Title: Reader on cultural studies: Textbook. allowance
Author: Laletin D.A., Parkhomenko I.T., Radugin A.A. (comp.)
Publisher: M.: Center
Year: 1998
Pages: 592
Format: PDF
Size: 2.78 MB
Quality: excellent
Russian language
ISBN 5-88860-044-Х
Series: Alma mater
The book is an anthology of thematically structured cultural texts - extracts from the works of thinkers of different eras, as well as monuments of world literature. In accordance with the requirements for the mandatory minimum content and level of training for higher school graduates in the cycle “General Humanitarian and Socio-Economic Disciplines,” the texts highlight the essence and purpose of culture, the main schools in cultural studies, the history of world and domestic culture, issues of preserving world and national cultural heritage. Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
Content
Preface Article c. 10-10
Culture as a subject of cultural studies Article c. 11-26
Basic schools and concepts of cultural studies Article c. 27-80
About culture Article c. 81-104
Culture and the unconscious beginning of man. Freud's concept Article c. 104-126
Culture and the collective unconscious: the concept of C. G. Jung Article c. 126-130
Homo Ludens Article c. 131-133
Structural Anthropology Article c. 133-137
Letter to a Japanese Friend Article c. 137-142
Culture as a system Article c. 144-145
Sociology of religion Article c. 145-154
Literary and artistic articles Article c. 155-156
Sociology of Science Article c. 156-161
On the tasks of art Article c. 161-202
The relationship between ideological and humanistic trends in artistic culture.
Ethnic relation of art to reality (Dissertation) Article c. 203-205
Existentialism is humanism Article c. 205-206
German ideology Article c. 206-207
Step one to positive aesthetics Article c. 207-210
Chekhov as a thinker Article c. 210-212
Art and responsibility Article c. 213-213
The relationship between ideological and humanistic trends in artistic culture Article c. 214-216
Myth as a form of culture Article c. 217-231
The Myth of Adonis Article c. 232-236
Defining a person in terms of human culture Article c. 236-244
Paths of Culture Article c. 244-248
Culture of the Ancient East Article c. 249-265
History of ancient culture Article c. 266-287
Christianity as the spiritual core of European culture. Bible Article c. 288-292
Protestantism, ethics and the spirit of capitalism Article c. 292-304
Culture of Western Europe in the Middle Ages. On True Religion Article c. 305-308
The crisis of our time Article c. 308-310
On the meaning of “carnival” holidays Article c. 311-319
From heaven to earth Article c. 319-334
Culture of the Western European Renaissance Article c. 335-355
Experiments Article c. 355-372
The Reformation and its cultural and historical significance Article c. 373-385
Culture of the Enlightenment Poems c. 386-403
The cultural crisis of the 20th century and ways to overcome it Article c. 404-415
Artistic culture of the 20th century: modernism and postmodernism.
Technical Manifesto of Futurist Literature Article c. 416-421
The first manifesto of futurism Article c. 421-426
Manifesto of Surrealism 1924 Article c. 426-448
What is Dadaism and what goals does it set? Article c. 448-449
Manifesto of surrealism. The work of art must create
super real reality. Only this is poetry Article c. 449-451
Modern - an unfinished project Article c. 451-467
A note on the meanings of `post` Article c. 467-470
The main stages of the development of Russian culture Article c. 471-551
`Silver Age` of Russian culture Article c. 552-565
Soviet period of development of Russian culture Article c. 566-571
Briefly about the authors Article c. 572-589
Title: Culturology.
The manual is written in accordance with the “State requirements (Federal component) for the mandatory minimum content and level of training of higher school graduates in the cycle “General humanitarian and socio-economic disciplines”. It examines the essence and purpose of culture: the main schools, concepts and trends in cultural studies, the history of world and domestic culture, the preservation of world and national cultural heritage.
Intended as a teaching aid for students of universities, technical schools, colleges, gymnasiums, and high schools.
Currently, Russia is undergoing a reform of the entire education system. The main focus of this reform is its humanization. Humanization of education means for our country a radical reorientation of value systems, normative regulators, goals and objectives of the educational process. From now on, the interests of each individual person should be placed at the forefront of education. Educational institutions must provide such conditions for the educational process so that a school graduate can become an amateur subject of public life. This orientation means creating the necessary prerequisites for the development of all creative abilities of students: the harmonious development of their intellectual, professional, aesthetic and moral qualities. In other words, the task of higher education is to train not just a specialist in some narrow field of production and management, but a person capable of various fields of activity, consciously making decisions on political, ideological, moral, aesthetic and other issues.
The humanitarization of education is expected to play a significant role in achieving this goal. Mastering a new discipline - cultural studies - is expected to play a key role in the humanitarian training of students.
Developed by the State Committee of the Russian Federation for Higher Education “Requirements for the mandatory minimum content and level of training of higher school graduates in the cycle “General humanitarian and socio-economic disciplines” in the field of cultural studies set the following main tasks.
