General trends and features of the development of modern culture. Test work: main trends in the development of modern domestic culture Trends in the development of modern culture

Trends in the development of culture in the modern world.

The current state of culture causes reasonable concern. One of the global problems in the development of society is the erosion of spiritual culture, which arises as a result of the total dissemination of monotonous information, isolating its consumers from the work of developing ideas about the meaning of existence in the socio-cultural process, aggravating the situation of “loss of meaning” in culture.

Overcoming the crisis and preserving culture are based on the main trends of its self-development and evolution.

Culture is an open system, that is, it is not complete, it continues to develop and interact with non-culture. For this reason, first let us pay attention to the external trend in the development of culture.

Culture is “not nature”; it arose and develops in interaction with nature. Their relationship was not easy. Gradually emerging from the power of natural forces, man - the creator of culture - made of his creation an instrument, an instrument for conquering and subjugating nature. Moreover, as soon as power over earthly nature began to be concentrated in the hands of people, the most perspicacious of them came to the conclusion that, along with nature, culture, within which negative processes arose, fell into slavery to the power of human labor. Having changed the attitude towards oneself as part of nature to the attitude towards nature as a “stranger”, man found himself in a difficult situation. After all, he and his body are inseparable from nature, which has become “alien” to culture. For this reason, man forced himself to make a choice between nature and culture. Started in the 18th century. J.-J. Rousseau's criticism of culture in some concepts was carried to the point of its complete denial, the idea of the “natural anti-culture” of man was put forward, and culture itself was interpreted as a means of his suppression and enslavement (F. Nietzsche). 3. Freud viewed culture as a mechanism of social suppression and sublimation of unconscious mental processes. And all this at a time when humanity was actively creating ways to suppress nature.

The confrontation between culture and nature has not disappeared today. At the same time, there has been a tendency to overcome it. The idea of the noosphere - the future kingdom of Reason, Goodness, Beauty - revealed in the teachings of V.I. Vernadsky and P. Teilhard de Chardin is finding an ever wider response. As one of the attributes of cultural development, the principle of conformity to nature is recognized, based on the mutually mediated ideas of culture’s responsibility to nature, on the one hand, and the relative freedom of the “second nature” from the “first”, the artificial from the natural, a certain inevitable distance between sociocultural and biological processes - with another.

The main patterns of internal development of culture are closely intertwined with the external trend of cultural development, the evolution of its relations with nature.

One of the basic trends in the internal development of culture is associated with a change in the balance of physical and mental expenditure of human energy in favor of the latter. Since the middle of the 20th century. Thanks to the use of scientific and technological advances, the need for hard physical labor began to sharply decrease. Human physical efforts play an increasingly smaller role in the reproduction of the sociocultural process. Culture, thus, increasingly defines itself as a product of the creativity of the human spirit, mind, soul. The value of spiritual efforts in this regard will steadily increase. And if previously natural science knowledge was often considered as a criterion for the progressiveness of culture, now its parity with humanitarian knowledge will be gradually restored.

Another internal trend in the evolution of culture is the transition from confrontation of “local”, “group”, “subjective” cultures to their dialogue. The 20th century introduced intense drama and a tragic sense of irreparable loss into the understanding of the cultural process. The idea of discontinuity of culture and incomparability of cultures is most consistently embodied in the concept of O. Spengler. The perception of the cultures of individual social subjects as “sealed organisms” is based on the belief that each culture grows out of its own unique “proto-phenomenon” - a way of “experiencing life.” If in the theory of cultural-historical types and cultural circles this approach is used when analyzing relations between cultures of different ethnic groups, then in left- and right-wing radical doctrines it is used when comparing cultures of different classes (the theory of “two cultures” in a class society), and in the doctrine “new left”, and then “right” - from the same positions the relationship between the “new” counterculture and the “old” culture is characterized. However, within the framework of the sociology of economic determinism, the carriers of incompatible, mutually exclusive cultures are classes, for the “new” ones - youth and the older generation. Conflict, mutual misunderstanding and rejection of cultures are seen as an absolute inevitability.

At the same time, the current situation in the sociocultural process demonstrates the futility and even disastrousness of the position of mutual ignorance of cultures.
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The need for the integrity of culture is comprehended “by contradiction” - through the awareness of the impossibility of its further existence in the form of a conglomerate of cultures.

Another important trend in the evolution of culture should be expressed as overcoming the conflict (while maintaining contradiction) between traditional culture and innovative culture. This trend is embodied in the culture of postmodernism.

No matter how conventional the designation of entire eras in the cultural life of society with the concepts of “classicism” or “modernism” is, it allows us to see how discontinuous culture is perceived in a given period.

At the beginning of the 20th century. The “modern” style established itself in culture. Modernism - the desire to reflect reality and especially culture in a new way as “not nature”, as an unnatural, artificial, pure, refined phenomenon - has permeated all spheres of spiritual life and, first of all, art and the humanities. Non-triviality, unconventionality and anti-traditionality are considered within the framework of this style as identical concepts. Gradually, what was modernism was partially included in the tradition, from which the avant-garde of culture carefully distanced itself. At the same time, in the search for forms and meanings that are not in contact with what already existed in culture (and therefore old and unnecessary), the avant-garde led itself into the dead end of the absurd - tuneless music, non-representative painting, non-explanatory science, ideology that serves not self-preservation, but self-destruction of the subject of ideology, breaking with the tradition of mythology. The natural need of the creator of culture to express the absurdity and disharmony of the world is satisfied in such a way that it leads to a deepening of the absurd.

In a culture filled with cacaphony, the need for silence is increasingly felt, which is sometimes defined as the only thing that is still missing “to replenish the golden fund of cultural values of humanity.”

Gradually, “silence” leads to calm, once-burned bridges to traditional culture are restored, and values acquired and developed by the cultures of previous eras reappear in a modern-enriched form. The broken connection of times is being restored, and once again it is revealed that “manuscripts do not burn.”

Contemporary postmodern culture is a culture that painfully but steadily overcomes the gap between the old and the new, the created and the created. Its fabric is saturated with “signs”, symbols of culture; it develops a “consensus” of desires to preserve tradition and keep up with the times.

