A special sphere of culture is a sovereign holistic formation. Sociocultural foundations of the marginality of rock culture

SUB-CULTURE is a special sphere of culture, a sovereign integral formation within the dominant culture, distinguished by its own. value system, customs, norms. The culture of any era has relative integrity, but in itself it is heterogeneous. Inside the conc. culture, the urban environment differs from the rural, official. - from folk, aristocratic. - from democratic, Christian - from pagan, adult - from children's. The society is in danger of breaking into groups and atoms. Any cultural era appears to us as a complex spectrum of cultural trends, styles, traditions and manifestations of people. spirit.

Even in ancient culture, the edges are mute. to the poet Hölderlin it seemed holistic and monolithic, Nietzsche saw the opposition between the Apollonian and Dionysian principles, which are not the fruit of myth-making. fantasies, and “two are valid. the focus of a single being” (V. Shmakov), generating both the ascent and decline of the flow of life.

In a cultural era, different trends and formations coexist, esoteric. and profane, elite and mass, official. and folk, language. and Christian. So, in the Middle Ages. worldview and life system is new spiritual, i.e. Christian, the beginning coexisted with the old, pagan.

During the Renaissance, the vast world of laughter forms of carnival creativity opposed the official. and the serious culture of the Middle Ages. Folk culture appeared in the extreme diversity of subcultural phenomena that had a single style and constituted something relatively holistic - a folk-laughing, carnival culture.

Cultures of different eras demonstrate a complex range of subcultural phenomena. Individual sections of culture are, as it were, fenced off from the main path of spiritual creativity. In fact, what does the carnival atmosphere of the Mysteries, “Feasts of Fools,” and street processions have to do with the glorification of tournament winners, knighting, royal rituals, or sacred rites? In the complex gaming sociocultural aspect, these components, as Bakhtin shows, interact. But the official serious culture determines, as it were, the dominant content of the era. It is separated from the public culture of laughter. And beyond the Renaissance, this opposition between official and popular culture does not disappear. Cultural creativity, with all its dynamics, does not at all lead to the fact that folk culture suddenly turns out to be more significant or the defining dominant of the era. In this sense, a distinction can be made between the concepts of “counterculture” and “subculture”. Through them one can discern the mechanisms of sociocultural dynamics.

Certain cultural formations reflect social or demographic. features of its development. Inside decomposition societies, groups are born specific. cultural phenomena. They are fixed in special features of human behavior, consciousness, and language. In relation to subcultural phenomena, a characteristic of a special mentality as specific has arisen. mood of specific groups.

Subcultural formations of culture in the literature. to the extent they are autonomous, closed and do not pretend to replace the dominant culture, to displace it as a given. We can talk about a special code of rules and moral norms within an ethnic group. Gypsies, for example, do not consider it shameful to steal from “strangers.” However, such an act committed inside the camp is considered a crime. Strictly legal life is not practiced here either. The fate of a person who has violated covenants is decided by the elders, guided by traditions and their own understanding. Disrespectful. treating an old person will not be perceived as a virtue in the Caucasus.

Prisoners who speak a special jargon also develop unique standards of behavior that are typical only for a given environment.

We call phenomena of this kind S.: this designation captures the tightness of this phenomenon. Gypsies do not at all pretend to the universality of their life and practice. installations. On the contrary, they are only interested in preserving their own. laws as opposed to those prevailing in culture, which they perceive as “foreign”. The same can be said about the criminal world. The funny carnival culture remains a subcultural formation and does not at all strive to turn into officialdom. S. is designed to keep sociocultural characteristics in the definition. isolation from the “other” cultural layer.

In modern world example of S. can be considered a religion. sects These cult associations are often called authoritarian. Sects are usually led by charismatic people. leaders who consider themselves prophets or even deities. In many sects there is unanimity and strict discipline. The spirit of a free society is often lost here. However, despite the harsh measures applied to adherents of “new religions”, prosecutorial opinions and threats, many years of work with cult associations have not yielded tangible results. On the contrary, it often causes a boomerang effect. Supporters of eccentric beliefs appear as victims, martyrs, sufferers.