TABLE OF CONTENTS
Preface 6
Section one. The essence and purpose of culture 7
Chapter 1. Culture as a subject of cultural studies 7
1. The concept of culture. Culture as the semantic world of man 7
1.1. Concept of symbol. Symbolic forms of culture 8
1.2. Man as a creator and creation of culture 9
1.3. Dialogue of cultures 9
1.4. Basic forms of spiritual culture 10
2. Cultural studies as a humanitarian science 11
2.1. Origins of cultural studies as a science 11
2.2. Unity of understanding and explanation in cultural studies. Culturology as the implementation of dialogue between cultures 11
LITERATURE 12
Chapter 2. Basic schools and concepts of cultural studies 12
1. Hegel’s philosophy as a theory of culture 12
2. Philosophy of culture by Oswald Spengler 14
3. Man, creativity, culture in Berdyaev’s philosophy 17
3.1. The free human spirit as a creator of culture 17
3.2. Free spirit and symbolic forms of culture: the internal contradiction of cultural creativity 17
4. Culture and the unconscious beginning of man: Freud’s concept 18
5. Culture and the collective unconscious: the concept of Carl Gustav Jung 20
5.1. Collective unconscious and its archetypes 20
5.2. Culture and the problem of the integrity of the human soul 21
6. “Challenge and Response” - the driving spring in the development of culture: the concept of Arnold Toynbee 22
7. Value as a fundamental principle of culture (P. A. Sorokin) 23
8. Culture as a set of sign systems (structuralism of C. Lévi-Strauss, M. Foucault, etc.) 24
9. The concept of gaming culture (J. Huizinga, X. Ortega y Gasset, E. Fink).25
LITERATURE 26
Chapter 3. Culture as a system 26
1. Structural integrity of culture 27
1.1. Material and spiritual aspects of culture. Man is a system-forming factor in the development of culture 27
1.2. Culture as a normative-value and cognitive activity 28
2. Multidimensionality of culture as a system 31
2.1. Purpose of culture 31
2.2. Interaction of nature and culture. Ecological culture of human activity 32
2.3. The relationship between culture and society 33
LITERATURE 36
Chapter 4. Organizational culture and entrepreneurial culture 37
1. The concept of enterprise culture. Value aspect of organizational culture 37
2. Basic elements and features of the functioning of the sign-symbolic system in the enterprise 40
3. Typology of organizational culture. The state of organizational culture at Russian enterprises 41
LITERATURE 43
Chapter 5. Mass and elite culture 43
1. Concept, historical conditions and stages of the formation of mass culture 43
2. Economic prerequisites and social functions of “mass” culture 44
3. Philosophical foundations of mass culture 45
LITERATURE 48
Chapter 6. The relationship between ideological and humanistic trends in artistic culture 49
1. The concepts of “ideology” and “humanism” in modern social philosophy and cultural studies 49
2. The relationship between ideological and humanistic trends in the modern artistic process. Universal in the system of artistic culture 50
3. Evolution of views on the relationship between ideological and humanistic tendencies 52
LITERATURE 54
Section two. Development of world culture 54
Chapter 1. Myth as a form of culture 54
1. Mystical participation as the main relation of myth 54
2. Myth and magic 56
3. Man and community: myth as a denial of individuality and freedom 57
LITERATURE 58
Chapter 2. Culture of the Ancient East 59
1. Social and ideological foundations of the culture of the Ancient East 59
1.1. Eastern despotism as the social basis of ancient cultures 59
1.2. Myth, nature and state in the cultures of the Ancient East 60
1.3. Combining humanity and statehood as a problem of Confucian culture 62
1.4. Taoism: freedom as dissolution in nature 63
1.5. Buddhism: freedom as an internal withdrawal from life, a complete negation of being 64
LITERATURE 70
Chapter 3. History of ancient culture 70
1. Characteristic features of ancient Greek culture 70
2. The main stages of development of Hellenic artistic culture 74
3. Artistic culture of Ancient Rome 77
LITERATURE 80
Chapter 4. Christianity as the spiritual core of European culture 80
1. The fundamental difference between Christianity and pagan beliefs 81
2. Historical background of Christianity 81
3. Fundamentals of the Christian faith. The Discovery of Personality and Freedom 81
4. Why Christianity became a world religion 83
5. Spiritual and moral problems of the Sermon on the Mount 83
5.1. Contradiction between Spirit and World 83
5.2. Paradoxes of Christian morality 84
6. The importance of Christianity for the development of European culture 85
Literature 85
Chapter 5. Culture of Western Europe in the Middle Ages 85
1. Periodization of medieval culture 86
2. Christian consciousness - the basis of medieval mentality 87
3. Scientific culture in the Middle Ages 88
4. Artistic culture of medieval Europe 89
4.1. Romanesque style 89
4.3. Medieval music and theater. 91
5. “Spiritual forests” of modern culture 93
LITERATURE 93
Chapter 6. Culture of the Western European Renaissance 93
1. Humanism - the value basis of Renaissance culture 93
2. Attitude to ancient and medieval culture 95
3. Features of the artistic culture of the Renaissance 96
3.1. Italian Renaissance 97
3.2. Northern Renaissance 98
LITERATURE 98
Chapter 7. The Reformation and its cultural and historical significance 99
1. Cultural and historical conditions and prerequisites of the Reformation 99
2. Martin Luther's Spiritual Revolution 100
3. Spiritual foundations of the new morality: Work as “worldly asceticism” 101
4. Freedom and Reason in Protestant Culture 101
LITERATURE 103
Chapter 8. Culture of the Enlightenment 103
1. The main dominants of the culture of European enlightenment 103
2. Style and genre features of art of the 18th century 104
3. The flourishing of theatrical and musical culture 105
4. Synthesis of ethics, aesthetics and literature in the works of the great French educators 106
LITERATURE 108
Chapter 9. The cultural crisis of the 20th century and ways to overcome it. 108
1. The contradiction between man and machine as a source of cultural crisis. The problem of human alienation from culture 108
2. Dialogue of cultures as a means of overcoming their crisis. 111
LITERATURE 112
Chapter 10. Artistic culture of the 20th century: modernism and postmodernism 112
1. Worldview foundations of modernist art. 112
2. The variety of types and forms of artistic culture of modernism 113
3. Attempts to create synthetic forms of art. 119
4. Postmodernism: deepening aesthetic experiments of the 20th century 120
LITERATURE 121
Section three. The main stages of the development of Russian culture 121
Chapter 1. Formation of Russian culture 121
1. Pagan culture of the ancient Slavs 122
2. The adoption of Christianity is a turning point in the history of Russian culture 123
3. Culture of Kievan Rus 125
LITERATURE 127
Chapter 2. The flourishing of Russian culture.. 128
1. Culture of the Moscow Kingdom (XIV-XVII centuries) 128
2. Culture of Imperial Russia (beginning of the 17th - end of the 19th centuries) 132
LITERATURE.. 135
Chapter 3. “Silver Age” of Russian culture 135
1. Features of Russian culture at the “turn of centuries” 135
2. Artistic culture of the “Silver Age” 136
LITERATURE 140
Chapter 4. The Soviet period of development of Russian culture. 141
1. Ideological attitudes of communists in relation to artistic culture 141
2. The first post-October decade in the development of Russian culture. 142
4. Sociocultural situation of the 60-70s of the XX century in Russia. 144
5. Soviet culture of the 80s of the XX century. 145
LITERATURE 145
Chapter 5. Protection of national cultural heritage. 146
1. On continuity in the development of culture. Organizational basis for the protection of national cultural heritage 146
2. The Russian estate is the most important part of the cultural heritage. 147
3. Revival of religious and cult culture 148
4. Program of the Russian Cultural Foundation “Small Towns of Russia”. 149
5. The fate of national artistic crafts and crafts of Russia. 150
LITERATURE 151
Conclusion 151
Radugin A. A.
Culturology textbook
Gaudeamus gitur Juvenes dum sunmus! Post incundam iuventutem, Post molestam senectutem Nos habebit humus TSY sunt, qui ante nos in mundo fuere? Vadite ad superos, Transite ad inferos Quos si vis videre!
Vita nostra brevis est, Brevi finietur; Venit mors velociter, Rapit nos atrociter, Nemini parcetur!
Vivat academy! Vivant professors! Vivat membrum quodiibet! Vivat membra quaelibet! Semper sin in flore!
Compiler and executive editor prof. A.A. Radugin God's gift of beauty; and if you estimate without flattery, then you have to admit: a gift
Not everyone has this, Beauty needs care, without it beauty dies, Even if its face is similar to Venus itself.
Moscow 1998 Publishing house
Preface Currently, Russia is undergoing a reform of the entire education system.