Finally, the last of the identified trends in the evolution of culture at the present stage reflects the process of change in personality as a subject of culture. The diversity of culture from the external personality becomes internal, turns into the most important characteristic of its internal life.

The creation of modern culture by an individual presupposes its distance from both attempts to abandon the desire for integrity and from a false imitation of integrity. Internal contradiction and the desire to resolve it are the natural state of the spiritual life of the individual as a subject of culture. The one-dimensional person is replaced by a person who perceives contradiction not as a tragedy, but as a stimulus for the unfolding of the creative process.

Literature:

Main:

1. Babosov, E. M. General sociology: textbook. allowance / E. M. Babosov. -Minsk, 2006.

2. Babosov, E. M. Applied sociology: textbook. manual for universities / E. M. Babosov. - Minsk, 1999.

3. Babosov, E. M. Sociology. General sociological theory: textbook. manual for universities / E. M. Babosov. - Minsk, 1998.

4. Giddens, E. Sociology / E. Giddens. - M., 2004.

5. Lapin, N. I. General sociology: textbook. manual for universities / N. I. Lapin. -M., 2006.

6. Sociological encyclopedia / edited by. ed. A. N. Danilova. -Minsk, 2003.

7. Sociology: textbook. manual for universities / under general. ed. A. N. Elsukova. -Minsk. 2004.

Additional:

8. Durkheim, E. On the division of social labor. Method of sociology / E. Durkheim. - M., 1990.

9. Kirienko V.V. The mentality of modern Belarusians as a factor of social reform // Sociology. 1999. No. 1. pp. 35 – 57.

10. Kravchenko, A. I. Sociology: a reader for universities / A. I. Kravchenko. -M., 2002.

Trends in the development of culture in the modern world. - concept and types. Classification and features of the category "Trends in the development of culture in the modern world." 2017, 2018.

The current state of culture causes reasonable concern. One of the global problems in the development of society is the erosion of spiritual culture, which arises as a result of the total dissemination of monotonous information, isolating its consumers from the work of developing ideas about the meaning of existence in the sociocultural process, aggravating the situation of “loss of meaning” in culture.

Overcoming the crisis and preserving culture are based on the main trends of its self-development and evolution.

Culture is an open system, that is, it is not complete, it continues to develop and interact with non-culture. Therefore, to begin with, let us pay attention to the external trend in the development of culture.

Culture is “not nature”; it arose and develops in interaction with nature. Their relationship was not easy. Gradually emerging from the power of natural forces, man - the creator of culture - made of his creation an instrument, an instrument for conquering and subjugating nature. However, as soon as power over earthly nature began to be concentrated in the hands of people, the most perspicacious of them came to the conclusion that, along with nature, culture, within which negative processes arose, fell into slavery to the power of human labor. Having changed the attitude towards oneself as a part of nature to the attitude towards nature as a “stranger”, a person found himself in a difficult situation. After all, he and his body are inseparable from nature, which has become “alien” to culture. Therefore, man forced himself to make a choice between nature and culture. Started in the 18th century. J.-J. Rousseau's criticism of culture in some concepts was carried to the point of its complete denial, the idea of “natural anti-culture” of man was put forward, and culture itself was interpreted as a means of his suppression and enslavement (F. Nietzsche). 3. Freud viewed culture as a mechanism of social suppression and sublimation of unconscious mental processes. And all this at a time when humanity was actively creating ways to suppress nature.

The confrontation between culture and nature has not disappeared today. However, there is a tendency to overcome it. The idea revealed in the teachings of V.I. Vernadsky and P. Teilhard de Chardin noosphere– the future kingdom of Reason, Goodness, Beauty – is finding an ever wider response. As one of the attributes of cultural development, the principle of conformity to nature is recognized, based on mutually mediated ideas of culture’s responsibility to nature, on the one hand, and the relative freedom of the “second nature” from the “first”, the artificial from the natural, a certain inevitable distance between sociocultural and biological processes, on the other.

The main patterns of internal development of culture are closely intertwined with the external trend of cultural development, the evolution of its relations with nature.

One of main trends internal development of culture is associated with a change in the balance of physical and mental expenditure of human energy in favor of the latter. Starting from the middle of the 20th century, thanks to the use of scientific and technological advances, the need for hard physical labor began to sharply decrease. Human physical efforts play an increasingly smaller role in the reproduction of the sociocultural process. Culture, thus, increasingly defines itself as a product of the creativity of the human spirit, mind, soul. The value of spiritual efforts in this regard will steadily increase. And if previously natural science knowledge was often considered as a criterion for the progressiveness of culture, now its parity with humanitarian knowledge will be gradually restored.

Another internal trend in the evolution of culture- this is a transition from the confrontation of “local”, “group”, “subjective” cultures to their dialogue. The 20th century introduced intense drama and a tragic sense of irreparable loss into the understanding of the cultural process. The idea of discontinuity of culture and incomparability of cultures is most consistently embodied in the concept of O. Spengler. The perception of the cultures of individual social subjects as “sealed organisms” is based on the belief that each culture grows out of its own unique “proto-phenomenon” - a way of “experiencing life”. The relationship between the “new” counterculture and the “old” culture is characterized from the same positions. Thus, within the framework of the sociology of economic determinism, the carriers of incompatible, mutually exclusive cultures are classes; for the “new” ones, the youth and the older generation. Conflict, mutual misunderstanding and rejection of cultures are seen as an absolute inevitability.

However, the current situation in the sociocultural process demonstrates the futility and even disastrousness of the position of mutual ignorance of cultures. The need for the integrity of culture is comprehended “by contradiction” - through the awareness of the impossibility of its further existence in the form of a conglomerate of cultures.

Another one important trend in the evolution of culture can be expressed as overcoming the conflict (while maintaining the contradiction) between traditional culture and innovative culture. This trend is embodied in the culture of postmodernism.

