Thread Creativity and development of culture. Creativity as a way to develop culture

Russian philosophical society

Section "Theory and Methodology of Creativity"

DEVELOPMENT OF SCIENCE

And creativity

Monograph

Moscow 2002.

Development of science and creativity. Monograph. Ed. A.N. Legging, N.P. French. M.: RFO RAS, 2002.

Under the general editor

Doctors of Philosophy, Professor A.N. Legging,

Doctors of Philosophical Sciences, Professor N.P. French

The collective monograph "Development of Science and Creativity" is the fourth collective work, which is devoted to the systematic generalization, the presentation of ideas and experience of the work of the members of the section "Theory and Methodology of Creativity" under the Presidium of the Russian Philosophical Society. If the first monograph "Philosophy of Creativity" was devoted to theoretical and methodological problems of creativity, the second and third "creativity and development of culture", "creativity in space and cultural time" - analyzing the role of creativity in the development of culture, then in this monograph we consider the methodological problems of the development of science and scientific creativity.

Work can be useful for creative problems, for those interested in creativity, for students and graduate students, as well as to prepare courses and special courses on the philosophy of culture, philosophy of creativity.

Reviewers:

Doctor of Philosophy, Professor V.A. Titov,

Doctor of Philosophy, Professor V.A. Vasilyev

ph.D. Aleshnya S.V. , Ph.D., Doc. Grishunin S.I. (1.3.), Ph.D., prof. Ignatiev V.A. (1.8.), Ph.D., Doc. Kataeva O.V. (2.11.), Ph.D., Doc. Kononova L.I. (2.9.), Kapitonova T.A. (1.9.), Queen S.A. (2.4.), Ph.D., prof. Legging A.N. (2.9.), Legging MA (2.6., 2.7., 2.8., 2.9.), Ph.D., Lyubimova TB (2.5.), K.F. - m. n., Doc. Mikhailova E.M. (1.5.), Ph.D. Markelov V.E., Ph.D., prof. Metlenkov N.F..6.), Ph.D., Doc. Nedzvetskaya E.A., Svetlov S.V. (1.7.), Ph.D., prof. Surkov L.V. (2.1.), Tikhomirova E.A. (2.9.), Ph.D., prof. Frenchman N.P. (1.1.), Ph.D., Doc. Chelyshev P.V. (1.4.), Ph.D., prof. Yakovlev V.A. (1.2.), Ph.D., prof. Yatsenko L.V. (2.2.).

Ó Russian Academy of Sciences,

Russian philosophical society,

Section "Theory and Methodology of Creativity"

Preface

In the real collective monograph "Development of Science and Creativity", work continued to summarize the experience of previous studies of the members of the section "Theory and Methodology of Creativity". The management of the section was set to summarize the results of scientific research, which were carried out by the members of the section in the 80-90 years of the twentieth century and the beginning of the 20th century on the problems of the development of science and scientific creativity, in order to summarize the experience and formulate the main tasks of further research within the section "Theory and Methodology creativity "in the presidency of the Russian philosophical society in the coming years.

This collective monograph is to continue the work that was performed in previous collective monographs: "Philosophy of Creativity." M., 2002., "Creativity and the development of culture." M., 2002., "Creativity in space and cultural time." M., 2002. If the first three monographs were devoted to the philosophical problems of creativity, the role of creativity in the development of culture, the real work is devoted to the problems of the development of science, scientific creativity, methodological problems of creative activities.

In the twentieth century, especially in its second half, deep research was carried out on scientific creativity. This is due, on the one hand, with the rapid development of science, as well as in connection with the fundamental works of K. Popper, T. Kuna, P. Feyebenda, L.A. Mikeshina, A.T. Shumilina, I.S. Ladenko, N.P. French, M.S. Kagana, Ya.A. Ponomareva, B.Ya. Pakhomova, S.N. Semenov and many other foreign and domestic researchers in the development of science and scientific creativity. Fundamental work on the development of science was allowed to largely consider the process and essence of scientists, as a scientific community, evolutionary and revolutionary changes in the development of science, the role of paradigm of the world, the formation of a scientific picture of the world, the role of a collective principle in the development of science and many others aspects of. But at the same time, a lot of factors of the internal and external determination of scientific creativity, the essence and the role of creative departments and creative abilities, ways of their formation and development are remained aside from the comprehensive consideration. There is no doubt that the development of science is carried out by the scientific community. But every scientific community consists of scientific teams, specific people with certain abilities, needs and interests. And, as Altshuller noted, even if a thousand farms digit one ditch, then each digging it in his own way. In this regard, the task of studying the essence and the specifics of not only collective, but also individual creativity arises.

Members of the editorial board were far from bias in the assessment of certain ideas, theoretical provisions, which were reflected in certain sections of a real collective monograph, although on some issues the point of view the authors do not match.