The main focus of this reform is its humanization. Humanization of education means for our country a radical reorientation of value systems, normative regulators, goals and objectives of the educational process. From now on, the interests of each individual person should be placed at the forefront of education. Educational institutions must provide such conditions for the educational process so that a school graduate can become an amateur subject of public life. This orientation means creating the necessary prerequisites for the development of all creative abilities of students: the harmonious development of their intellectual, professional, aesthetic and moral qualities. In other words, the task of higher education is to train not just a specialist in some narrow field of production and management, but a person capable of various fields of activity, consciously making decisions on political, ideological, moral, aesthetic and other issues.
The humanitarization of education is expected to play a significant role in achieving this goal. Mastering a new discipline - cultural studies - is expected to play a key role in the humanitarian training of students.
Developed by the State Committee of the Russian Federation for Higher Education “Requirements for the mandatory minimum content and level of training of higher school graduates in the cycle “General humanitarian and socio-economic disciplines” in the field of cultural studies set the following main tasks. The graduate must: 1. Understand and be able to explain the phenomenon of culture, its role in human life, have an idea of the methods of acquisition,
storage and transmission of basic cultural values.
2. Know the forms and types of cultures, the main cultural and historical centers and regions of the world, the patterns of their functioning and development, know the history of Russian culture, its place in the system of world culture and civilization.
3. Take care of the preservation and enhancement of national and world cultural heritage.
In accordance with these goals, the main program requirements (didactic units) are formulated. The entire content of the proposed textbook is aimed at fulfilling these requirements.
The team of authors who prepared this manual expresses the hope that mastering its content will allow students to increase their cultural level, understand the complex problems of the general theory of culture, the main stages of the development of world and domestic culture.
A. (section I, chapter 2 § 9; section II, chapter 2, § 2; chapter 9,10); Assoc. Zharov S. N. (Section I, Chapter 1; Chapter 2, § 16; Section II, Chapter 2 § l; Chapter 4.7; Associate Professor Ishchenko E. N. (Section II, Chapter 8); Associate Professor L. Ya. Kurochkina (Section II, Chapter 3, Chapter 6 (co-authored with N. N. Simkina)); Section III, Chapter 3); Assoc. Laletin D. A. (section II, chapter 5); prof. Matveev A.K. (section I, chapter 3); Assoc. Parkhomenko I. T. (section I, chapter 5.6; section III, chapter 4, b); prof. Radugin A. A. (preface, section I, chapter 2, § 7.8, chapter 4); Assoc. Simkina N. N. (section II, chapter b (co-authored with Kurochkina L. Ya.).
Compiled and executive editor, Doctor of Philosophy, Professor Radugin A. A.
Section one. The essence and purpose of culture Chapter 1 Culture as a subject of cultural studies.
1. The concept of culture. Culture as the semantic world of man
In everyday consciousness, “culture” acts as a collective image that unites art, religion, science, etc. Culturology uses the concept of culture, which reveals the essence of human existence as the realization of creativity and freedom (see: Berdyaev N. A. Philosophy of Freedom. The meaning of creativity. M., 1989; Berdyaev N. A. The meaning of history. M., 1990; Mezhuev V. M. Culture as a philosophical problem // Issues of Philosophy. 1982. No. 10). It is culture that distinguishes man from all other creatures.
Of course, here it is necessary to distinguish between, firstly, freedom as an inalienable spiritual potential of a person and, secondly, awareness and conscious social realization of freedom. Without the first, culture simply cannot appear, but the second is achieved only at relatively late stages of its development. Further, when we talk about culture, we do not mean some individual creative act of a person, but creativity as a universal relationship of a person to the world.
The concept of culture denotes the universal attitude of man to the world, through which man creates the world and himself. * Each culture is a unique Universe, created by a person’s specific attitude to the world and to himself. In other words, by studying different cultures, we study not just books, cathedrals or archaeological finds - we discover other human worlds in which people lived and felt differently than we do.* Each culture is a way of creative self-realization of a person. Therefore, understanding other cultures enriches us not only with new knowledge, but also with new creative experience.
However, so far we have only taken the first step towards a correct understanding and definition of culture. How is man's universal relationship to the world realized? How is it embedded in human experience and passed on from generation to generation? To answer these questions means to characterize culture as a subject of cultural studies.
A person's relationship to the world is determined by meaning. Meaning relates any phenomenon, any object to a person: if something is devoid of meaning, it ceases to exist for a person. What is the meaning for cultural studies? Meaning is the content of human existence (including internal existence), taken in a special role: to be a mediator in a person’s relationship with the world and with himself. It is meaning that determines what we seek and what we discover in the world and in ourselves.
Meaning must be distinguished from meaning, i.e., an objectively expressed image or concept. Even if the meaning is expressed in an image or concept, in itself it is not necessarily objective. For example, one of the most important meanings - the thirst for love - does not at all imply an objective image of any person (otherwise each of us would know in advance who he would love). True meaning is addressed not only to the mind, but also to the uncontrollable depths of the soul and directly (besides our awareness) affects our feelings and will. The meaning is not always realized by a person, and not every meaning can be expressed rationally: most meanings are hidden in the unconscious depths of the human soul. But those other meanings can also become universally significant, uniting many people and acting as the basis of their thoughts and feelings. It is these meanings that form culture.
Man endows the whole world with these meanings, and the world appears for him in its universal human significance. And a person simply does not need and is uninteresting in another world. N. A. Meshcheryakova rightly identifies two initial (basic) types of value relations - the world can act for a person as “one’s own” and as “alien” (Meshcheryakova N. A. Science in the value dimension // Free Thought. 1992. No. 12. P. 3444). Culture is a universal way in which a person makes the world “his own,” turning it into the House of human (semantic) existence (see: Buber M. Yai Ty. M., 1993. P. 61,82,94). Thus, the whole world turns into a carrier of human meanings, into a world of culture. Even the starry sky or the depths of the ocean belong to culture, since a piece of the human soul is given to them, since they carry human meaning. If it were not for this meaning, then a person would not look at the night sky, poets would not write poetry, and scientists would not devote all the strength of their souls to the study of nature and, therefore, would not make great discoveries. A theoretical thought is not born immediately, and for it to appear, a person needs to be interested in the mysteries of the world, he needs wonder at the mysteries of existence (it was not for nothing that Plato said that knowledge begins with surprise). But there is no interest and surprise where there are no cultural meanings that direct the minds and feelings of many people to master the world and their own souls.
From here we can give the following definition of culture. Culture is a universal way of creative self-realization of a person through the establishment of meaning, the desire to reveal and affirm the meaning of human life in its correlation with the meaning of existence. Culture appears to a person as a world of meaning that inspires people and unites them into a community (nation, religious or professional group, etc.). This world of meaning is passed down from generation to generation and determines people’s way of being and perception of the world.