At the beginning of the 20th century, the “modern” style established itself in culture. Modernism - the desire to reflect reality and especially culture in a new way as “not nature”, as an unnatural, artificial, pure, refined phenomenon - has permeated all spheres of spiritual life and, first of all, art and the humanities. Non-triviality, unconventionality and anti-traditionality are considered within the framework of this style as identical concepts. Gradually, what was modernism was partially included in the tradition, from which the avant-garde of culture carefully distanced itself. However, in the search for forms and meanings that are not in contact with what already existed in culture (and therefore old and unnecessary), the avant-garde led itself into the dead end of the absurd - tuneless music, non-representative painting, non-explanatory science, ideology that serves not self-preservation, but self-destruction a subject of ideology that breaks with the tradition of mythology. The natural need of the creator of culture to express the absurdity and disharmony of the world is satisfied in such a way that it leads to a deepening of the absurd.

In a culture filled with cacaphony, the need for silence is increasingly felt, which is sometimes defined as the only thing that is still missing to replenish the golden fund of cultural values of humanity.

Finally, the last of the identified trends in the evolution of culture at the present stage reflects the process of change in personality as a subject of culture. The diversity of culture from the external personality becomes internal, turns into the most important characteristic of its internal life.

The one-dimensional person is replaced by a person who perceives contradiction not as a tragedy, but as a stimulus for the unfolding of the creative process.

Self-test questions:

1. How can one define the subject of the sociology of culture?

2. What are the specifics of material and spiritual culture? What is the essence of the social functions of culture?

3. Cultural forms? Basic principles of culture?

4. What is the current state of culture? What are the main trends in its development?

Introduction

Development of world culture in the 20th century. is a complex and contradictory process. It was influenced by a number of factors:

Two world wars and several local ones;

Dividing the world into two camps;

The establishment and fall of fascist regimes in a number of countries;

Revolutionary pro-communist movement;

Collapse of the socialist system, etc.

All this made its own adjustments to the world cultural and historical process. In the 20th century, out of four types of cultural activities

1. religious;

2. actually cultural:

a) theoretical-scientific,

b) aesthetic and artistic,

c) technical and industrial;

3. political;

4 . socio-economic.

The socio-economic sphere has received the greatest development. At this time it was stormy processindustrializationToatculture, which manifested itself both in the development of science and technology, and in the emergence of technical branches of culture, as well as in the industrial production of works of literature and art.

The scientific and technological revolution has entered a new stage of its development. Today, the problems of automation and computerization of production are being solved. But the scientific and technological revolution had not only positive, but also negative consequences. It led to the formulation of the question of human survival, which was reflected in artistic creativity.

The industrialization of culture led to the movement of the center of world cultural progress to the most economically developed country - the United States. Using its industrial power, the United States gradually expanded its influence in the world. American stereotypes of thinking and cultural values are being imposed. This was especially clearly reflected in the development of world cinema and music. The expansion of the United States created the preconditions for establishing a monopoly in the field of culture. This forced many European and Eastern countries to intensify efforts to preserve their cultural and national traditions. However, this problem still remains unresolved. This seems problematic, especially with modern means of communication.

Exacerbation of social contradictions in the 20th century. contributed politicizationculture. This was expressed in its ideologization, in the political content of works of literature and art, in their transformation into means of propaganda, in the use of scientific and technological achievements for military-political purposes, as well as in the personal participation of cultural figures in socio-political movements. All this led, to a certain extent, to the dehumanization of world art.

1. Prospects for the development of the worldVoh culture

The future of culture is being laid today. Right now, radical changes are taking place in people's lives, which open up unprecedented opportunities and create unprecedented dangers. Which of the modern trends in social development will be of decisive importance for the culture of the future? INo-perVs, it should be noted that closerAbest desyatI'll be here for the anniversaryTharAkterize ubsever-changing timesVlet's go toattechnical-technicaleWithToOuchrevolution. There will continue to be a steady trend towards replacing scarce raw materials with the most widespread desire to save the most important components of the production process: materials, energy, human labor. In the near future, automation will cover the entire production process from start to finish. New areas and types of production activities will become widespread. One of the decisive places among them will be taken by bioengineering and biotechnology. The scope of human production activity will expand: widespread exploration of the world's oceans and space will become possible.

Spheres of intellectual labor will increasingly turn into the main branches of material production. The process of intellectualization of labor will continue, i.e. The number of people engaged in mental work will increase. When enjoying free time, this social group is characterized by a desire to join cultural values. Consequently, the importance of culture in society will increase.

WOeye faTotorus, defining trends in social and cultural development, can be calledvathere is growthVzaimosaVsuitabilityhumancommunities.

The unity of the world market, which developed back in the 19th century, has undergone changes. It has become global in the truest sense of the word, including all countries regardless of region. Industrial relations between countries are very closely intertwined. Regional economic integration has received widespread development.

Throughout the X X century. Transport developed rapidly. Communications have also undergone a revolutionary transformation. Today, any information can be reproduced and delivered in the shortest possible time in any form: printed, visual, auditory. The availability of transmitted information and the possibility of its individual consumption have expanded.

The consequence of all this was the growing intensification of the exchange of cultural values. As a result of the expanded interaction of national and regional cultures, a qualitatively new situation arose. A world culture, a common fund of civilization, began to take shape more and more clearly. This process will take many decades, if not centuries, to complete. But the primary contours of such a fund are obvious. There is every reason to talk about the generally recognized achievements of world literature, fine arts, architecture, science, industrial knowledge and skills. All this contributes to the fact that humanity is increasingly aware of itself as a global community.

Interdependence is also manifested in the fact that, along with the cultural achievements of various peoples, the negative phenomena that exist among them are becoming increasingly widespread.

Thirdfactor, which largely determines the trends in social and cultural development today, is VOhniknovetion and aboutbaggravationglobalproblems. These are problems that affect all countries and peoples in one way or another, and the solution also depends on the joint efforts of countries and peoples.

In the middle of the 20th century. appeared on the planet threatomnicide - totallyOself-destruction of the world communityVA and life as a result of nuclear and environmental disaster. Global problems of our time are studied global studies, considering the problems of man and his future. In this regard, modeling the future state and trends of global problems is becoming widespread.

In 1968, an independent community of leading scientists from different countries of the world emerged, called the Club of Rome. Periodically, this organization makes reports that are addressed to all governments and peoples of the world. Already the first reports made a shocking impression.

