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Abstracts Abstracts on culture and art Abstract: Culture of Russia of the XX century
Abstract: Culture of Russia of the XX century: An abstract on the discipline "Cultural Studies" on the topic: "Culture of Russia of the XX century" Table of Contents Introduction 1.
Culture of the Silver Age 2.
Soviet Culture Conclusion References
Introduction The epoch making revolution in culture is a consequence of the global crisis, the symptoms of which are obvious.
First of all, this is evidenced by the sphere of art, which is most sensitive to barely noticeable changes in life.
It is the modern crisis of art that demonstrates the destruction of the sensual form of our painting, sculpture, music, literature, drama and architecture.
P. Sorokin notes that "the style of sensual art is naturalistic, even sometimes somewhat illusionistic, free from any supersensible symbolism."
This means that it reproduces the phenomena of the external world as they are perceived by our senses.
Sensory art is empirical; realistic art, because its themes are a real landscape, real events, a real portrait.
The crisis manifests itself in the disintegration, chaotic, eclecticism, primitivization and irrationalization of various types of art.
Indeed, researchers (E. Grodzinsky, P. Sorokin, etc.) cite numerous facts confirming the thesis about the primitivization of aesthetic tastes, accompanied by irrationalization of thinking.
In other words, music, painting, literature and other arts and directly related areas of human aesthetic activity in the XX century were subjected to the pressure of irrationalism.
This is especially evident in the field of painting (and adjacent sculpture and graphics).
The relevance of this topic is determined by the ongoing crisis of Russian culture, the need for its thorough analysis and the search for ways out of the crisis state.
The purpose of this work is to study and compare the Russian culture of the early 20th century and Soviet culture.
In connection with this goal, the following research tasks can be formulated · * to consider the features of the Russian culture of the "silver age", its characteristic features; * identify the features of Soviet culture, its strengths and weaknesses.
The abstract consists of 5 sections.
The first one formulates the purpose and objectives of the study, the second describes the features of Russian culture at the beginning of the 20th century, the third gives an overview of Soviet culture, the fourth draws the main conclusions on the content of the work, the fifth indicates the primary sources on the topic of the work.
1. The culture of the Silver Age This era is not evaluated unambiguously.
For some, this is the euphoria of filling in white spots, getting acquainted with basic names, absolutizing them.
For others, it is an age of decadence, attempts at blasphemous Christian search.
What is characteristic of the silver age?
First, it is the mentality of a socio cultural person, freed from thinking, permeated with politics.
Secondly, it is a religious and philosophical Renaissance, a neo Christian search.
Thirdly, this is the era of total individualism, interest in the mysteries of the psyche, the dominance of the mystical principle in culture.
Fourth, a contradictory position was taken in relation to the new trends of the silver age by writers whose work came out to the traditions of the 19th century: M. Gorky, I. Bunin, Kuprin, A. Tolstoy, A. Andreev, V. Veresaev.
M. Gorky was indignant at the domination of petty bourgeois culture, which the silver Age brought with it.
Fifth, the mentality of the Silver Age is a cult of creativity.
Sixth, the era of new trends: symbolism and acmeism, modernism, futurism, avant gardism, antiquity.
The twentieth century has not seen such a rise in any national culture as in Russia.
M. Akhmatova, A. Blok, A. Bely, N. Gumilev, O. Mandelstam, B. Pasternak, V. Mayakovsky, M. Tsvetaeva – all of them were nurtured by the silver age of Russian culture.
Art culture is characterized by the strengthening of its interaction with Western philosophy (F. Nietzsche, I. Kant, A. Schopenhauer); Merezhkovsky became the leader of the older generation of symbolism.
His views are most fully reflected in the books "Gogol and the devil", "The Coming ham", the trilogy "Christ and the Antichrist".
Russian symbolism is painted in the colors of the unity of the intelligentsia, its break with the people and the appearance of the coming boor.
The breakthrough to reality was made by the young symbolists A. Blok, A. Bely.
On the unanticipated acmeic soil, a whole inflorescence of talents arose, first of all A. Akhmatova, N. Gumilev.
A special place is occupied by the Russian avant garde.
This is primarily V. Kandinsky, K. Malevich, P. Filonov, M. Chagall.
The "silver Age" of Russian culture begins with the "World of Art" and ends with acmeism.
The "World of Art" is an organization that emerged in 1898 and united the masters of the highest artistic culture, the artistic elite of Russia at that time.
Almost all famous artists participated in this association.