Subcultural trends in society are largely brought to life by the desire of the official. culture fills all the pores of the social organism. Party ideology automatically gave rise to dissidence. Total rationalism cannot but cause a similar response. Thus, fundamentalism serves as the source of modernism.

S. are persistent and at the same time do not influence the general trunk of culture; they are born, live and are eliminated, while the leading structure of culture is preserved. Mannheim conceptualized this problem traditionally. within the philosophy of life. Cultural cycles are likened to it. sociologist of life, biological. The solution came down to the fact that S. are due to generational differences.

The problem of socialization is considered in cultural studies within the framework of the concept of socialization. It is assumed that familiarization with cultural standards, entry into the world of the dominant culture, adaptation to it is a complex and contradictory process, rich in psychology. and other difficulties. This gives rise to the special life aspirations of young people, who appropriate from the spiritual fund what corresponds to their life impulse and value quests.

This is how, according to many cultural experts, definitions are born. cultural cycles, determined, in general, by the change of generations. Youth embodies a new history. reality, creates its own S., edge, although it does not cause immediate tangible changes in the main path of culture, at the same time it influences diverse sections of culture, fashion, lifestyle, behavior and, in general, the style of the cultural era.

Lit.: Shmakov V.A. Fundamentals of pneumatology. Book 1-2. M, 1922; Davydov Yu.N., Rodnyanskaya I.B. Sociology of counterculture. M., 1980; Soloviev Vl. Works: In 2 volumes. T. 2. M., 1988; Bakhtin M. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. M., 1990; Fuchs E. Illustrated history of morals: The Renaissance. M., 1993; It's him. Illustrated history of morals: The Gallant Age. M., 1994; It's him. Illustrated era of morals: The bourgeois age. M., 1994; Petrov D.V. Youth subcultures. Saratov, 1996.

Prisoners who speak a special jargon also develop unique standards of behavior that are typical only for a given environment.

10) How do the concepts of “subculture” and “counterculture” relate?

concept in modern cultural studies and sociology; used to denote sociocultural attitudes that oppose the fundamental principles prevailing in concrete. culture, and is also identified with the youth subculture of the 60s, reflecting the critical. attitude towards modern culture and its rejection as “the culture of the fathers.”

The term “K.” appeared in zap. literature in the 60s. and reflected the liberal assessment of the early hippies and beatniks; belongs to Amer. sociologist T. Rozzak, who tried to unite the various. spiritual trends directed against the dominant culture into a relatively holistic phenomenon - K.

In the 20th century culturologists drew attention to the phenomenon of culture, its role in history. dynamics; This topic is no longer perceived as peripheral, private, touching on side themes of the general cultural flow. Not only sociologists and cultural scientists, but also cultural philosophers joined the discussion of the problem. Many researchers have come to the conclusion that it is this question that allows us to finally approach the comprehension of culture itself as specific. phenomena, to recognize the mechanisms of its renewal and transformation.

In the history of culture, situations arise when local sets of values begin to claim a certain universality. They go beyond their own boundaries. cultural environment, herald new values and practices. installations for broad social communities. In this case, these are no longer subcultures, but rather countercultural trends.

The persistence and renewability of youth subcultures seems to make the term K unnecessary. Meanwhile, in the context of modern times. Through his quest, he acquires a deep cultural philosophy. meaning. Culture does not develop at all through a simple increase in spiritual treasures. If the process of cultural creativity proceeded smoothly, without turns and painful mutations, today humanity would have an extensive monoculture. In Europe, in particular, ancient culture would still be expanding itself in an expansionist manner.

The cultural process, like the scientific one, gives birth to new cultural eras that differ radically from each other. Paradigm shifts are constantly occurring in culture. These deep transformations are generated by - K. Cultural philosophy does not have another concept that would indicate general sociology. the nature of this kind of transformation.