At the heart of each such semantic world is a dominant meaning, the semantic dominant of culture. The semantic dominant of culture is that main meaning, that general attitude of a person to the world, which determines the nature of all other meanings and relationships. At the same time, culture and its semantic dominant can be realized in different ways, but the presence of semantic unity gives integrity to everything that people do and experience (see: Zharov S.N. Science and religion in the integral mechanisms of the development of knowledge // Natural science in the fight against religious worldview M: Nauka, 1988. P. 1953). By uniting and inspiring people, culture gives them not only a common way of understanding the world, but also a way of mutual understanding and empathy, a language for expressing the subtlest movements of the soul. Availability of semantic
The dominant meaning of culture is created by the very possibility of cultural studies as a science: it is impossible to immediately embrace culture in all its aspects, but it is possible to isolate, understand and analyze the dominant meaning. And then we need to study the bottling methods of its implementation, turn to the details and specific forms of its implementation.
But how is this system of meanings transmitted from one person to another? To answer this question, we must understand how the semantic world of culture is expressed and consolidated.
1.1. Concept of symbol. Symbolic forms of culture.
We know that a person expresses his thoughts and feelings with the help of signs. But culture is expressed not just in signs, but in symbols. The concept of symbol occupies a special place in cultural studies. A symbol is a sign, but of a very special kind. If a simple sign is, so to speak, a door to the objective world of meanings (images and concepts), then a symbol is a door to the non-objective world of meanings. Through symbols, the holy of holies of culture is revealed to our consciousness - meanings that live in the unconscious depths of the soul and connect people in a single type of experience of the world and themselves. At the same time, a genuine symbol does not simply “denote” the meaning, but carries within itself the fullness of its effective power. For example, an icon does not just mean God - for a believer, it expresses the Divine presence, and has the same “miraculous” power as the meaning it expresses, that is, the faith of the person himself. Or another example: in traditional military culture, a banner does not just designate this or that regiment, it carries honor itself, and losing the banner means losing honor. In this vein, the understanding of the symbol developed from Hegel to Jung and Spengler.
Culture expresses itself through a world of symbolic forms that are passed on from person to person, from generation to generation. But symbolic forms themselves are the external side of culture. Symbols become an expression of culture not in themselves, but only through human creative activity. If a person turns away from these symbols, then the symbolic world turns into a dead objective shell. Therefore, the concept of culture cannot be defined only through symbols; it is impossible to explicitly or implicitly identify culture and the symbolic world.
1.2. Man as a creator and creation of culture
Culture is the realization of human creativity and freedom, hence the diversity of cultures and forms of cultural development. However, the established culture easily acquires a semblance of independent life: it is enshrined in symbolic forms, which are inherited by each generation in a ready-made form and act as universally significant models. A supra-individual logic of culture is emerging that does not depend on the whim of an individual and determines the thoughts and feelings of a large group of people. Therefore, it would be fair to say that culture also creates a person. However, this formula will be true insofar as we remember that culture itself is a product of human creativity; It is man who through culture discovers and changes the world and himself (see: Svasyan K. A. Man as a creation and creator of culture // Issues of Philosophy. 1987. No. 6). Man is a creator, and only because of this circumstance is he a creation of culture.
“Here there is not only a scientific, but also an ethical problem: what is intrinsically valuable - a person or culture? Sometimes they talk about the intrinsic value of culture, but this is only true in the sense that without culture a person cannot realize himself as a person, realize his spiritual potential. But ultimately, the value of culture is a derivative of the self-worth of a person.
Through culture, a person can become familiar with the creative achievements of many geniuses, making them a springboard for new creativity. But this communion occurs only when a person begins not just to contemplate cultural symbols, but to revive cultural meanings in his own soul and his own creativity. Culture and its meanings do not live on their own, but only through creative
the activity of the person inspired by them. If a person turns away from cultural meanings, then they die, and what remains from culture is a symbolic body from which the soul has left (see: O. Spengler. Decline of Europe. T. 1. M., 1993. P. 329).
Of course, in everyday life it is difficult to notice the dependence of culture on a person; rather, there is an inverse dependence. Culture is the basis of human creativity, but it also holds it within its semantic framework, in captivity of its symbolic patterns. But at turning points, in eras of great cultural revolutions, it suddenly becomes apparent that the old meanings no longer satisfy a person, that they constrain the developed human spirit. And then the human spirit breaks out of the captivity of old meanings in order to build a new foundation for creativity. Such a transition to new semantic foundations is the work of genius; talent solves only those problems that do not require going beyond the existing cultural foundation. A talented person often comes to the most unexpected discoveries, because he develops general principles deeper and further than most people are capable of doing. But to step beyond the limits is the destiny of only a genius. “In genius there is always immensity. (...) Genius is from “another world,” wrote Berdyaev (Berdyaev N.A. Philosophy of Freedom. Meaningfulness. M., 1989. P. 395).
New semantic foundations are created by individual creativity; they are born in the depths of human subjectivity. However, in order for a new culture to be born from here, it is necessary that these meanings be enshrined in symbolic forms and be recognized by other people as a model, and become semantic dominants. This process is social in nature and, as a rule, is painful and dramatic. The meaning born of genius is tested in the experiences of others, sometimes "edited" so that it is more easily accepted as an article of faith, a scientific principle, or a new artistic style. And since the recognition of new semantic foundations occurs in sharp clashes with adherents of the old tradition, the happy fate of the new meaning does not at all mean a happy fate for its creator.
1.3. Dialogue of cultures
There are many cultures (types of culture) realized in human history. Each culture generates its own specific rationality, its own morality, its own art and is expressed in its own symbolic forms. The meanings of one culture are not completely translated into the language of another culture, which is sometimes interpreted as the incommensurability of different cultures and the impossibility of dialogue between them (see: Spengler O. Decline of Europe. T. 1. M., 1993). Meanwhile, such a dialogue is possible due to the fact that the origins of all cultures have a common creative source - man with his universality and freedom. It is not the cultures themselves who enter into dialogue, but people for whom the corresponding cultures outline specific semantic and symbolic boundaries. Firstly, a rich culture contains a lot of hidden possibilities that make it possible to build a semantic bridge to another culture; secondly, a creative person is able to go beyond the limitations imposed by the original culture. Therefore, being a creator of culture, a person is able to find a way of dialogue between different cultures (see: Bakhtin M. M. Aesthetics of verbal creativity. M., 1979).
Every culture is unique, and every culture has its own truths. But then how to assess the degree of cultural development? Perhaps we should recognize all cultures as absolutely equal? Many cultural scientists share this point of view. However, in our opinion, there are criteria for assessing culture. These criteria arise from the fact that the primary value is the person, the development of his personality and freedom. Therefore, the degree of development of culture is determined by its attitude to the freedom and dignity of man and the opportunities it provides for the creative self-realization of man as an individual.
1.4. Basic forms of spiritual culture
A person can realize his creativity in different ways, and the fullness of his creative self-expression is achieved through the creation and use of various cultural forms. Each of these forms has its own “specialized” semantic and symbolic system. We will briefly characterize only truly universal forms of spiritual culture, each of which expresses in its own way the essence of human existence.