— A. Benois, K. Somov, L. Bakst, E. Lancere, A. Golovin, M. Dobuzinsky, M. Vrubel, V. Serov, K. Korovin, I. Levitan, M. Nesterov, N. Roerich, B. Kustodiev, K. Petrov Vodkin, F. Malyavin, M. Larionov, N. Goncharova, etc.
Russian Russian ballet and opera tours abroad, the so — called "Russian Seasons", were of great importance for the formation of the "World of Arts", the personality of S. Diaghilev, a patron and organizer of exhibitions, and later the impresario of the tours of Russian ballet and opera abroad.
Thanks to Diaghilev's work, Russian art is widely recognized internationally.
The "Russian Seasons" organized by him in Paris are among the milestone events in the history of Russian music, painting, opera and ballet art.
In 1906, the Parisians were presented with the exhibition "Two Centuries of Russian Painting and Sculpture", which was then exhibited in Berlin and Venice.
Russian Russian art was the first act of the pan — European recognition of the "World of Art", as well as the discovery of Russian painting of the XVIII early XX century.
In general, for Western criticism, and a real triumph of Russian art.
The following year, Paris could get acquainted with Russian music from Glinka to Scriabin.
In 1906, our brilliant singer F. performed here with exceptional success.
Chaliapin, who performed the role of Tsar Boris in Mussorgsky's opera "Boris Godunov".
In 1909, the" Russian Seasons " of ballet began in Paris, which lasted for several years (until 1912).
The" Russian Seasons " are associated with the flourishing of the creativity of many figures in the field of music, painting and dance.
One of the greatest innovators of Russian ballet at the beginning of the XX century was M. Fokin, who claimed drama as the ideological basis of a ballet performance and sought to create a psychologically meaningful and truthful image through the "community of dance, music and painting".
In many ways, Fokin's views are close to the aesthetics of Soviet ballet.
The choreographic sketch "The Dying Swan" to the music of the French composer Saint Saens, created by him for Anna Pavlova, captured in the drawing by V. Serov, has become a symbol of Russian classical ballet.
Under the editorship of Diaghilev, from 1899 to 1904, the magazine "World of Art" was published, which consisted of two departments: artistic and literary.
In the latter department, works of a religious and philosophical plan were first published under the editorship of D. Merezhkovsky and 3.
Gippius, and then works on the theory of aesthetics of the symbolists led by A. Bely and V. Bryusov.
The editorial articles of the first issues of the magazine clearly formulated the main provisions of Miriskusnikov about the autonomy of art, that the problems of modern art and culture in general are exclusively problems of artistic form and that the main task of art is to educate the aesthetic tastes of Russian society, primarily through acquaintance with works of world art.
We must pay tribute to them: thanks to the "miriskusniki", English and German art was really appreciated in a new way, and most importantly, the painting of the Russian XVIII century and the architecture of St. Petersburg classicism became a discovery for many.
We can say that the" silver age " of Russian culture is the age of culture of high rank and virtuosity, the culture of remembrance of the previous national culture, the culture of quotation.
The Russian culture of this time is a synthesis of the old noble and diverse cultures.
A significant contribution of the "World of Art" is the organization of a grandiose historical exhibition of Russian painting from icon painting to modernity abroad.
The Silver Age anticipated many cultural searches of the XX century.
The Silver Age is a complex, contradictory rise, of which there are very few in the world culture.
Here are both religious and philosophical searches, and a new type of person striving for inner freedom of the spirit.
This is the beginning of the philosophy of nonviolence, the creation of a new type of cultural aura.
Today, two approaches have been established in Soviet culture.
The first declares the entire Soviet culture Lumpen marginal, which is of no interest, the second is a voluminous concrete historical approach.
Soviet culture destroyed the culture of the nobility as a result of the revolution and the civil war, and the culture of the peasantry as a result of the coup d'etat of 1929.
expressed in the policy of splitting up the village.
The culture of the proletariat had not developed at the time of the destruction of these two cultures.
Soviet culture is a complex, multifaceted phenomenon.
It was formed on the basis of the culture of the military, the lumpen and the culture of the camps.
The ratio of these components at different stages of the development of society was different.
The culture of the 20s was distinguished by pluralism
N. Bukharin and A. Lunacharsky were inclined to a dialogue of cultures.
The culture of dissent was in full bloom: A. Blok, A. Bely, I. Bunin, O. Mandelstam, A. Akhmatova, N. Gumilev, V. Korolenko, V. Kandinsky, M. Chagall, S. Rachmaninoff, F. Chaliapin, I. Stravinsky.
Another thing is 30-50gg.