In history, social realities are constantly changing, new spiritual values are born. The disintegration of old forms of life and the emergence of new value motives lead to intense fermentation, which requires its expression. These searches do not always give birth to a new culture. But for a fundamentally different era to arise, new value orientations are needed that change the structure of all life.

K., in cultural philosophy. interpretation, constantly manifests itself as a mechanism of cultural innovation. It therefore has enormous potential for renewal. The birth of new value guidelines is the heralding of a new culture. It has become a commonplace to repeat the idea that K. is already a historian. fact, archaic. Officially, the dominant culture has survived, having managed to absorb elements of countercultural trends and preserve its own. core. The onslaught of new value orientations turned out to be short-lived.

In modern the world has undergone a radical revaluation of work ethics, the meaning of life, relations between the sexes, and the traditions of rationality. D. Bell, for example, noted that traditional. Protestant culture has now been replaced by a new culture, which he, in accordance with his neo-conservative beliefs, calls modernist.

In the context of such studies, the concept of “K.” takes on a completely different meaning than the concept of “subculture”. Counter cultural meaning in modern times. the world have no department. phenomena, but the entirety of subcultures. By preserving and renewing themselves, they at the same time provoked a real revolution of values. K., therefore, is the cumulative effect of the search for a new value core of modernity. culture.

Confrontation with the dominant culture, the birth of new values and practices. attitudes is a process that constantly reproduces itself in world culture. The birth of Christianity is essentially a countercultural phenomenon in the clash of the emerging Christ. Churches from Rome. empire.

The history of Christianity in Europe began with opposition to the dominant culture, with the proclamation of new shrines and life institutions. To the same extent, the departure from Christ. culture involves first a change in value attitudes. Not only religious, but also secular culture, as a rule, during its formation, professes renunciation of officialdom. canons, whether we are talking about ideological, ethnic. or aesthetic installations.

Any new culture, specific culture. era arises in the process of realizing the crisis of the previous sociocultural paradigm. From this point of view “First Axial Age” (Jaspers) is a kind of way out of the cultural crisis of the era of the emergence of world religions. Christianity arose as a break in the language. consciousness of antiquity. The Cynic movement in antiquity was countercultural, the Romantic movement will enlighten in the end. era in Europe.

E. Tiryakyan (Canada) back in mid. 70s saw in countercultural phenomena powerful catalysts of cultural history. process. Abroad. publications from the 80s to the beginning 90s indicate that in modern There is a “revolution of consciousness” taking place in the world. It marks the birth of a new culture. The understanding of culture as the core of future cultural paradigms becomes Western. cultural studies traditional.

Ross. The society is now in the process of countercultural demarcation. New sociocultural groups are born that have specific characteristics. mentality, lifestyle, values. One thing is certain: the formation of a new culture in our country is impossible without a long streak of countercultural phenomena.

Subculture is a special sphere of culture, a sovereign integral formation within the dominant culture, distinguished by its own value system, customs, and norms. Subcultural trends in society are largely brought to life by the desire of official culture to fill all the pores of the social organism. Party ideology automatically gave rise to dissidence. Total rationalism cannot but cause a similar response. Thus, fundamentalism serves as the source of modernism. Subcultures are persistent and at the same time do not affect the general trunk of culture; they are born, live and are eliminated, while the leading structure of culture is preserved. The problem of subculture is considered within the framework of the concept of socialization. It is assumed that familiarization with cultural standards, entry into the world of the dominant culture, adaptation to it is a complex and contradictory process, saturated with psychological and other difficulties. This gives rise to the special life aspirations of young people, who from the spiritual fund appropriate for themselves what corresponds to their life impulse and value quests. Youth embodies a new historical reality, creates its own subculture, which, although it does not cause immediate tangible changes in the main path of culture, at the same time influences diverse sections of culture, fashion, lifestyle, behavior and, in general, the style of the cultural era.