This collective monograph does not claim a comprehensive and exhaustive response to all problems of science, but it is impossible to make in principle. The authors tried to reveal only those aspects of the task, which are currently the most relevant. We hope to continue the work launched in the future.

Creativity and development of science.

Socio-cultural organization of creative activity

Culture is the soil on which creativity grows up. And at the same time, culture is a product of creativity. The development of culture is a consequence of many creative acts committed in the history of mankind. Creative activity is the source of all innovations that occur in culture and change it (with the exception of random "mutations" in its content). In this sense, creativity is the driving force of the development of culture, the most important factor in its dynamics.

Stressing the role of creativity in culture, it is impossible at the same time to underestimate the importance of reproductive, reproducing activities. It is necessary to maintain the life of human society and preserve the experience gained by him. It saves cultural inheritance from the destructive impact of time.

However, without creative activity, not only a change, but also the preservation of culture would not always be possible. When the creative activity of people stops in society (and this happens in history), its ability to adapt to changes in the medium falls. Lost sense in the new conditions of tradition becomes a dead cargo, only a gag of life, and gradually destroy, and new, more effective forms of behavior do not come to replace. This leads to the degradation of culture and pre-lifestyle. Knowledge and skills are forgotten, which are "superfluous", although in creative approach to their use could benefit. The erosion is subject to the farewell, works of art, manuscript, books - material incarnations of the culture of the past, to preserve and restore which neither forces, nor the desire, and there is no possibility, because for this it would be necessary to invent new funds and new techniques.

In the novel, Tatiana Tolstoy "Kysy" draws a fantastic picture of the life of people after an atomic catastrophe. They have also preserved some traces of the deceased culture - household items, books, separate scraps of knowledge and customs. They managed to even somehow adapt to caused radiation changes in nature and in their own bodies. But they have fed the ability to creative activity. And even reading and correspondence of the surviving "old-line" books turns into a meaningless mechanical procedure, which does not contribute to intellectual development and spiritual improvement. Before understanding their content, the case does not reach: because creative efforts are needed for the "opening of meaning". Cultural life fades, and society falls into a dead end, the release of them is not visible.

Creativity is a mechanism not only the creation of a new, but also holding the old in the "workable state." Building a new one, it does not just reject the old one, but converts it, deploys the potency laid in it. In the creative dialogue, along with the voice of the new, the voice of the old sounds.

Indeed, listen more carefully to the search dialogue. The voice of one of his participants is the "generation body" - breathes optimism and hope. He is sure that it makes his job well, if the ideas offered to them possess novelty: after all, its purpose is in that and consists in order to create a new one. The voice of another participant is the "breeding authority" - much less optimistic. Arriving that the new one does not always deserve approval, he also interferes with the work of the interlocutor, criticizes her results, persuades it to observe certain "technological standards", throw some blanks on the landfill and take the other. He sees his goal that among numerous ideas to allocate those and only those that have the importance to solve the creative task, and builds filters from the standards available at its disposal, through which only significant ideas are able to break through.

Thus, the "generation body" is responsible for novelty, and the "breeding body" - for significance The results of creative search. The voice of the first is the voice of novelty, and the second is the voice of significance. But novelty and significance are the defining characteristics of creativity (§1.1). Generation and selection are processes due to which creativity products acquire these qualities. The importance of creativity products is provided by conservatism and caution of the "selection authority", its skeptical attitude to a new and consideration of the experience gained earlier. The newest products of creativity are associated with a radical refusal of obsolete installations and the desire to reject the experience of the past for the best future. Therefore, the dialogue between novelty and significance contains a deeper semantic layer in which a dialogue between "voice of the past"And" voice future».

In essence, creativity turns out to be a link that connects today's culture with the culture of tomorrow, the dialogic interaction of the "maternal" culture with the culture of "subsidiary" arising in her Lon. In the search dialog, the culture today creates the culture of tomorrow. Thus, the creative process flowing in the head of the individual, in its deep nature socialien - He is not just the inner case of a subject of creativity, but a form of development of human culture.

Development of culture

The culture has played a big role in spiritual preparation of changes called the restructuring. Cultural figures with their work prepared a public consciousness to the need for change (Movie T. Abladze "Repentance", Roman A. Rybakova "Children of Arbat", etc.).

The whole country lived in the expectation of new numbers of newspapers and magazines, television programs in which as a fresh wind change was given a new assessment of historical figures, processes in society, history itself.

Representatives of culture were actively involved in real political activities: elected by deputies, cities leaders, became the leaders of national-bourgeois revolutions in their republics. Such an active public position led the intelligentsia to the split on political sign.

After the collapse of the USSR, a political split in the environment of cultural and art workers continued. Some focused on Western values, declaring them with universal, others adhered to traditional national values. Almost all creative ties and groups split on this basis.