It was during this period that the culture of totalitarianism was formed Any dissent was suppressed.
To achieve the main goal of building socialism, the following tasks were realized: 1. The cultural revolution, which includes the elimination of illiteracy, the creation of a giant system of higher educational institutions; Research institutes, libraries, theaters, training of personnel that meet the needs of the management and production system.
2. Creation of a sufficiently powerful corps of scientists, engineers, specialists who provide the country with scientific, technical and intellectual potential comparable to the potential of the most developed industrial countries.
3. Technological modernization, which provides the possibility of rapid re equipment of the Armed Forces and the creation of a material and technical base for subsequent modernization in the field of economy and management.
As a result of the cultural revolution and urbanization, accomplished in record time, and the powerful transfer of the population from the village to the city, an unstable, dynamically non equilibrium hybrid culture has emerged.
Its main features are the features of the factory system: 1) standardization, 2) regularity, 3) mass character, 4) broad regulation of activities, 5) labor discipline, 6) organization according to the military model, 7) tendency to concentration.
Thus, all the basic features of the culture that was created in the ZO 50s are the characteristic features of the factory system.
Consequently, the recognized source of totalitarianism - the factory system, which turns a person into a mechanism subject to fragmentation, manipulation, was cemented in Russia by an affective worship of statehood and undemanding attitude to strict legal restrictions on the activities of public institutions.
Artistically, in the 30s 50s, the liquidation of various artistic trends was carried out.
In 1934, the doctrine of socialist realism was officially proclaimed in the USSR.
All other directions were outlawed, independent groups of artists were abolished.
A year later, Kazimir Malevich, the head and ideological inspirer of the avant garde, died in Leningrad, the paintings of avant garde painting were no longer exhibited, the names of the artists were not mentioned.
What had already reached the museums was hidden in a vault, where access was denied not only to the public, but also to most museum employees.
The creative heritage of the avant gardists was officially treated not as art, but as trash, not worthy of attention.
Totalitarianism in culture has given rise to a socio cultural mythology.
It became the basis of Soviet mass culture.
Its features are accessibility, vulgarization of any phenomenon of history or modernity, two dimensionality and two color view of the world, deification of the leader, heroization of the population, pseudo optimism, a simplified form for the semi literate mass.
The mass song from the movie ("Volga – Volga", "The Bright Path") became socio cultural phenomena.
At the same time, M. Gorky, M. Sholokhov, A. Fadeev, A. Tolstoy, N. Ostrovsky, etc. created their own within the framework of socialist realism.
In the same years, the musical works of D. Shostakovich, N. Ya.
Myaskovsky, A. I. Shaporin became widely known.
The films of Eisenstein, Vsevolod Pudovkin, Alexander Dovzhenko became the true masterpieces of cinema art.
Often the works were deeper than their genre.
So, created in the genre of Isakovsky's mass songs "Katyusha", "Enemies burned their native hut" expressed the pain, hope and joy of an ordinary person.
The culture of the 60s was called the thaw.
By this time, the factory system had reached the limit of expansion and began to modify.
On the other hand, social inequality has not become the norm of social life.
All this created Soviet liberalism.
The beginning of the thaw is associated with the appearance in 1954 of the story by I. Ehrenburg with this name.
And the end is associated with the political processes over S.Sinyavsky and Yu.
Daniel (February 1966 year).
The plays of Rozov, the books of V. Aksenov and A. Gladin, the poems of Yevtushenko and A. Voznesensky, the films of M. Khutsiev "Zastava Ilyich" became the moral and political position of the "children of the sixties" who rejected Stalin and the screw man.
The beginning of the revolution in consciousness was the stories of A. Solzhenitsin "One Day of Ivan Denisovich", "Matrenin's Yard", "The Incident at the Krichetov Station".
They became a tocsin addressed to the people's conscience.
The centers of dissent were the theater groups "Sovremennik", "Taganka".
The cultural priorities of the stagnation period were: 1. The way out of the problem of personal life achievements from the dependence on "feeding" or "saving the family" (as it became in the difficult 20s, 30s, 40s, 50s).
2. The sale of the party and economic bureaucracy of its power capabilities.
3. A noticeable expansion of the scale of the shadow economy and its clashes on the one side - with the state bureaucracy, and on the other – with individual traders.
4. Establishing a system of double counting – planned indicators, economic interests, social behavior.
All this has nullified the citizens ' trust in the declared values and, as a result, has established ideological immunity to public values.
The culture of the 70-80s of the twentieth century in the USSR retained many features peculiar to the culture of the Soviet period, but it also acquired its own, resulting from the peculiarities of the time.