A subculture is most often understood as a culturally specific group, compact, relatively small and relatively isolated from the rest, which differs from the base culture in a number of ways. Such characteristics may include language, religion, customs, morals, economic structure, and attitude to art. These specific characteristics are usually generated by the relatively isolated existence of this group. The differences of the subculture are fixed in special features of behavior, consciousness, language, that is, what are called mental differences. These features are sufficiently recognized by those who are included in this subculture. Typically, a subculture does not seek to extend its value system to the entire culture. Its task is to preserve its uniqueness, cultural uniqueness within a limited group.

The concept of “subculture” is of great importance due to the fact that it captures the fact of the presence of different cultures within one society. In contrast to the earlier concept of youth culture, which implied the existence of a single, homogeneous youth culture, the concept of subculture emphasizes the fragmentation of this culture, especially along class lines. Just as in the case of “counterculture,” the concept of “subculture” implies the presence of some form of resistance to the dominant culture. At the same time, the concept of “counterculture” is more often used in relation to groups that are able to give a clear definition and justification for the position they occupy, while representatives of subcultures articulate their opposition, as a rule, by exploiting the importance of certain styles of clothing and behavior patterns (or rituals) . In this regard, semiotic approaches that decode the manner of clothing and behavior of representatives of subcultures have become widespread.

Traditional culture is a stable, non-dynamic culture, the characteristic feature of which is that the changes occurring in it are too slow and therefore are practically not recorded by the collective consciousness of this culture. There have been a number of civilizations in history whose culture can be considered traditional. We are talking about Ancient Egypt, Ancient China, Sumer, Assyria, Ancient India, etc. These traditional societies reproduced the existing way of life for thousands of years, when the past of adults turned out to be the future of their children. The death of some states and the emergence of others in their place did not change the type of culture itself. The foundation of culture was preserved and passed on as social heredity, ensuring the reproduction of the traditional type of development. Not only did man not feel any discord with society, but nature also organically interacted with this culture, proving its unity with it through numerous examples. However, despite all the originality and originality of these cultural formations, they have some common features: 1) orientation towards the repetition of a once given way of life, customs, traditions and the reproduction of established social structures; 2) adherence to existing patterns of behavior; 3) the dominance of sacred, religious-mythological, canonized ideas in the mind; 4) slow pace of changes in the types, means and goals of activities. Traditional culture is inherent in pre-industrial society, in which the main occupation is agriculture, hunting and gathering. As a rule, such cultures do not have writing. An approach to structuring the culture of a particular society is to identify so-called subcultures within it.

Subculture (from Latin sub. - under) is an integral culture of a certain social group of people within the “big” national culture, consisting of stable norms, rituals, appearance features, language (slang), artistic creativity, etc. In terms of content, subculture is a closed system of values and means of expression with the help of which a specific community of people tries to rethink the dominant system of basic values in society, and in some cases, to resist it. In the modern world, various subcultures are: 1) teenage subcultures (rockers, bikers, hippies, etc.), breaking the traditional mechanisms of socialization and trying to create a specific way of life and cultivate their isolation; 2) criminal subcultures (hooligans, scammers, prostitutes, drug addicts, etc.), creating standards of behavior that are typical only for a given environment; 3) religious, authoritarian sects (“Jehovah’s Witnesses”, “AUM Shinrikyo”, etc.), professing unanimity and the strictest discipline.

The entire set of subcultures and their claims to a certain universality form countercultural tendencies. Counterculture (from Latin contra - against) is a category denoting new sociocultural values and attitudes that contradict the fundamental principles of traditional culture. In modern cultural studies, the concept of “counterculture” has two meanings: 1) opposition to the fundamental values of the dominant culture; 2) identification with youth anti-bourgeois protests of the 60s of the 20th century, which demonstrated a complete rejection of the core principles of Western culture and its rejection as the “culture of the fathers.” The term “counterculture” itself was introduced into scientific circulation by the American sociologist Theodore Roszak. The bearer of the counterculture is the youth of the industrialized countries of the West, and the most famous representatives are the subcultures of “hippies,” “punks,” “rockers,” “teenagers,” etc. Figures of various branches of the counterculture: 1) elevate contemplation and aimless pastime into a cult; 2) ignore the individual-personal principle of life as the highest value of classical Western civilization.