Myth is not only the historically first form of culture, but also a dimension of human mental life, which persists even when myth loses its absolute dominance. The universal essence of myth is that it represents the unconscious semantic twinning of a person with the forces of immediate existence, be it the existence of nature or society. If myth acts as the only form of culture, then this twinning leads to the fact that a person does not distinguish meaning from a natural property, and a semantic (associative) relationship from a cause-and-effect one. Everything becomes animated, and nature appears as a world of formidable, but related to man, mythological creatures - demons and gods.
Religion also expresses a person’s need to feel connected to the foundations of existence. However, now man no longer seeks his foundations in the immediate life of nature. The gods of developed religions are in the realm of the otherworldly (transcendent). Unlike myth, here it is not nature that is deified, but the supernatural powers of man, and above all, the spirit with its freedom and creativity. By placing the divine on the other side of nature and understanding it as a supernatural absolute, developed religion freed man from mythological unity with nature and internal dependence on elemental forces and passions.
Morality arises after the myth goes into the past, where a person internally merged with the life of the collective and was controlled by various magical taboos that programmed his behavior at the level of the unconscious. Now a person requires self-control in conditions of relative internal autonomy from the team. This is how the first moral regulations arise - duty, shame and honor. With an increase in a person’s internal autonomy and the formation of a mature personality, such a moral regulator as conscience arises. Thus, morality appears as internal self-regulation in the sphere of freedom, and moral requirements for a person grow as this sphere expands. Developed morality is the realization of man’s spiritual freedom; it is based on the affirmation of man’s self-worth, regardless of the external expediency of nature and society.
Art is an expression of a person’s need for image-symbolic expression and experience of significant moments in his life. Art creates a “second reality” for a person - a world of life experiences expressed by special image-symbolic means. Involvement in this world, self-expression and self-knowledge in it constitute one of the most important needs of the human soul. Philosophy seeks to express wisdom in forms of thought (hence its name, which literally translates as "the love of wisdom"). Philosophy arose as a spiritual overcoming of myth, where wisdom was expressed in forms that did not allow its critical understanding and rational proof. As thinking, philosophy strives for a rational explanation of all existence. But being at the same time an expression of wisdom, philosophy turns to the ultimate semantic foundations of existence, sees things and the whole world in their human (value-semantic) dimension (see: Meshcheryakova N.A., Zharov S.N. Conceptual foundations of the philosophical method and the content of a university course philosophy //Science, education, people. M; 1991. P. 8890). Thus, philosophy acts as
theoretical worldview and expresses human values, human attitude towards the world. Since the world, taken in the semantic dimension, is the world of culture, philosophy acts as comprehension, or, in Hegel’s words, the theoretical soul of culture. The diversity of cultures and the possibility of different semantic positions within each culture lead to a variety of philosophical teachings that argue with each other.
Science has as its goal the rational reconstruction of the world based on the comprehension of its essential laws. Science is inextricably linked with philosophy, which acts as a universal methodology of scientific knowledge and also allows us to comprehend the place and role of science in culture and human life.
Culture develops in a contradictory unity with civilization (see: O. Spengler. Decline of Europe. T. 1. M., 1993; Berdyaev N. A. The will to life and the will to culture // Berdyaev N. A. The meaning of history. M., 1990; Berdyaev N. A. The spiritual state of the modern world // New World. 1990. No. 1). The creative potential and humanistic values of culture can be realized only with the help of civilization, but the one-sided development of civilization can lead to oblivion of the highest ideals of culture. The essence, human significance of culture, the laws of its existence and development are studied in cultural studies.
2. Cultural studies as a humanitarian science 2.1. The origins of cultural studies as a science
Creators of cultural studies. Culturology is a humanitarian science about the essence, patterns of existence and development, human meaning and ways of comprehending culture.
Although culture has become a subject of knowledge since the emergence of philosophy, the design of cultural studies as a specific sphere of humanitarian knowledge dates back to the New Age and is associated with the philosophical concepts of history by J. Vico (1668-1744), I. G. Herder (1744-1803) and G. V. F. Hegel (17701831). The fundamental influence on the formation and development of cultural studies was exerted by W. Dilthey, G. Rickert, E. Cassirer and O. Spengler (1880-1936), the author of one of the most interesting concepts that caused a rise in widespread public interest in cultural studies. Basic ideas and concepts of cultural studies of the 20th century. are also associated with the names of 3. Freud, C. G. Jung, N. A. Berdyaev, E. Fromm, M. Weber, A. Toynbee, K. Jaspers, M. Heidegger, J.P. Sartre, X. Ortega and Gasset, P. Lévi-Bruhl, C. Lévi-Strauss, M. Buber, etc. In our country, cultural studies is represented by the works of N. Ya. Danilevsky (1822-1885), N. A. Berdyaev (1874-1948), A. F. Losev, as well as D.S. Likhacheva, M. M. Bakhtin, A. Men, S. S. Averintsev, Yu. M. Lotman, E. Yu. Solovyov, L. M. Batkin, L. S. Vasiliev, A. Ya. Gurevich, T. P. Grigorieva, G. Gacheva, G. S. Pomerants, etc. The main ideas and concepts of cultural studies are covered in Chapter 2.
2.2. Unity of understanding and explanation in culturology Culturology as the implementation of a dialogue of cultures.
The method of cultural studies is the unity of explanation and understanding. Each culture is considered as a system of meanings that has its own essence, its own internal logic, which can be comprehended through rational explanation. A rational explanation is a mental reconstruction of a cultural-historical process, based on its universal essence, isolated and recorded in forms of thinking. This involves the use of ideas and methods of philosophy, which serves as the methodological basis of cultural studies.
At the same time, like any human science, cultural studies cannot limit itself to explanation. After all, culture is always addressed to human subjectivity and does not exist outside of a living connection with it. Therefore, in order to comprehend its subject, cultural studies needs understanding, i.e., acquiring a holistic intuitive and semantic involvement of the subject in the comprehended phenomenon. IN
in cultural studies, primary understanding precedes explanation, guiding it and at the same time being deepened and corrected by this explanation. The task of cultural studies is the implementation of a dialogue of cultures, during which we become familiar with other cultures, other worlds of meaning, but do not dissolve in them. Only in this way does the mutual enrichment of cultures occur (Bakhtin M. M. Aesthetics of verbal creativity. M., 1979.
pp. 334335,346347,371).
Therefore, cultural studies in no case can be reduced only to a system of knowledge. In cultural studies there is not only a system of rational knowledge, but also a system of non-rational understanding, and both of these systems are internally consistent and equally important for the scientific and humanitarian comprehension of culture. The highest achievement of cultural studies is the completeness of understanding, based on the completeness of explanation. This allows you to delve into the life world of other cultures, engage in dialogue with them, and thus enrich and better understand your own culture. Note that sometimes the emphasis on the “understanding” side of cultural studies leads to the appearance of works that in their style resemble works of art and are often such (this primarily applies to the philosophy of existentialism, the ideas of which had a huge influence on cultural studies of the 20th century). Despite the unusual nature of this genre, it is a necessary component of humanitarian knowledge in general (see: Meshcheryakova N.A. Science in the value dimension // Free Thought. 1992. No. 12. P. 3940).