Having survived the Khrushchev thaw, having had the opportunity to get acquainted with world culture more closely, many in the USSR began to think about ways to further develop culture.
The existence of an official and unofficial, dissident culture has become real.
The enthusiasm has somewhat diminished.
The inconsistency of culture was realized by the majority of members of society.
This was expressed in two contradictory trends in literature and art.
On the one hand, the appeal to revolutionary romanticism, attempts to find moral support there, on the other, moods of hopelessness, hopelessness, attempts to find an ideal in exotic creeds, a passion for Christianity were increasingly manifested.
The official culture became more dogmatic, lost the desire for search and renewal.
This was especially reflected in the struggle of cultural officials with those works that, in their opinion, did not meet the standards.
Based on the above, we can conclude that in the culture of the Soviet period there was a "Soviet" core, which included the ideology of Marxism Leninism, which was not always correctly understood and meaningful, at the same time there were whole layers that practically did not experience the influence of this core, which continued the cultural Russian traditions.
By the 70s, the influence of ideology had significantly increased, since several generations of those brought up in the Soviet education system had already grown up, but since the mid 70s, it is possible to trace the process of rejection of the values of "developed socialism" by ordinary citizens and cultural figures.
At the same time, the 70-80 years also enriched Russian culture.
The so called "village people" V. Rasputin, V. Astafyev, B. Nosov have brilliantly comprehended the problems of the Russian people.
The dialogue of the peoples of the former USSR was productive.
The works of R. Gazmatov, G. Aitmatov, I. Kuliyev, E. Mezhelaitis personified the phenomenon of Soviet culture.
Soviet films won prizes at prestigious film forums.
Modern Russian culture is going through a difficult period of transition to market relations.
The reformers who came to power after the August putsch believed that it was enough to take only two steps to create a market: to release prices and give people economic freedom.
The reformers practically ignored the peculiarities of the Russian cultural tradition, stereotypes and archetypes of the Russian consciousness.
Today we are again asking the traditional question for Russian history: where to go?
And again, two polar points of view collide.
The first one proceeds from the principle there is nothing to invent already open, you need to learn from the West.
According to the second, Russians should follow a special path, the experience of the West is alien to us.
With this formulation of the problem, analogies with the old disputes between Westerners and Slavophiles are easily traced, but this is not enough.
The Western experience of the civilized market was based on a system of basic values that were formed and polished over a long period, but according to European civilization, starting from the era of the formation of Protestant ethics as the basis of the "spirit of capitalism"analyzed by Weber.
This system in its modern version assumes individual freedom and personal responsibility, rationality of choice and action, the rule of law and a single legal space as conditions for compliance with contractual relations between market objects, justice and equality are understood primarily as equality of opportunities; the value of earthly existence is recognized as an installation for a constant and troublesome arrangement of life.
There is a different cultural tradition in Russia.
Since Peter's reforms and including the Soviet history, Russia has experienced several major modernizations (the reforms of Peter I, Alexander II, the accelerated industrialization of the 30s).
Each of them was carried out by forcibly transforming the existing way of Russian life by a strong state power.
The Western experience did not fit organically into the traditional Russian soil, but rather looked like a transplant, like an artificial organ being introduced into a foreign culture, which it transformed when faced with traditions that contradict it.
The resistance of traditions usually led to a rollback after the reforms, and sometimes to troubled times.
But the new experience was not completely crossed out.
After some time, the complex processes of its assimilation generated a surge of cultural achievements that enriched European and world culture.
The echo of Peter's reforms in Russian culture was the "golden" XIX century, the echo of Alexander II's reforms was the silver Age (late XIX early XX centuries ).
The "inoculations" of the new European culture after their assimilation in Russia returned to world culture in the form of new achievements.
The symbiosis of two opposite structures – the New European experience and the traditional mentality in Russian life was the source of all its problems, reproduced for decades and even centuries.
In particular, a similar problem was the confrontation between the intelligentsia and the people.
The intelligentsia, as a carrier of Western education and new ideas, often did not find support in the masses of the people, who were the guardians of traditional culture.
In the Russian cultural tradition, the ideals of individualism did not occupy the priority position that was characteristic of the Western system of values.
The Russian spirit was characterized by the ideal of conciliarity.
N. Berdyaev once emphasized that sobornost is different from communality, that is, such a state of collective life activity, which is determined by external coercion.
Conciliarity, on the other hand, involves uniting people with a common goal and a common cause, based on internal motives.
But in the real system of life orientations, these ideas were intertwined.