The relationship between culture and subculture must be considered within the framework of the concept of cultural development. The dominant culture represents a certain program for the development of society, within the framework of which many subcultures, both traditional and innovative (including youth subcultures), coexist. Today the very concept of “dominant culture” sounds incorrect. Postmodern trends have led to the acceptance of all cultural forms. Therefore, we can talk about modern culture as a set of subcultures. As existing conditions change, both from the “external” world (material phenomena) and from the “internal” (world of consciousness), culture undergoes many changes. Possessing a set of traditional values, culture must satisfy basic human needs. But transforming social relations no longer accept them. In this case, a subculture serves as a tool for updating and adapting culture. The question arises about the role of counterculture in this process. In our opinion, counterculture is a stage in the development of a subculture. It emerges from the subculture precisely at turning points for culture. Playing the role of a cultural explosion, a revolution, it, having picked up “unnecessary” values at one time, throws them out for the judgment of society. Over time, they move from the category of countercultural, i.e. hostile to culture and society, into the category of traditional, accepted by the majority. As a result of the process of “inversion”, i.e. change of the cultural paradigm, the counterculture dissolves, again acquiring a subcultural form.

In the mid-60s of the 20th century, great changes occurred in the professional music world. Rock music, which had formed by that time as an integral and meaningful layer of modern mass culture, pushed into the background even such a popular musical phenomenon of the 20th century as jazz. To a large extent, this was facilitated by its democracy, freedom from many academic conventions, inseparable, in fact, from most forms of jazz. Rock music is a qualitatively new type of youth music that emerged in the mid-1960s, which is characterized by a combination of protest texts with high-level instrumental music. As a social phenomenon, rock music personified in the minds of young people a protest against the inert morality of the parents' generation, against the suppression of human rights, senseless violence (the Vietnam War), lack of spirituality - and, above all, it was in demand in this capacity by the new generation. But it was precisely the stylistic versatility and high professional level of rock performers that were later able to provide rock music, on the one hand, with a response from the widest possible audience (not only youth), and on the other, the status of the brightest phenomenon of musical culture of the second half of the 20th century.

Currently (the beginning of the 21st century) we see on stage both the older founders of rock and many new, younger performers who declare that the music they perform is rock music. But do famous rock musicians actually continue the “line” of rock culture and do these new performers have anything to do with it, or have all these forms of musical activity long ago turned, in fact, into anti-rock? These are questions that are not at all easy to answer. . It is quite understandable that authoritative researchers of rock music and rock culture answer them differently.

It should be emphasized that in many analytical works the terms “rock music” and “rock culture” are identified and used as synonyms. Of course, the concept of “rock culture” is broader, but this identification is quite justified in cases where we are talking about the 60-70s. XX century Because during that period of time, rich in significant events for modern culture, almost every rock musician was also a “rock culturalist” (John Lennon, Jim Morrison, Mick Jagger).

It is very difficult to unambiguously answer the question of which factor dominates in rock culture: musical or social. Musicians, the most serious and professional musicologists and art critics highlight the first factor, journalists, sociologists and cultural experts usually highlight the second. In any case, giving preference to one of these factors, one should not lose sight of the influence of the other.

At the same time, the presence of protest does not make music rock. Rock music as a countercultural phenomenon is not based on total negation; This does not imply a complete rejection of cultural and musical values and concepts developed in the past, but interaction with them, carried out through the assimilation of basic ideas and trends with their subsequent transformation.

