empty "pink" and "yellow" fiction prevails, which is characterized by the refusal of spirituality, humanity and sustainable moral positions.

Postmodern literature part went into the scope of formal experimentation or was a reflection of the short-term consciousness of the post-Soviet time, "scattered" consciousness, as evidenced by, for example, the works of some authors of the "New Wave".

Nevertheless, the development of artistic culture was not stopped. Talented musicians, singers, creative teams and today declare themselves in Russia, perform on the best scenes of Europe and America; Some of them use the opportunity to enter into long-term contracts for work abroad. The singers D. Khvorostovsky and L. Kazarnovskaya, the "Virtuosos of Moscow" under the leadership of the VL are owned among the iconic representatives of the Russian culture. Spivakova, State Academic Ensemble of Public Dance. Igor Moiseeva. The innovative searches in dramatic art still performs the Pleiad of Talented Directories: Y. Lyubimov, M. Zakharov, P. Fomenko, V. Fokin, K. Raykin, R. Viktyuk, V. Gergiev. Leading Russian film director continue to actively participate in international film festivals, sometimes achieving noticeable success, as evidenced by, for example, obtaining N. Mikhalkov Higher Prize of the American Film Academy "Oscar" on the nomination "For the best film in a foreign language" in 1995, for the same The film is the "big prize jury" at the Cannes Festival in 1994; Awarding the Honorary Prize at the festival in Venice of the film A. Zvyagintseva "Return". It uses the reader's demand for "women's" prose (T. Tolstaya, M. Arbatova, L. Ulitskaya).

The definition of paths of further cultural progress was the subject of sharp discussions in Russian society. The Russian state has ceased to dictate its requirements to culture. His management system is far from the same. However, in the changed conditions, it must still carry out the formulation of the strategic tasks of cultural construction and to fulfill the sacred responsibilities for the protection of cultural and historical national heritage, providing the necessary financial support to creatively promising areas for the development of multi-faceted culture. State figures cannot fail to realize that the culture cannot be fully given to the deposit of business, but it can cooperate with him fruitfully. Support for education, science, concern for the preservation and multiplication of humanistic cultural heritage contribute to the successful solution of current economic and social tasks, welfare growth and national potential, have great value To strengthen the moral, mental health of the peoples living in Russia. Russian culture will have to turn into an organic whole due to the formation of a nationwide mentality. This will prevent the growth of separatist trends and will contribute to the development of creativity, successfully solving economic, political and ideological problems.

At the beginning of the Third Millennium, Russia and its culture were again before choosing a path. Huge potential and richest heritage accumulated by her in the past make up an important prerequisite for rebirth in the future. However, only individual signs of spiritual and creative lifting are revealed. The solution of the crowned problems takes time and new priorities that the Society itself will determine. The Russian intelligentsia should be said in the humanistic reassessment of values.

Building the creative exchange and density of communications between historically interrelated cultures of Russia and Belarus will require the humanities of the Allied countries of new steps on the path of intellectual integration. It is also necessary to bring closer approaches in solving interstate problems and determining the prospects for the development of two neighboring civilizations. The decision of this task will be facilitated by the consistent steps of the leadership of the Russian Federation, headed by President D.A. Medvedev and Chairman of the Cabinet of Ministers V.V. Putin, aimed at the further social humanization of Russian society.

List of sources used

1. Drache G.V., Matyash T.P. Culturalology. Short thematic dictionary. - M.: Phoenix, 2001.

Shirshov I.E. Culturalology - Theory and History of Culture: Tutorial / Shirshov I.E. - MN: Ecoperpeat, 2010.

Erengross B.A. Culturalology. Textbook for universities / B.A. Erengross, R.G. Apresan, E. Botvinnik - M.: Onyx, 2007.

Culturalology. Tutorial / Edited by A.A. Radugina - M., 2001.

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