Perestroika canceled the prohibitions of many species and genres of art, returned to the screens pending films and prohibited to publish the work. The return of the brilliant culture of the Silver Century also includes the reasons for the same period.

The culture of the 19th and 20th centuries of the 19th century twisted us a whole "poetic continent" of the subtlest lyrics (I. Annensky, N. Gumilev, V. Khodasevich, etc.), deep thinkers (N. Berdyaev, V. Soloviev, S. Bulgakov, etc.) , serious prosaikov (A. White, D. Merezhkovsky, F. Sologub, etc.), composers (N. Stravinsky, S. Rachmaninov, etc.), artists (K. Somov, A. Benua, P. Filonov, V. Kandinsky et al.), Talented performers (F. Shalyapin, M. Fokin, A. Pavlova, etc.).

Such a stream of "prohibited" literature had except a positive and negative point: young writers, poets, the scenarios were deprived of the possibility of publication in state publications. The crisis in architecture related to the reduction in construction costs has continued.

The development of the material base of culture has slowed sharply, which affected not only in the absence of new films and books on the free formative market, but also in the fact that along with the best foreign samples of culture in the country hung a wave of products of dubious quality and values.

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

The deep crisis in which our society and culture is located, there is a consequence of a long neglect of the objective laws of social development in the Soviet period. Construction of a new society, the creation of a new person in the Soviet state was impossible, since throughout the years of Soviet power people were separated from true culture, with true freedom.

The person was viewed as a function of the economy, as a means, and this also dehumanizes a person as a technogenic civilization. "The world is experiencing the danger of the dehumanization of human life, the dehumanization of the person himself ... only the spiritual strengthening of man can oppose such a danger."

Researchers of various cultural concepts speak of a civilization crisis, about changing cultural paradigms. The culture of postmodern culture, the culture of the end of the Millennium (Fin Millenium) many times exceeded the naive decadence of the modernist culture of the end of the century (FIN de Sitcle).

In other words, the essence of the changes occurring (in relation to the change of the cultural paradigm) is that it is not a culture in crisis, but a person, a creator, and the crisis of culture is only a manifestation of his crisis.

Thus, attention to the person, to the development of his spirituality, the spirit is overcoming the crisis. Books of living ethics paid attention to the need for a conscious approach to the coming changes in the cultural and historical evolution of a person and put forward ethical problems as the most important condition for the development of man and society.

These thoughts echoes and with the modern understanding of the life of a person and society. So, P. Kostenbaum, a specialist in the education of leadership of America, believes that "society, built on ethics, not on mature hearts and minds, will not live for a long time."

N. Roerich argued that culture is a cult of light, fire, worship of the Spirit, the highest ministry of human improvement. The approval of true culture in human consciousness is a prerequisite for overcoming the crisis.

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

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

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

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

Culture contains both stable, conservative and dynamic, innovative sides. Stable side of culture is cultural traditionBecause of which there is an accumulation and transfer from generation to the generation of elements of cultural heritage: ideas, values, moral norms, customs, rituals, skills. The tradition of traditions reflects the integrity, the stability of the social organism. The history of culture would be absurd of absurd if every generation obscure the cultural achievements of the previous one.

No culture can exist without traditions. Moreover, the cultural tradition is an indispensable condition of not only the existence, but also the development of culture even in the conditions of the creation of a qualitatively new culture. For the disclosure of the mechanism of culture development, the dialectical law of denying denial is particularly important, which, without limiting only the statement of irresistibleness of the new, reveals the cyclic nature of development, characterizes inherent in any type of development, including the development of culture, unity of progress and continuity

Continuity, as a general pattern in the development of culture, is manifested in various specific forms, such as: 1) the genetic connection of the old culture with the new; 2) the emergence of individual elements of a new culture in an even existing old; 3) preservation in the new culture of individual elements of the old; 4) Return to the initial stage of development. In the latter case, continuity implies not just the preservation of some features of the directly denied old culture within the framework of the new, but the restoration of certain elements of the old who have once existed, then subjected to denial and ceasing their existence, but newly regenerated development. Such, for example, the revival of ancient culture in the Renaissance era.

The denial of continuity in the development of culture turns into a nihilistic attitude to the greatest cultural values \u200b\u200bcreated in the past. Within the framework of such ideas, the development of culture is possible only with the full and descending destruction of the old culture, a characteristic specimen of which can serve as vulgarizator theories of Tralchults. Polycholet (the union of proletarian cultural and educational organizations) arose in 1917 and made a propaganda of a nihilistic, anarchist attitude to the past, to its culture, to the greatest spiritual values \u200b\u200baccumulated in previous history. Taking the slogan: "The proletariat is not the heir of the past, but the Creator of the Future", the breakdowns were seriously believed that the new proletarian culture could and should be built beyond all the traditions. Such an approach has echoed with calls, which occurred even earlier, futurism, whose representatives considered it necessary to destroy the entire preceding culture:

We are in the power of rebellious passionate hop;

Let them shout: "You are the executioners of beauty."