At this moment, we can state with complete confidence that the world treasury of rock music includes almost exclusively compositions by Western performers. If we talk about such a phenomenon as Russian rock, then it is necessary to recognize that its very structure is “different,” as well as its goal-setting impulse; he developed in a “different” sociocultural situation, and he has completely different “priorities”. Thus, in particular, many researchers emphasize that in Western rock the emphasis is on the beauty of the melody and the “drive” provided by purely musical means, while in Russian rock the emphasis is on the richness of the textual component. The phenomenon of Russian rock requires a separate study and a specific approach, paying special (main) attention to the analysis of its poetic component. The appeal of philologists to Russian rock poetry is certainly justified. Therefore, taking into account the above circumstances, in our study the phenomenon of Russian rock must be considered separately.

“Russian rock” emerged as a countercultural phenomenon in the 80s. XX century In the USSR System, which was called the “Iron Curtain,” there was a phenomenon of cultural isolation. Every sound coming from the west was perceived as a revelation. The emerging groups first began to experiment with new sounds and songs, and gradually this resulted in the concept of “We” versus “Them”. Russian rock occupied the niche of protest, rebellion and at the same moment became the personification of “Perestroika,” the official direction of the State. In History, this was the first case, so to speak, “Oxymoron” of culture, when the essence of rebellion came into contact with ideology and what they were rebelling against. But at the same moment, this opened a previously closed road to an original language that had been strangled by Soviet ideology. Imbued with bard and author's songs, it, like the poetry of the Silver Age, speaks about the problem of the Russian soul. A clear example of this is Alexander Bashlachev. Russian rock has brought together a lot of musicians as a phenomenon of unity and the desire for something new, both socially, culturally and spiritually.

If we consider rock music from an external point of view, then it inevitably turns out to be a rebellion, a protest (mainly social). Considered from the inside, rock music is improvisation, an outpouring of life, the divinity of the moment, for which it is important to be here and now in the element of creativity. Rock music, unlike similar musical phenomena such as punk, glam or heavy metal, has a Dionysian basis in the full sense - this basis is inseparable from the true essence of this art form. Rock music is Dionysian, which means that only a Dionysian-minded person, both as a performer and as a listener, can be fully involved in the rock action. That’s why the improvisational aspect of concert performances is so important in rock music. It allows musicians to remain “the joy of becoming,” destroying the Apollonian form of “album versions” of compositions, and thereby be sincere to the audience and, first of all, to themselves.

The type of theatricality inherent in “classical” rock music is specific. Here, creativity, improvisation, and “for oneself” theatricality are at the forefront; the atmosphere of experiment decisively prevails, and therefore, there is theatricality that is “unlearned” and (if we take into account the content aspect of the compositions) in the full sense of a countercultural nature.

Rock music of the 60s - 70s. The 20th century, by no means being a typical postmodern phenomenon, in all the diversity of its manifestations was inspired by a single “spiritual impulse” - it was a holistic phenomenon, the “swan song” of an older and more traditional, rapidly disappearing culture. The era of “classical” rock music can also be called the last era of “musical sincerity.”

Rock music is currently in a deep crisis. In our opinion, it is connected with the following factors: in modern rock culture there is no unity in “goals” (if not themselves) and meaningful tasks in life, there is a lack of Ideas. Rock culture has long ago abandoned the “revolution in consciousness” for the purpose of “survival,” but has not put anything in place of this revolution; moreover, it has lost touch with its origins. In its “updated” (emasculated) incarnation, rock culture, as the realities of the new millennium show, turned out to be unable to attract new supporters. The absence of a new powerful integrating principle does not allow rock culture to form stable ties within the conglomerate of youth activity of the 21st century. All this gradually led to the fact that rock, which once strongly gravitated towards rebellion, protest and almost completely dominated the hearts and minds of the young generation of the 1960s, turned into one of the modern musical movements, not profiling and relatively (pop, hip-hop, etc.) ) unpopular, oddly enough, precisely in youth circles, despite all the attempts of its representatives to “stay afloat” through craft skills.