One of the latest reports of the Club of Rome emphasizes that “never in history has humanity faced so many threats and dangers.”

The colossal growth of the world population, which increases by 1 million people every 4-5 days, leads to a huge increase in the demand for energy and raw materials. Uncontrolled population growth is outpacing the increase in food production. Moreover, it is happening in places where there is already high unemployment and severe poverty, and the task of providing millions of people with new jobs is difficult to achieve.

This applies primarily to developing countries, where the population is predominantly young, which will lead to further population growth. By the end of the first quarter of the 19th century. it will increase from 5 billion to 8.5 billion people. Industrialized countries will face the problem of slow population growth and the problem of aging. By the middle of the next century they will make up less than 20% of the world's population.

A situation is possible when the closed world of rich countries, armed with the latest and most powerful weapons, will confront hordes of hungry, unemployed and uneducated people from the outside. Living conditions in developing countries could trigger waves of mass migration on an unprecedented scale that may be difficult to contain.

The situation in the future may be further complicated by the fact that many of the factors that previously contributed to social cohesion have now weakened. These are religious faith, respect for the political process, faith in ideology and respect for the decision of the majority.

A serious problem is the huge stockpiles of weapons of mass destruction. With the elimination of the confrontation between the USSR and the USA, the likelihood of its use decreased. However, the accumulation of such weapons is in itself extremely dangerous,

The solution to all these problems will require increased cooperation from humanity, and this is impossible without a serious shift in the scale of values, without a deep restructuring of the sphere of spiritual life and culture.

An important factor, which largely determines the future of culture, is what is already today are happeningbarknunfaithfulnand I â people's consciousnessOvechestVA. Their key point is the search for a holistic view of man in the context of his natural - in fact, cosmic - habitat. The first result of this search can be called formation of a newVview of the world, i.e. new quality of culture.

a) The modern perception of the world is materialistic; the concept of matter that is emerging today is acquiring a new meaning and is interpreted as a set of ordered energy flows that influence each other in their flow, giving rise to unpredictable processes and autonomously arising phenomena.

b) The modern perception of the world is atomistic and fragmentary. It considers all objects to be separable from each other and from their environment. A new view must take into account the connections that exist between everything that happens and has ever happened. It recognizes the meaningful connections between humans and nature and even between the globe and the rest of the universe.

c) The modern perception of the world is characterized by an understanding of nature as a huge machine, consisting of complex and subtle, but replaceable parts. The new view interprets nature as an organism with irreplaceable parts.

d) The modern perception of the world elevates economic growth to the rank of the pinnacle of social progress. The new view initially starts from the whole, consisting of social, economic and environmental components.

e) The modern perception of the world is anthropocentric. It presents man as the ruler of nature. The new view considers man to be an organic part of a self-sustaining and self-developing system of nature.

f) The modern perception of the world is Eurocentric. It views Western industrial societies as paradigms of progress. The new view embraces the entire diversity of human societies, considering them to be equivalent entities.

Importanttrend cultural development of humanity is globalization of religions. This process of changing relations between religions, leading towards the achievement of religious identity, began a long time ago (150 years ago), but developed slowly.

The contact of religions can occur in four main directions:

orthodox rejection;

tolerant coexistence;

mystical unity;

4) historical unity.

Orthodox rejection was common among all religions. Today it dominates only in some religious communities. In orthodox rejection, other religions are declared to be the “spawn of the devil” and their founders “false prophets.” This orientation does not contribute to achieving the unity of humanity to resolve fundamental issues. Currently, in many religious movements one can observe a marked rejection of such an attitude towards other religions.

The 20th century is the most dynamic in the history of human civilization, which could not but affect the entire character of its culture

General characteristics of the 20th century.: the triumph of science, human intelligence, the era of social storms, upheavals, paradoxes. Modern society, while forming high ideals of love for people, equality, freedom, democracy, has simultaneously given rise to a simplified understanding of these values, which is why the processes occurring in modern culture are so diverse.

Since the 20th century - a century of rapidly changing social systems, dynamic cultural processes, it is very risky to give unambiguous assessments of the development of culture of this period and only a few characteristic features can be identified.

In the history of culture of the 20th century. Three periods can be distinguished:

1. beginning of the 20th century - 1917 (acute dynamics of socio-political processes, diversity of artistic forms, styles, philosophical concepts);

2. 20-30 years (radical restructuring, some stabilization of cultural dynamics, the formation of a new form of culture - socialist),

3. post-war 40s. - the entire second half of the 20th century. (the time of the formation of regional cultures, the rise of national self-awareness, the emergence of international movements, the rapid development of technology, the emergence of new advanced technologies, the active development of territories, the fusion of science with production, a change in scientific paradigms, the formation of a new worldview). Culture is a system, everything in it is interconnected and mutually determined.

Spiritual and material culture of the 20th century. - this is a continuation of the socio-cultural processes of the 19th century, which did not live up to the hopes of mankind and gave rise to a new crisis and upheavals: the contradictions that had accumulated within society could not be resolved by the course of natural historical changes. At the end of the 19th century. irreversible changes have occurred regarding a new understanding of man, his relationship to the world, and a new language of art. An example of such a new attitude was given by French painting, which became not only actively temperamental, but colored by the subjective experiences of a person: impressionism appears, the main goal of which is to capture a moment of life.

A breakthrough beyond the boundaries of conventional art that developed in the 19th century also occurred at the beginning of the 20th century. At the turn of the XIX-XX centuries. Fundamental changes are taking place: culture is becoming international, integrating the spiritual values of almost all ethnic regional types and from this becoming even more diverse. This diversity could not but affect art, literature, philosophy, i.e., culture as a whole, which reflected both cultural decline and degradation of technogenic civilization at the turn of the last two centuries of the 2nd millennium, and a metaphysical approach to solving global problems, an attempt to understand the new the role of man in the world. In cultural studies, art history and science, this cultural process at the turn of the 19th - 20th centuries. was called "decadence", and art and literature - decadent. The main property and feature of decadence is confusion in the face of a dramatically changing world: society turned out to be unable to rationally and scientifically explain the changes that were taking place in politics and economics, new social relations, and a new picture of the world. A contradictory consciousness has emerged that has affected the most important element of the worldview - the question of patterns in natural and social reality. That is why there is a surge of irrationalism and mysticism, and new religious movements are emerging. At the beginning of the 20th century. Philosophical, artistic and literary thought were closely connected (especially in Russia). This is explained by the fact that the development of both philosophy and artistic culture was based on a crisis of social consciousness. Decadence arose on this theoretical basis.