2.3. Specifics of identifying a subject in cultural research. Cultural studies and other humanities.
Culturology studies not only culture as a whole, but also various, often very specific, spheres of cultural life, interacting (even to the point of interpenetration) with anthropology, ethnography, psychiatry, psychology, sociology, economic theory, linguistics, etc., and at the same time at the same time maintaining their own identity and solving their own research problems. In other words, cultural studies is a complex humanities science. It has its own purely theoretical sections, there are descriptive (empirical) studies, and there are also works that, in terms of the nature of presentation and the vividness of the images, approach the level of a work of art. In general, cultural studies can study any subject, any phenomenon (even a natural phenomenon), provided that it reveals in it semantic content, the realization of the creative human spirit. The problems of modern cultural studies are primarily related to the capabilities and prospects of a person who discovers through culture (including through other cultures) the drama and tragedy of his own existence, its spiritual infinity and highest meaning.
LITERATURE
Bakhtin M. M. Aesthetics of verbal creativity. M., 1979. Berdyaev N. A. philosophy of freedom. The meaning of creativity. M., 1989. Berdyaev N. A. The meaning of history. M., 1990.
Berdyaev N. A. The will to life and the will to culture // Berdyaev N. A. The meaning of history. M., 1990. Berdyaev N. A Spiritual state of the modern world // New world. 1990. No. 1. Wuber M. Me and You. M., 1993. Zharov S.N. Science and religion in the integral mechanisms of the development of knowledge // Natural science in the fight against religious worldview. M, 1988. Mezhuev V. M. Culture as a philosophical problem // Issues. philosophy. 1982. No. 10. Meshcheryakova N. A. Science in the value dimension // Free Thought. 1992. No. 12. Meshcheryakova N. A., Zharov S. N. Conceptual foundations of the philosophical method and the content of a university philosophy course // Science, education, people. M., 1991. Svasyan K. A. Man as a creation and creator of culture // Issues. philosophy. 1987. No. 6. Spengler O. Decline of Europe. T.I.M., 1993.
Chapter 2 Basic schools and concepts of cultural studies Hegel's philosophy as a theory of culture Philosophy of culture by Oswald Spengler
Man, creativity, culture in the philosophy of Nikolai Berdyaev:
The free human spirit as a creator of culture; internal contradiction of cultural creativity;
Free spirit and symbolic forms of culture Culture and the unconscious beginning of man: the concept of Sigmund Freud
Culture and the collective unconscious: the concept of Carl Gustav Jung: The collective unconscious and its archetypes Culture and the problem of the integrity of the human soul
“Challenge and Response” - the driving spring in the development of culture: the concept of Arnold Toynbee
Value as a fundamental principle of culture. (P. A. Sorokin) Culture as a set of sign systems (structuralism by K. Levy
Strauss, M. Foucault, etc.)
Gaming culture concept. (I. Huizinga, X. Ortega and Gasset. E. Fink)
There are many ideas and theories without which it is simply unthinkable to imagine modern cultural studies. However, there are not many outstanding concepts that have left an indelible mark on the entire problematic of cultural studies and determined the development of cultural thought. In this chapter we will look at a number of such concepts. Of course, lack of space does not allow us to cover them in more or less detail, and therefore we will dwell only on the most important and fundamental issues.
1. Hegel's philosophy as a theory of culture
The great idea that man is a creative being, capable of changing the world and creating himself, passed from the Renaissance to the Enlightenment. And a person is called to carry out this self-improvement, relying not on dogma and the authority of the church, but on the powers of his mind. This is how a new, not religious, but secular idea of culture arises as a comprehensive (practical and symbolic) realization of the human mind. However, the mind appeared as an essentially unchangeable ability of an individual.
This idea was a giant step towards understanding culture, but sooner or later its inherent limitations were bound to become apparent. Firstly, there was a discrepancy between the majesty of cultural tasks and the limitations of individuals bound by conditions, opportunities, etc.; the integrity and internal richness of culture were only postulated, but not explained. Secondly, the idea of human self-creation and endless cultural progress was not entirely combined with the understanding of reason as an eternal and unchanging ability (“rational nature”) of man. It turned out that the majestic stride of progress does not affect the essence of man himself. And the mind that changed and arranged the world turned out to be a collection of ideas and principles that were unchangeable and valid for all times. But even seeing these problems exist was very difficult. To do this, it was necessary to understand culture, mind, and man in a new way. This was done by the great philosopher, representative of classical German philosophy G. W. F. Hegel (1770-1831). For Hegel, culture still acts as the realization of reason, but it is already the realization of the world mind or the world spirit (Hegel uses different terms). This world spirit unfolds its essence, realizing itself in the fate of entire nations, embodied in science, technology, religion, art, forms of social order and government life. This spirit pursues its universal goals, which cannot be
explain as the sum of the plans of individual people or as the individual goal of a strong historical figure. “In general, such universal world goals... cannot be carried out by one individual so that everyone else becomes his obedient instruments, but such goals themselves pave the way for themselves - partly by the will of many, and partly against their will and beyond their consciousness” ( Hegel G.V.F. Aesthetics. In 4 volumes. M., 1971. T. 3. P. 603). Of course, all cultural creativity is directly carried out by the individual efforts of people. But in Hegel's theory, everything that people do is the implementation of the goals of the world spirit, which invisibly orchestrates history.
When first acquainted with the Hegelian concept, the question arises: why talk about the world mind when you can always point to individual creators? (Enlightenment philosophers reasoned in a similar way). However, upon closer examination, it turns out that Hegel had the most serious reasons for his theory. The fact is that the development of world culture reveals such integrity and logic of development that cannot be derived from the sum of individual efforts. Rather, on the contrary, the creativity of individual people and even entire nations is subject to this hidden logic, which reveals itself only when the entire diversity of cultural phenomena is understood as a self-developing whole. It is precisely this method of consideration that constitutes Hegel’s merit.
To better understand the significance of Hegel's discovery, let us give the following analogy. Let's imagine improvising musicians separated from each other by time and distance. At first glance, each of them plays, guided only by his own mood. But finally, a brilliant listener was found who heard all these divided voices as the sound of one orchestra and caught a single world theme, a single melody, miraculously composed of the apparent discord. Hegel acted as such a “listener” of the world cultural process. But Hegel not only grasped a single “theme” of world culture, he also managed (to continue our analogy) to make a “musical notation” of this single “world symphony”.
In other words, Hegel not only discovered supra-individual patterns of world culture, but also managed to express them in the logic of concepts. But if so, then perhaps logic is the original basis of the world and man? For Hegel, this was the most natural conclusion, and his entire concept was built on it: the basis of being is reason, thought (but not human, but self-existent, universal) and being are identical. This world mind for Hegel is the true deity.