In the name of our tomorrow - burn Rafael.

We destroy museums, melt the art of flowers.

It was proposed to carry out a full defeat of the "bourgeois science", to create new programs in mathematics, physics, chemistry, biology in which it would be the opposite. With nihilistic calls, the slogans of the cultural revolution in China are crushed with nihilistic calls in China, during which the Chinese seal attributed to the category of "poisonous herbs" "Divine Comedy" Dante, "Gargantua and Pantagryuel" Rabl, "Jean Christopa" Rolan and other treasures of world literature and art . In the course of the cultural revolution, the invaluable works of Chinese classical art were destroyed, Chinese culture suffered irreparable losses.

Of course, in preservation, and in the broadcast of culture from generation to generation should be a certain stability, there must be a tradition. The development of culture is not only a change in its qualitative states by others, but also the inheritance of a certain content, the inclusion of this content in a higher synthesis. It is a kind of inheritance to subsequent generations of everything viable from the culture of previous generations, determines the progress and progressiveness of development. Otherwise, the progress of culture would be impossible.

This, however, should not be understood in the sense that the development of culture is a simple return to the old, its complete restoration, literally preservation or repetition in the new culture of the features of the old. If the case was really so far, the development of the culture would turn into trample on the spot, into meaningless repetition of the same, into a monotonous series of monotonous variations on the same topic.

The tradition is a memory, and the memory is electoral. Culture always remembers and actualizes only what is needed by modernity. Consequently, the cultural tradition is the way to mobilize the experience of the past, but not unchanged, but in the transformed, adapted to the present form.

The repetition in the new culture of certain features of the old is neither literal, neither absolute: first, not all the features of the old are repeated in the new, secondly, those that are repeated in the new culture are integrated and acquired a different appearance. As for truly outlined forms of culture, they disappear once forever, and irrevocably.

Culture is not the passive storage of material and spiritual values \u200b\u200bcreated by the preceding generations, but active creative use of them for social progress. And not just use, but also update. The society reproduces and improves itself, only inheriting and creatively processing the accumulated wealth of culture. And blind adoption in front of the tradition, its hypertrophing generates conservatism and stagnation in culture.

In the work of culture, universal is organically fused with unique. Each cultural value is unique, whether it is about artistic work, scientific discovery, technical invention or a human behavioral.

In this way, tradition and creativity - These are two inextricably interconnected aspects of culture, two sides of the same medal. The unity of tradition and innovation, their mutual correlation is the universal characteristic of any culture.

At the same time, the description of the real variety of the history of human society and its culture shows that the ratio of tradition and creativity is not the forever of this constant, it changes in space and in time. Its different ratio serves as the basis of dividing societies to traditional and technogenic.

Western civilization, the base of which was laid by the ancient Greeks, as well as the Europeans of the New Time, are called "technogenic" (V.S. Ston). Its characteristic features: intellectualism, knowledge in the forms of theoretical concepts, systematic use in the production of scientific knowledge, the rapid change in equipment and technology, the concept of equality of people, equal opportunities, developed ethics and democracy. As the technogenic civilization develops, an accelerating update of an artificially created objective environment ("the second nature") occurs. The main values \u200b\u200bof Western Culture German philosopher M. Deber believes: 1) dynamism, orientation for novelty; 2) approval of dignity and respect for the human person; 3) individualism, installation on the autonomy of the individual; 4) rationality; 5) ideals of freedom; 6) tolerance, tolerance to someone else's opinion, someone else's faith; 7) Respect for private property.

In contrast to Western culture, Eastern culture is focused on the emotional, intuitive perception of the world. The scientific rationality of Western culture here is opposed to the moral and volitional installation for contemplation, serenity, intuitive-mystical merger with the Being. Time in such civilizations is perceived as something ultimate as a closed cycle, which includes nature, and the history of society. In the ideological aspect in Eastern cultures there is no separation of the world on a natural and supernatural, on the world of nature and the world of society. Therefore, here the highest good is not the conquest of nature, but a merger with her.

This type of culture creates non-technical civilizations with their descriptive sciences and impressionistic art. It is primarily oriented, first of all, on the reproduction of the established social structures, stabilizing the established lifestyle, reproducing its stable stereotypes. His higher value is a traditional lifestyle, accumulating experience of ancestors.

It is clear that these characteristics of Western and Eastern crops are just as speculative models that cannot be fully equated to the real state of world culture. Even less reason to literally transfer them to the modern world, to the world, where once scattered nations and nations, inhabiting all continents, unite in a holistic social education - humanity.