The art of decadence is a reflection of all social and ideological contradictions. In 1909, Futurism appeared, its “Godfather” was an Italian writer F. Marinetti. Later, a new society of expressionists, the “Blue Rider,” appeared, adherents of Dadaism, Audiism, etc. appeared. In 1915, the “wild” Fauvists made themselves known in Paris, and in the same year, the “Bridge” appeared in Dresden, a group of united expressionist artists. Three years later, “The Bridge,” Cubism was formed. In Russia, innovative processes in culture are similar to Western European ones: they created in a lyrical spirit M. Nesterov, I. Levitan, wrote in the spirit of impressionism K. Korovin. A figurative-romantic method is being formed M. Vrubel, complex symbolism V. Borisova-Musatova. The newly appeared magazine "World of Art" focused on detachment from real life impressions, illusoryness, and masquerade, which was unconventional for Russia. And finally, the exhibition “Jack of Diamonds”, held in Moscow, defined a new direction in the development of art. Similar processes took place in literature, theater, and music.

Culture in the 20th century developed in several parallel directions. At the same time, not a single series of stylistic evolution of art and literature exhausts their entire development and does not cover it as a whole; only in interaction do they form the integral history of the culture of the 20th century.

In contrast to movements in the culture of the 19th century that were approximately the same in ideological and stylistic principles. - romanticism, academicism, realism, the artistic culture of the 20th century, breaking up into a number of movements, represents a different attitude of artistic creativity to reality. The variety of styles and methods in the culture of the 20th century, moving away from the classical techniques of artistic creativity, was called modernism. Translated from French, modernism means “new, modern.” In general, this is a set of aesthetic schools and movements of the late 19th - early 20th centuries, characterized by a break with traditional realistic movements. Modernism united various creative understandings of the features of the time of decadence: a sense of disharmony in the world, the instability of human existence, rebellion against rationalistic art and the growing role of abstract thinking, transcendentalism and mysticism, the desire for innovation at any cost
In its extreme manifestations in art, literature, and theater, modernism renounces the meaningfulness and visual originality of images, harmony, and naturalness. The essence of the modernist movement is the dehumanization of man, as he wrote about in “Philosophy of Culture” X. Ortega y Gasset. Often modernism operates within the framework of realistic reflection, but in a unique form. In addition, one should distinguish between modernism as a method and modernism as a movement. If modernism in the broad sense implies all the diversity of non-realistic trends in artistic culture, then modernism in the narrow sense is an artistic system that has a certain unity, integrity, and common artistic techniques

Close to the concept of “modernism” is another concept - “avant-garde” (French vanguard), which unites the most radical variety of modernism.

Modernism is a characteristic feature of the aesthetics of the 20th century, independent of social strata, countries and peoples. In its best examples, the art of modernism enriches world culture through new means of expression.

Along with modernism, in parallel with it, realism existed and continued to develop. At the turn of the century, it underwent multifaceted changes, manifesting itself in different ways, but most clearly as neorealism, especially in cinema ( L. Visconti, M. Antonioni, R. Rossellini, St. Kramer, A. Kurosawa, A. Vaida). Neorealism fulfilled the task of a truthful reflection of social existence, the struggle for social justice and human dignity. The principle of neorealism has found its expression in art ( R. Guttuso, E. Wyeth), and in literature ( A. Miller, E. Hemingway, A. Zegers, E.M. Remarque). Writers and artists worked from the perspective of neorealism: J. Amado, G. Marques, D. Siqueiros.

Decadent literature of the turn of the century is also represented by symbolism, the formation of which is associated with names A. Rimbaud, P. Verlaine, O. Wilde.

In the literary process of the 20th century. changes occurred due to socio-economic and political reasons. Among the main features of the literature of this time we can highlight: politicization, strengthening the connection of literary trends with various political movements; strengthening mutual influence and interpenetration of national literatures, internationalization; denial of literary traditions; intellectualization, the influence of philosophical ideas, the desire for scientific and philosophical analysis; fusion and mixing of genres, variety of forms and styles; desire for the essay genre.

In the history of literature of the 20th century. It is customary to distinguish two major periods:

1)1917-1945
2) after 1945

Literature in the 20th century. developed in line with two main directions - realism and modernism
Realism allowed for bold experiments, the use of new artistic techniques with one goal: a deeper comprehension of reality ( B. Brecht, W. Faulkner, T. Mann)

Modernism in literature is most clearly represented by creativity D. Joyce and F. Kafka, which are characterized by the idea of the world as an absurd beginning, hostile to man, disbelief in man, rejection of the idea of progress in all its forms, pessimism.

Of the leading literary movements of the mid-20th century. should be called existentialism, which as a literary movement arose in France ( J. P. Sartre, A. Camus)

The features of this direction are: the approval of “pure” unmotivated action; affirmation of individualism; a reflection of a person’s loneliness in an absurd world hostile to him.

Avant-garde literature was a product of the dawning era of social change and cataclysm. It was based on a categorical rejection of reality, the denial of bourgeois values and the energetic breaking of traditions. To fully characterize avant-garde literature, one should dwell on such movements as expressionism, futurism and surrealism

The aesthetics of expressionism is characterized by the priority of expression over image; the artist’s screaming “I” comes to the fore, which displaces the object of the image.

The futurists completely rejected all previous art; they proclaimed vulgarity, the unspiritual ideal of a technocratic society, and naivety. The aesthetic principles of the Futurists were based on the breaking of syntax, the denial of logic, word creation, free associations, and the rejection of punctuation.

Surrealism is associated with the work of the French poet G. Appolinaire, who first used this term. The leading aesthetic principle of surrealism was automatic writing, based on the theory 3. Freud. Automatic writing - creativity without mind control, recording free associations, dreams, dreams. A favorite technique of the surrealists is the “stunning image”, consisting of disparate elements. Avant-garde continued to exist in the second half of the 20th century.