Hegel not only formulated the general principles of his theory, but analyzed the entire path of development of world culture (in the works “Philosophy of History”, “Aesthetics”, “History of Philosophy”, “Philosophy of Law”). No thinker had created such a grandiose and harmonious logical picture before him. The development of culture in all its diversity of manifestations - from philosophy, religion and art to state forms for the first time appeared as a natural holistic process. “Philosophy... must... contribute to the understanding that... universal...
reason is also a force capable of realizing itself. ...This mind in its most concrete representation is God. God rules the world: ...the implementation of his plan is world history. Philosophy wants to understand this plan. Before the pure light of this divine idea... the illusion disappears that the world is a crazy, absurd process” (Hegel. Works M.L., 1935. Vol. VIII. Philosophy of History. P. 35).
Hegel does not at all ignore the diversity of cultural forms and qualitative differences in national cultures that have taken place in the history of mankind. Each specific historical culture here is only a step in the self-development of the world spirit, striving for its full realization.
At the same time, Hegel is faithful to the ideals of the Enlightenment, and, above all, to the ideal of freedom.
Culturology. Radugin A.A.
M.: Center, 2001 - 304 p.
The manual is written in accordance with the “State requirements (Federal component) for the mandatory minimum content and level of training of higher school graduates in the cycle “General humanitarian and socio-economic disciplines”. It examines the essence and purpose of culture: the main schools, concepts and trends in cultural studies, the history of world and domestic culture, the preservation of world and national cultural heritage.
Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
Format: doc/zip
Size: 440 KB
/Download file
Format: html/zip
Size: 358 KB
/Download file
Format: mhtml/zip
Size: 597 KB
/Download file
TABLE OF CONTENTS
Preface. 6
Section one. The essence and purpose of culture... 7
Chapter 1. Culture as a subject of cultural studies. 7
1. The concept of culture. Culture as the semantic world of man. 7
1.1. Concept of symbol. Symbolic forms of culture. 8
1.2. Man as a creator and creation of culture.. 9
1.3. Dialogue of cultures. 9
1.4. Basic forms of spiritual culture.. 10
2. Cultural studies as a humanities science. eleven
2.1. The origins of cultural studies as a science. eleven
2.2. Unity of understanding and explanation in cultural studies. Culturology as the implementation of a dialogue of cultures. eleven
LITERATURE.. 12
Chapter 2. Basic schools and concepts of cultural studies. 12
1. Hegel’s philosophy as a theory of culture.. 12
2. Philosophy of culture by Oswald Spengler. 14
3. Man, creativity, culture in Berdyaev’s philosophy. 17
3.1. The free human spirit as a creator of culture. 17
3.2. Free spirit and symbolic forms of culture: the internal contradiction of cultural creativity. 17
4. Culture and the unconscious beginning of man: Freud's concept. 18
5. Culture and the collective unconscious: the concept of Carl Gustav Jung. 20
5.1. Collective unconscious and its archetypes.. 20
5.2. Culture and the problem of the integrity of the human soul. 21
6. “Challenge and Response” - the driving spring in the development of culture: the concept of Arnold Toynbee. 22
7. Value as a fundamental principle of culture (P. A. Sorokin) 23
8. Culture as a set of sign systems (structuralism of C. Lévi-Strauss, M. Foucault, etc.) 24
9. The concept of gaming culture (J. Huizinga, X. Ortega y Gasset, E. Fink). 25
LITERATURE.. 26
Chapter 3. Culture as a system. 26
1. Structural integrity of culture.. 27
1.1. Material and spiritual aspects of culture. Man is a system-forming factor in the development of culture.. 27
1.2. Culture as a normative, value-based and cognitive activity. 28
2. Multidimensionality of culture as a system.. 31
2.1. The purpose of culture.. 31
2.2. Interaction of nature and culture. Ecological culture of human activity. 32
2.3. The relationship between culture and society. 33
LITERATURE.. 36
Chapter 4. Organizational culture and entrepreneurial culture. 37
1. The concept of enterprise culture. The value aspect of organizational culture.. 37
2. Basic elements and features of the functioning of the sign-symbolic system in the enterprise 40
3. Typology of organizational culture. The state of organizational culture at Russian enterprises 41
LITERATURE.. 43
Chapter 5. Mass and elite culture. 43
1. Concept, historical conditions and stages of the formation of mass culture.. 43
2. Economic prerequisites and social functions of “mass” culture.. 44
3. Philosophical foundations of mass culture.. 45
LITERATURE.. 48
Chapter 6. The relationship between ideological and humanistic trends in artistic culture 49
1. The concepts of “ideology” and “humanism” in modern social philosophy and cultural studies. 49
2. The relationship between ideological and humanistic trends in the modern artistic process. Universal in the system of artistic culture.. 50
3. Evolution of views on the relationship between ideological and humanistic tendencies. 52
LITERATURE.. 54
Section two. Development of world culture... 54
Chapter 1. Myth as a form of culture... 54
1. Mystical participation as the main relationship of myth. 54
2. Myth and magic. 56
3. Man and community: myth as a denial of individuality and freedom.. 57
LITERATURE.. 58
Chapter 2. Culture of the Ancient East. 59
1. Social and ideological foundations of the culture of the Ancient East. 59
1.1. Eastern despotism as the social basis of ancient cultures. 59
1.2. Myth, nature and state in the cultures of the Ancient East. 60
1.3. Combining humanity and statehood as a problem of Confucian culture.. 62
1.4. Taoism: freedom as dissolution in nature. 63
1.5. Buddhism: freedom as an internal withdrawal from life, a complete negation of existence. 64
LITERATURE... 70
Chapter 3. History of ancient culture... 70
1. Characteristic features of ancient Greek culture... 70
2. The main stages of development of Hellenic artistic culture.. 74
3. Artistic culture of Ancient Rome. 77
LITERATURE.. 80
Chapter 4. Christianity as the spiritual core of European culture... 80
1. The fundamental difference between Christianity and pagan beliefs. 81
2. Historical background of Christianity. 81
3. Fundamentals of the Christian faith. Discovery of personality and freedom... 81
4. Why Christianity became a world religion. 83
5. Spiritual and moral problems of the Sermon on the Mount. 83
5.1. Contradiction between Spirit and world. 83
5.2. Paradoxes of Christian morality. 84
6. The importance of Christianity for the development of European culture.. 85
Literature. 85
Chapter 5. Culture of Western Europe in the Middle Ages. 85