Their connection can be found both in the mentality of the traditional peasant community and in the Soviet ideology.
Having destroyed the community, the Soviet government recreated the features of communal life in the life of production collectives.
These collectives were not only professional associations of people, but also served as special forms of communication and everyday human communication: people celebrated holidays, birthdays both in the family and in the production team, traditions of joint recreation were born, there was mutual assistance.
In the conditions of totalitarian control and sociability, those elements of conciliarity that were preserved in the life of labor collectives became a kind of self protective mechanism for the individual and a specific form of manifestation of his freedom.
The special understanding of freedom inherent in the Russian spirit is closely connected with the ideal of sobornost.
It is more focused not on individual freedom, but on collective forms of its realization.
The complex Russian history in the pre revolutionary period did not create sufficiently stable prerequisites for the formation of the formation of the rule of law.
The progress in this direction, initiated by the reforms of Alexander II, was blocked by the subsequent rollback of the reforms, and then finally interrupted by the revolution and the mass use of violence.
However, one should not think that the practice of solving various life issues by illegal methods developed only in the Soviet era.
This practice had a long tradition in Russia.
It is worth remembering that the autocracy in Russia was deified (the tsar was the anointed of God) and stood above the laws; that a long period of Russian history was an era of serf disenfranchisement of the peasant masses, that different estates were endowed with different rights, that bribery and arbitrariness were characteristic features of the functioning of the cumbersome, bureaucratic apparatus on which the autocratic power relied.
A special understanding of law and law has been formed in the country.
In the archetypes of Russian consciousness, the categories " law "and" law "do not have a value in themselves and only act as a value when the adjective"fair" is added to them.
Justice, therefore, has always been superior to law.
The very concept of justice included many meanings.
Here we can also find an equalizing distributive one: an understanding of justice that has its origin in traditionally communal life, and was transformed into the ideal of a communist hostel in the Soviet era.
The concept of "just" also included the desire for the ideal of a strong centralized power personified by a just king."
At one time, V. Klyuchevsky noted as a characteristic feature of the Russian self consciousness its attraction to actions on the "maybe", to rationally not calculated actions.
V. Klyuchevsky associated this type of behavior with the peculiarities of Russian life and economic activity occurring in the climatic zone of unstable agriculture, which includes most of the territory of Russia.
In addition, the Russian people suffered from raids, frequent wars, and extortion by the authorities.
The popular consciousness reflected the unstable state of human life in numerous sayings, such as"do not swear from the bag and from prison".
In these conditions of uncertainty and instability of being, the value of rational actions decreased.
Thus, modern Russian culture is characterized by a clash of Western culture with traditional Russian stereotypes of behavior.
Conclusion Many sociologists, political scientists, cultural and futurologists note the contradictions associated with the formation of a new global (planetary) civilization.
In the 20s of our century, P. Sorokin gave an excellent description of the inconsistency of this process, which represents a change of types of culture: All the most important aspects of life, way of life and culture of Western society are experiencing a serious crisis...
The flesh and spirit of Western society are sick, and there is hardly at least one healthy place or normally functioning nervous tissue on its body...
We are, as it were, between two epochs: the dying sensual culture of our radiant yesterday and the coming ideational culture of the created tomorrow.
We live, think, act at the end of a radiant sensual day that has lasted for six centuries.
The rays of the setting sun still illuminate the greatness of the passing era.
But the light is slowly fading, and in the gathering darkness it is increasingly difficult for us to distinguish this greatness and look for reliable landmarks in the coming twilight.
The night of this transitional era begins to descend on us, with its nightmares, frightening shadows, heart rending horrors.
Beyond its borders, however, we can discern the flourishing of a new great ideational culture that welcomes a new generation — the people of the future.
The distinctive, complex and contradictory culture of Russia in these conditions gives hope for a spiritual revival of our society, a revival based on traditionally Russian cultural roots.
List of references 1.
Gurevich P. S. Man and culture M.: "Bustard", 1998.
2. Yerasov B. S. Social cultural studies: In 2 hours 1 M.: JSC "Aspect Press", 1994.
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3. Cultural studies.
A course of lectures edited by A. A. Rodugin Ed. "Center” Moscow, 1998.
4. Cultural studies /Edited by A. N. Markova M., 1998 5.
Levinas E. Philosophical definition of the idea of culture.
// Global problems and universal values.
- Moscow: Progress, 1990.
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86-97 6.
Polikarpov V. S. Lectures on cultural studies.
Moscow: "Gardariki", 1997.
-344 p.
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