In general, for literature of the 20th century. characterized by stylistic and genre diversity, non-standard literary movements that are in complex relationships.

In the art of the 20th century. There were changes in the traditional approach to reflecting reality. They manifested themselves: in a noticeable increase in the desire for generalization of the image; disappearance of detail; increasing interest in simplifications or exaggerations of individual details; shifting the author’s focus towards the inner life of the image; a shift towards transformations in the appearance of an object due to the individual vision of the artist

The art of painting was distinguished by extreme complexity, inconsistency, diversity, the desire to modify and transform traditions, a protest against academicism and the search for new forms. As a result, a crisis has matured within art itself, associated, on the one hand, with complex relationships in the artistic environment, and on the other, with difficulties in understanding innovations by the general public, who have not been able to move away from the usual academic ideals. It is not surprising that any art exhibition was accompanied by heated discussions and criticism.

Art of the 20th century developed in several directions, but no one style followed from another, no one method was the cause of the emergence of new ones. But the main thing is: none of the directions of stylistic evolution covers the entire development of art as a whole. To understand the integrity, it is necessary to consider the totality of all existing methods and styles: only in interaction do they form the history of art of the 20th century.

The fate of the most striking artistic styles turned out to be different: some (cubism, Dadaism) shone brightly, but did not receive development, others (realism) underwent numerous modifications and, being modernized, “survived” until the end of the 20th century.

By the turn of the century, realism ceased to be a single system, but functioned in different forms. Sometimes this movement took different forms, but the goal was the same. Impressionism (P. Cezanne, W. van Gogh, P. Gauguin, O. Renoir) changes style characteristics. During this period, an intensive rethinking of the tasks of art began, a movement “into the depths” of a person’s personality in order to reveal all his potential capabilities. This became the subject of heated debate about the fate of art and culture.
All forms and all trends in the art of decadence, rebelling against traditions, were called modernist. What is their essence? Firstly, in a subjectivist vision of the world, secondly, in switching attention to the aesthetic existence of the work of art itself, its coloristic and plastic design, thirdly, in proclaiming the unconditional role of imagination and fantasy in the creation of a work. As a result, there is a contrast between the artistic world and the real world. Modernism developed in several stages and manifested itself in many movements. Starting from the 60s, modernism entered the stage of postmodernism. It is not easy to understand the labyrinths of modernist movements. It is advisable to consider its most striking manifestations: abstractionism and avant-gardeism.

Abstractionism, an extreme form of modernism, arose as a challenge to society and as a consistent destruction of the real image that reflects the world by familiar means. We can say that abstractionism arose on the ruins of cubism, futurism and a number of other modernist movements that had reached their decline. V. Kandinsky, K. Malevich, P. Klee, V. Tatlin, M. Larionov, R. Delaunay, P. Mondrian and others stood at the origins of abstract art.

They, affirming the importance of the subconscious, viewed the creative process as immersion in the world of intuitive movements of the soul, the automatic transmission of their feelings. They proceeded from the fact that the connection between art and forms of life has already exhausted itself and man is not capable of understanding the world, much less capable of embodying it in plastic images due to the diversity of the new world. The means of displaying a vague subconscious image can be anything: from classical paints and canvas to stone, wire, garbage, pipes, etc. The main thing in abstract art is a combination of colors, lines, spots, strokes, divorced from natural and social reality. This is a non-objective and formless art.

In abstract art, the figurative basis that constitutes the essence of artistic creativity is excluded.

Early (1920 - 1930) abstractionism became widespread in architecture and applied art. Its breeding ground was the sentiments of the bourgeois intelligentsia.

Late (post-war years) abstractionism is represented by three streams:

1) expressive painting and graphics (free, spontaneous combination of lines and spots),
2) surrealism (gravitation towards mystery, magic, nightmarish psychological visions, delusional associations, absurd combination of various objects and images), which is most fully represented in creativity S. Dali and R. Mogritta,
3) abstract-geometric, technical art (purely decorative solutions, abstract sculpture from various types of metal using modern means of processing). Abstractionism was most fully developed in the USA.

Abstractionism was replaced by avant-gardeism. A bright surge of this trend of modernism occurred at the end of the 60s. Avant-garde lies at the heart of the ideas of the hippie counterculture, expressing protest against everything in the world, protest for the sake of protest. Avant-garde is a surrogate for art, to which beauty, the concept of beauty, and harmony are alien. Representatives of avant-garde art create between art and non-art.

The result is:

· op art (optical art) - ornamental and geometric compositions;

· spatial art; earth art; the art of new figurativeness;

· pop art (popular art).

Of the listed types of avant-gardeism, the most famous is popular, or pop Art. Artists who create in this style use in their work real objects, advertising, photography, any other images taken from their natural environment, and create arbitrary combinations of them, trying to find a relationship, or without any relationship. The result is a so-called artifact (an artificially arranged composition, structure), and not a work of art. This composition should evoke certain associations and experiences that arise in addition to the artistic impression.

Pop art emerged as a kind of reaction to the phenomenon of abstract art, opposing its extreme abstraction. A prominent representative of pop art is K. Rauschenberg, American artist.

Pop art manifested itself as the aggression of mass culture, revealed everything that it carried, turning art into a spectacle, reflecting irreconcilability with modernity. In the Soviet Union, avant-gardeism also manifested itself as a protest against officialdom in culture, against social realism, but as “catacomb”, that is, illegal, modern art. Realism as an artistic phenomenon in art combines two principles - ideological and methodological. Realism in 20th century culture is the continuing influence of 19th century culture. Along with the direct tradition inherited from this century, two new trends in realism are emerging.

Picturesque realism - gravitates towards an emotional, impulsive interpretation of the image, as if under the influence of the ideas of impressionism,

Socialist realism - focuses on solving social problems.

In the works of the first, the world is presented naturalistically, impulsively, emotionally, and vividly. Artists of this movement were primarily interested not in events and actions, but in the state of the environment, uniting objects and figures into a pictorial whole that did not require a strict construction of space. This type of realism tends to be multicolored, richly colorful, broad strokes, graphic lines and silhouettes.