Today, genuine rock music is, of course, an art of the past. However, treating it as a “dead classic” is by no means justified, because in the case of rock, not only the musical concept is important, but also the cultural impulse, which in the 60s. XX century prepared and made possible all the variety of its impressive “objectifications”. And if the time of the final “decline” of rock music can no longer be very far away, then all the more reason to wish a new “dawn” for this impulse.

As you know, a subculture is a special sphere of culture, a sovereign integral formation within the dominant culture, distinguished by its own system of values, customs, norms, and traditions.
A subculture is not opposed to the dominant culture. It includes a number of values of the dominant culture and adds to them new values characteristic only of it.

A special place among the various subcultures of modern society belongs to the youth subculture as a specific, characteristic only for this social group, way of behavior, communication, leisure time, ideas about the world, embodied in a special youth lifestyle.

Anime - fans of Japanese animation (from English Animation).

The history of anime dates back to the beginning of the 20th century, when Japanese filmmakers began experimenting with animation techniques invented in the West.

The plots of the anime, originally aimed at children, became more and more complex over the years, the problems discussed became more serious, which made it very popular in the world.

Fans of anime (Japanese animation) and manga (Japanese comics) make up the bulk of the children's and teens' wing of the role-playing community.
The self-name of these formations is “anime people”.

People who purposefully sought to get acquainted with anime, exchanged films and began to unite in clubs appeared in the late 1990s - early 2000s.

Features:

1. Special interests - anime, manga, culture and history of Japan.
This includes hobbies: collecting anime and manga, figurines, posters, drawing in anime style, writing fan fiction, etc.

As for the value system, everything here depends on the specific person and his upbringing.

2. Your own language - slang
(how could it be without this, while anime slang can become a separate object of study. “Anime”, “Manga”, “Otaku”, etc., as well as their derivatives, are an integral part of this slang. In addition, it is worth saying that many use with your vocabulary and Japanese words or phrases.
The most common are “Hello”, “Sorry”, “Thank you”.
Well, it’s simply impossible not to mention the great and terrible “NYA!”, which can express a variety of emotions.
Nya (moonpeak: ニャー / にゃあ, kiriji: nyaa, romaji: nyā, Kannada: ಞ) is the Japanese "meow", an onomatopoeia of a cat's meow. The interjection “nya” expresses a feeling of tenderness, joy, tenderness and, according to anime fans, makes them kawaii.

3. Behavior.
It is quite difficult to determine a common behavior pattern for all anime fans. If we talk about age groups, then among adolescent anime fans, and especially girls 12-15 years old, this is expressed more clearly than among adult anime fans.

4. Clothing and appearance.
Sometimes you can identify an anime fan by the most insignificant details (a keychain on a phone in the shape of an anime character, a pendant on a chain). Bags and T-shirts with appropriate symbols are already more significant elements. It's no secret that many people do their hair like their favorite character. For example, after watching SM, many girls began to wear odango, and after FMA, a braid like Edward's became very popular.
In addition, do not forget about such a phenomenon as cosplay.

Cosplay
Cosplay m., school (Japanese コスプレ kosupure, abbreviated from English costume play - “costume game”) - a form of embodiment of an action performed on the screen. Modern cosplay arose in Japan among Japanese anime and manga fans, so usually the main prototype of the action is manga, anime, video games, tokusatsu or a historical film about samurai. Other prototypes may be j-rock/j-pop bands, representatives of Visual Kei, etc.

Cosplay participants identify themselves with a certain character, are called by his name, wear similar clothes, and use similar speech patterns. Often during cosplay, role-playing occurs. Costumes are usually sewn independently, but can also be ordered from a studio or purchased ready-made (in Japan, for example, the business of producing costumes and accessories for cosplay is quite widespread).

Cosplays are usually held at festivals, parties and events related to anime and manga culture.