1. Periodization of medieval culture... 86
2. Christian consciousness is the basis of medieval mentality. 87
3. Scientific culture in the Middle Ages. 88
4. Artistic culture of medieval Europe... 89
4.1. Roman style. 89
4.3. Medieval music and theater. 91
5. “Spiritual forests” of modern culture. 93
LITERATURE.. 93
Chapter 6. Culture of the Western European Renaissance. 93
1. Humanism is the value basis of the Renaissance culture. 93
2. Attitude to ancient and medieval culture. 95
3. Features of the artistic culture of the Renaissance. 96
3.1. Italian Renaissance. 97
3.2. Northern Renaissance. 98
LITERATURE.. 98
Chapter 7. The Reformation and its cultural and historical significance. 99
1. Cultural and historical conditions and prerequisites of the Reformation. 99
2. The spiritual revolution of Martin Luther. 100
3. Spiritual foundations of the new morality: Work as “worldly asceticism.” 101
4. Freedom and reason in Protestant culture. 101
LITERATURE.. 103
Chapter 8. Culture of the Enlightenment. 103
1. The main dominants of the culture of European enlightenment. 103
2. Style and genre features of the art of the 18th century. 104
3. The flourishing of theatrical and musical culture.. 105
4. Synthesis of ethics, aesthetics and literature in the works of the great French educators. 106
LITERATURE.. 108
Chapter 9. The cultural crisis of the 20th century and ways to overcome it. 108
1. The contradiction between man and machine as a source of cultural crisis. The problem of human alienation from culture 108
2. Dialogue of cultures as a means of overcoming their crisis. 111
LITERATURE.. 112
Chapter 10. Artistic culture of the 20th century: modernism and postmodernism.. 112
1. Worldview foundations of modernist art. 112
2. The variety of types and forms of artistic culture of modernism. 113
3. Attempts to create synthetic forms of art. 119
4. Postmodernism: deepening the aesthetic experiments of the 20th century. 120
LITERATURE.. 121
Section three. The main stages of the development of Russian culture. 121
Chapter 1. The formation of Russian culture. 121
1. Pagan culture of the ancient Slavs. 122
2. The adoption of Christianity is a turning point in the history of Russian culture.. 123
3. Culture of Kievan Rus. 125
LITERATURE.. 127
Chapter 2. The flourishing of Russian culture.. 128
1. Culture of the Moscow Kingdom (XIV-XVII centuries). 128
2. Culture of Imperial Russia (beginning of the 17th - end of the 19th centuries) 132
LITERATURE.. 135
Chapter 3. “Silver Age” of Russian culture.. 135
1. Features of Russian culture at the “turn of centuries”. 135
2. Artistic culture of the “Silver Age”. 136
LITERATURE.. 140
Chapter 4. The Soviet period of development of Russian culture. 141
1. Ideological attitudes of communists in relation to artistic culture. 141
2. The first post-October decade in the development of Russian culture. 142
4. Sociocultural situation of the 60-70s of the XX century in Russia. 144
5. Soviet culture of the 80s of the XX century. 145
LITERATURE.. 145
Chapter 5. Protection of national cultural heritage. 146
1. On continuity in the development of culture. Organizational basis for the protection of national cultural heritage 146
2. The Russian estate is the most important part of the cultural heritage. 147
3. Revival of religious and cult culture.. 148
4. Program of the Russian Cultural Foundation “Small Towns of Russia”. 149
5. The fate of national artistic crafts and crafts of Russia. 150
LITERATURE.. 151
Conclusion. 151
Reader on cultural studies (Radugin A.A.)
The book is an anthology of thematically structured cultural texts - extracts from the works of thinkers of different eras, as well as monuments of world literature. In accordance with the requirements (Federal component) for the mandatory minimum content and level of training for higher school graduates in the cycle “General Humanitarian and Socio-Economic Disciplines,” the texts highlight the essence and purpose of culture, the main schools in cultural studies, the history of world and domestic culture, issues of preservation world and national cultural heritage.
Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
Preface
Section one. ESSENCE AND PURPOSE OF CULTURE
topic 1. Culture as a subject of cultural studies
E. Durkheim 12
topic 2. Basic schools and concepts of cultural studies
I.G. Herder 27
G.V.F. Hegel 43
A. Schopenhauer 49
F. Nietzsche 51
O. Spengler 58
ON THE. Berdyaev 81
Culture and the unconscious beginning of man: Freud's concept
Z. Freud 104
Culture and the collective unconscious: the concept of K.G. cabin boy
K.G. Jung 126
J. Huizinga 131
K. Lévi-Strauss 133
J. Derrida 137
topic 3. Culture as a system
N.P. Ogarev 144
R. Bella 145
MM. Bakhtin 155
S. Norman 156
K.D. Kavelin 161
topic 4. Relationship between ideological and humanistic tendencies in artistic culture
N.G. Chernyshevsky 203
J.P. Sartre 205
K. Marx 206
F. Engels 206
V.S. Soloviev 207
S.N. Bulgakov 210
MM. Bakhtin 213
M. Heidegger 214
Section two. DEVELOPMENT OF WORLD CULTURE
topic 5. Myth as a form of culture
A.F. Losev 218
S.A. Tokarev 219
A.A. Potebnya 223
D.D. Fraser 232
E. Kassirer 236
A. Bely 244
topic 6. Culture of the Ancient East
Bhagavad Gita 249
Mahabharata 250
Ramayana 255
Tipitaka 258
Nirvana 259
Lao Tzu 261
Confucius 263
topic 7. History of ancient culture
Plato 266
Aristotle 276
Horace 283
topic 8. Christianity as the spiritual core of European culture
Bible 288
M. Weber 292
topic 9. Culture of Western Europe in the Middle Ages
Augustine 305
Value as a fundamental principle of culture
P.A. Sorokin 308
R. Guenon 311
Le Goff J. 319
topic 10. Culture of the Western European Renaissance
Humanism is the value basis of the Renaissance culture
L. Valla 335
D. Pico Dela Mirandola 345
D. Bruno 353
M. Montaigne 355
topic 11. The Reformation and its cultural and historical significance
M. Weber 373
topic 12. Culture of the Enlightenment
N. Boileau 386
topic 13. The cultural crisis of the twentieth century and ways to overcome it
ON THE. Berdyaev 404
topic 14. Artistic culture of the 20th century: modernism and postmodernism
Technical Manifesto of Futurist Literature 416
The first manifesto of futurism by F.T. Marinetti 421
Manifesto of Surrealism 1924. Andre Breton 426
Dada Manifesto 446
Houseman et al 448
Manifesto of surrealism. Ivan Goll 449
J. Habermas 451
J.-F. Lyotard 467
Section three. MAIN STAGES OF DEVELOPMENT OF CULTURAL RUSSIA
topic 15. Formation and development of Russian culture
CM. Soloviev 472
P.N. Milyukov 480
L. Shestov 487
G.P. Fedotov 488
IN AND. Ivanov 495
D.S. Likhachev 498
V.V. Veidle 505
D.S. Likhachev 517
ON THE. Berdyaev 521
I.A. Ilyin 528
M. Gorky 529
IN AND. Lenin 546
topic 16. "Silver Age" of Russian culture
V.Ya. Bryusov 552
IN AND. Ivanov 558
topic 17. Soviet period of development of Russian culture
A.A. Zhdanov 556