The style of the artists of this school can be said to be a synthesis of impressionism and modernism. A significant place in their work was occupied by the people as the bearer of sustainable beauty. Folk motifs in their works appear in a colorful, festive form ( A. Zorn, A. Arkhipov, K. Yuon). In line with pictorial realism, plein air, landscape-lyrical painting, in which the character and state of nature were interfaced with the moods and feelings of man, reached a special rise ( I Grabar, K. Yuon). They worked in the genre of theatrical portraits M. Vrubel, P. Kustodiev, V. Serov.

Social realism is a form of realism that focuses on the reflection of social reality, promoting socialist ideas in the forms of an artistic ideal. Socialist realism is characterized by allegorical, symbolic compositions glorifying freedom and labor. Concepts and judgments about life are expressed in this art indirectly in the artistic theme of the work, which contains a conceivable, desired world. The democratic beliefs or sentiments of socialist realist artists, their humanistic views, feelings of the drama of life are reflected in their work (early Picasso, A Matisse, M Saryan, P Kuznetsov).

Both events and characters are depicted as they are, without a touch of romance or beautiful fiction ( N. Kasatkin, E Munk, A Arkhipov) In the art of socialist realism, the theme of awakening the people, awakening their consciousness consistently developed.

One of the varieties of realism is neorealism, whose representatives were P. Picasso, F Leger, A Fou-geron, A Tsitsinato.

Particular attention should be paid to the Mexican school of neorealism - the muralists, the essence of which was to decorate public buildings with cycles of frescoes from the history of the country, the life of the people, their struggle. Monumentalists recreated the art of the Aztecs, Mayans, and turned to the monumental art of the Renaissance. The main character of these frescoes is the people. Philosophically generalizing social phenomena and historical events, penetrating into their deep meaning, the artists of this school laid the foundations of democratic national art ( D. Rivera, D. Siqueiros, X. Orozco, R. Guttuso).

In the 80s new forms of realism arose, called “angry realism”, hyperrealism, or photo-documentary painting, naive realism, folk realism, etc. This suggests the conclusion that the term “realism” can be applied in a conditional form to that conglomerate of realistic schools and movements. But, nevertheless, realistic art is now very widely developed.
The main trends in the development of modern culture include the process of forming the integrity of the world. The integrity of the world is the interconnection and interdependence of people and nations. It appeared as a result of the development of production on a global scale and the emergence of global problems. The integrity of the world served as the basis for the formation of modern humanity and a single universal human culture.

Humanistic principles and ideals have become widespread in modern culture. The essence of modern humanism lies in its universality: it is addressed to every person, proclaims the rights of everyone. In other words, we are talking about democratic humanism.

The humanistic orientation of the culture of the 20th century manifests itself in various spheres - economic, moral, political, artistic, etc. this trend determined, for example, the formation of political culture in advanced countries

Another important result of the development of culture, perceived in our century, is the orientation towards scientific and rational knowledge of the world and the socio-cultural system associated with it - science. The global scientific integrity that emerged in the 20th century marked the beginning of the economic unification of the world. The internationalization of industrial and economic relations is growing. One of the expressions of this process has become transnational corporations with their uniform forms of organizational culture operating in dozens of countries and on various continents. The increasing internationalization of life in the modern world is evidenced by the all-encompassing nature of the scientific and technological revolution and the fundamentally new role of the media and communications.

The technogenic attitude towards nature as a means of satisfying technical needs has become one of the leading trends in the development of culture in the 20th century.

Also, one can observe the tendency of the formation of a single planetary civilization, which is based on the ever-increasing intensity of various kinds of connections: communication, political, economic. As a result, a new systemic quality emerges - world civilization, the interconnection of different countries and peoples increases, crisis and anti-cultural phenomena in one sector are reflected in other regions. At the same time, a more intense global interconnection arises when cultural patterns, scientific achievements, works of art, new forms of social and political life are transmitted and assimilated in a fairly short time throughout the entire civilizational space.

One of the methodological approaches that conceptually comprehends the ongoing changes was the idea of the Japanese sociologist E. Masuda. In 1945, he proposed the theory of the "information society". This is a society united by a single information network. A new information culture is emerging, new ways of obtaining information, production and scientific activities. The concept of the “information society” determined the ways of forming the “material body” of culture.

Cultural modernization.

In the second half of the century, developed countries increasingly abandoned assembly lines, standard consumption went out of fashion, individuality and the difference of people became popular, and political pluralism and cultural diversity were considered the preferred values. The economy has moved from serial, continuous production to small-scale and individual production; small businesses and venture capital firms have flourished in the vicinity of large transnational corporations; enterprises and institutions have moved from cumbersome bureaucratic structures to flexible matrix organizations.

The era of unmanned production has arrived. The main characters were “white collar workers” - workers employed in automated production, scientific and applied development, as well as in the information sector. A special form of employed people has emerged - “computer home workers”, who press the keys of ultra-precise machines and operate with huge flows of information.

Thus, the first and second half of the 20th century are two qualitatively different sociocultural eras. In the first half there were two world wars, in the second - none. The nuclear danger looming over the entire planet made us feel the fragility of human existence and led to the formation of a hitherto unseen type of worldview, which is called planetary thinking. It is based on completely objective processes - the transition of the most developed countries in the 70s from the era of industrial society to the post-industrial era, which is also called the “cybernetic” and “information society”. Personal computers, automatic word processing, cable television, video discs and recording devices have moved from scientific laboratories into everyday life.

Every year, information in the world doubles and triples, and new information channels appear.

The 20th century is called the most dynamic in the history of mankind. The processes of renewal, or modernization, have affected all countries of the world and each person individually. Scientists came up with the theory of modernization, and artists came up with a new style of art called modernism.

Considering the cultural situation of the first half of the 20th century, which developed under the sign of modernism, it can be noted that art historians understand it in two ways - in a broad and narrow sense. In the first, it denotes the entire set of artistic movements, schools and trends of the early 20th century, which expressed a departure from the cultural values of the 18th-19th centuries and proclaimed new approaches and values. Fauvism, expressionism, cubism, futurism, abstractionism, dadaism, surrealism - this is a far from complete list of areas of artistic search at the beginning of the 20th century.

In a narrow sense, modern designates only one direction in art. In this case, its name is placed in quotation marks. "Modern" (fr. moderne- the latest, modern, art nouveau, art nouveau) - a stylistic direction in European and American art of the late 19th - early 20th centuries. The new direction spread throughout Europe and primarily affected architecture and decorative arts. Representatives of "modern" used new technical and constructive means, free planning, and unique architectural decor to create unusual, distinctly individualized buildings ( X. Van der Velde in Belgium, I. Olbrich in Austria, A. Gaudi in Spain, C.R. Mackintosh in Scotland, F.O. Shekhtel in Russia). In Italy it was called the floral style, or "liberty", in Great Britain - the "modern" style, in Spain - modernism, in Belgium - the Velde style, in Austria - secession, in Germany - art nouveau. The Art Nouveau style arose as a reaction to eclecticism and the lifeless copying of historical styles of the past. Art Nouveau is characterized by flexible, flowing lines and stylized floral patterns. The eccentric decorative style was used to decorate large stores, which at this time began to be built in the large cities of Europe and America, and world exhibitions, thus symbolizing the prosperity and power of trade.

When they talk about the broad meaning of modernism, they also use the term “avant-garde.” In other words, the mentioned movements can be called either modernist or avant-garde. Avant-garde (avant-garde) - a collective name for those artistic trends that are more radical than the art style "modern". This term, unlike modernism, has one meaning.

Modernism (avant-garde) is associated with the departure of culture from realism, with the proclamation of the independence of art from reality. The performances of modernist artists often took the form of an anarchic aesthetic rebellion against established traditions and canons in art. Avant-garde meant those who were ahead of everyone, that is, those who experimented with artistic material, creating new, unique style, language, and content in the visual arts. Revolutions and wars into which the whole world is drawn do not prevent experiments and the search for new things. There is a revision of previous ideas about beauty, color and space. Paris is becoming a place of pilgrimage for artists from all over the world. The taste for sharp, destructive deformation turned out to be the banner of the new century.

Development of world culture in the 20th century. is a complex and contradictory process. It was influenced by a number of factors:

Two world wars and several local ones;

Dividing the world into two camps;

The establishment and fall of fascist regimes in a number of countries;

Revolutionary pro-communist movement;

Collapse of the socialist system, etc.

All this made its own adjustments to the world cultural and historical process. In the 20th century, out of four types of cultural activities

1. religious;

2. actually cultural:

a) theoretical-scientific,

b) aesthetic and artistic,

c) technical and industrial;

3. political;

4. socio-economic.

The socio-economic sphere has received the greatest development. At this time it was stormy process of industrialization of culture, which manifested itself both in the development of science and technology, and in the emergence of technical branches of culture, as well as in the industrial production of works of literature and art.

Exacerbation of social contradictions in the 20th century. contributed politicization of culture. This was expressed in its ideologization, in the political content of works of literature and art, in their transformation into means of propaganda, in the use of scientific and technological achievements for military-political purposes, as well as in the personal participation of cultural figures in socio-political movements. All this led, to a certain extent, to the dehumanization of world art.

1. Prospects for the development of world culture

The future of culture is being laid today. Right now, radical changes are taking place in people's lives, which open up unprecedented opportunities and create unprecedented dangers. Which of the modern trends in social development will be of decisive importance for the culture of the future? Firstly, it should be noted that the coming decades will be characterized by the accelerating development of the scientific and technological revolution. There will continue to be a steady trend towards replacing scarce raw materials with the most widespread desire to save the most important components of the production process: materials, energy, human labor. In the near future, automation will cover the entire production process from start to finish. New areas and types of production activities will become widespread. One of the decisive places among them will be taken by bioengineering and biotechnology. The scope of human production activity will expand: widespread exploration of the world's oceans and space will become possible.

The second factor, defining trends in social and cultural development, can be called the growth of interdependence of the human community.

The one-world market, which developed back in the 19th century, has undergone changes. It has become global in the literal sense of the word, including all countries, regardless of region. Industrial relations between countries are very closely intertwined. Regional economic integration has received widespread development.

Throughout the 20th century. Transport developed rapidly. Communication media have also undergone a revolutionary transformation. Today, any information can be reproduced and delivered in the shortest possible time in any form: printed, visual, auditory. The availability of transmitted information and the possibility of its individual consumption have expanded.

Interdependence is also manifested in the fact that, along with the cultural achievements of various peoples, the negative phenomena that exist among them are becoming increasingly widespread.

The third factor, which largely determines the trends in social and cultural development today, is emergence and aggravation of global problems. These are problems that affect all countries and peoples in one way or another, and the solution also depends on the joint efforts of countries and peoples.

In the middle of the 20th century. appeared on the planet the threat of omnicide - total self-destruction of the world community and life as a result of nuclear and environmental disasters. Global problems of our time are being studied global studies, considering the problems of man and his future. In this regard, modeling the future state and trends of global problems is becoming widespread.

In 1968, an independent community of leading scientists from around the world emerged, called the Club of Rome. Periodically, this organization makes reports that are addressed to all governments and peoples of the world. Already the first reports made a shocking impression.

One of the latest reports of the Club of Rome emphasizes that “never in history has humanity faced so many threats and dangers.”

This applies primarily to developing countries, where the population is predominantly young, which will lead to further population growth. By the end of the first quarter of the 21st century. it will increase from 5 billion to 8.5 billion people. Industrialized countries will face the problem of slow population growth and the problem of aging. By the middle of the next century they will make up less than 20% of the world's population.

An important factor, which largely determines the future of culture, is what is already today fundamental changes are taking place in the consciousness of humanity. Their key point is the search for a holistic view of man in the context of his natural - in fact, cosmic - habitat. The first result of this search can be called formation of a new view of the world, i.e. new quality of culture.

a) The modern perception of the world is materialistic; the emerging concept of matter takes on a new meaning and is interpreted as a set of ordered energy flows that influence each other in their flow, giving rise to unpredictable processes and autonomously arising phenomena.