5. Presence of informal groups and communities.
Whether an anime fan belongs to one or another subgroup largely depends on the anime he prefers. The largest branch is “maho shojo” - sorceress girls. The most famous such trend is the “moonies” - fans of the animated series “Sailor Moon”. Most often, only young girls under 17 or 18 years of age belong to it, who strive to outwardly behave as childishly as possible. They usually dye their hair bright yellow, blue or red and prefer the style of a Japanese schoolgirl in clothing (white knee socks, short skirt, sandals, etc.).

“J Rockers” is a group of anime fans who are interested in Japanese music, understand its styles, perform it, sometimes outwardly they resemble goths, but, in essence, of course, these subcultures have differences.

Among fans of Japanese animation, the most active are fans of the styles "yuri", "yaoi", "kawaii" and "hentai" - a specific Japanese sexual subculture (which is also present in Japanese children's animated series). It is these fans who have their own websites about Japanese anime on the Internet. Almost all of these sites have a clear homosexual orientation (both female and male).

Many anime fans are fond of Japanese pop and rock music. In this subculture, there is also a widespread fascination with modern Japanese culture, which leads to the choice of such types of art as kendo, origami, ikebana, etc. as a side activity.

A children's branch of the "Pokemon" movement, fans of the animated series "Pokemon".

Culture is the pursuit of excellence
through the knowledge of what is most
we care about what they think and say...
Arnold M.

Researching various subcultures has become a fashionable activity in recent years. This is quite logical. The single field of modern culture is breaking up into many value-normative subsystems due to the increasing complexity of the social structure. Each person has a list of his personal subcultures in which he exists in the real or virtual world. A person goes to work and finds himself in a professional subculture; participates in a survey and realizes that he is hopelessly stuck in his age group, which is also a subculture; falls in love and acutely feels belonging to a gender or sexually oriented subculture.

Subculture is a special sphere of culture, a sovereign integral formation within the dominant culture, distinguished by its own system of values, customs, norms, and traditions. A special place among the various subcultures of modern society belongs to the youth subculture as a specific, characteristic only for this social group, way of behavior, communication, leisure time, ideas about the world, embodied in a special youth lifestyle.

Although the influence of a subculture does not cause immediate changes in society, it significantly influences various aspects of our lives in the future - culture, fashion, behavioral tendencies, relationships with the world and ourselves. Which subsequently shapes the perception of a particular time period or even an entire era in our minds.

The youth subculture designs life situations that teach teenagers to adapt to life in society. In the modern world, the success of reforms largely depends on the active participation of young people in them. At the same time, it is very important to adequately evaluate young people, to understand what values prevail in their minds, what features characterize this or that subculture.

The question also arises here: how can this be done using methods, for example, design? After all, today it is design that can influence people and shape the images of a subculture painlessly, easily and naturally, since it is design that provides real projects that can be replicated and applied to different segments of the population, and it is design that has a great influence on young people. Design helps create communication between global society and subculture much faster and with precise intonations, since this happens naturally, in a natural way. It is necessary to reveal the full design potential of the subculture and use it when building this communication in order to avoid semantic losses.

“Scientific design” has the opportunity to draw new ideas from within such communication, to consider the content of the subculture as a means of replenishing the design baggage, enriching it with new visual and graphic methods. Indeed, from a design point of view, a subculture can be considered as a set of new techniques, as a source of inspiration. So design plays several roles in the system of interaction between subculture and society. For example, on the one hand, a subculture can be a source of inspiration for a designer and a “supplier” of design; on the other hand, a subculture is a specific target audience with a narrow focus on which a designer can hone methods of influencing a potential recipient.

What does the term “subculture” hide?

“Teenagers” is an English word that has entered our everyday use relatively recently and means young people aged 13 to 19 years. Here it is worth clarifying that this term means that this individual is a consuming teenager or a teenager taken in his leisure-consumer dimension. Starting with the works of Mark Abrams, this term is used specifically within the framework of youth consumption.

It is worth considering the subculture from the position of social constructivism and its concept of the world as a set of interpretations, meanings and ideas of thinking and acting individuals. At the same time, the emphasis remains on the subjective nature of the perception of a social phenomenon, process or phenomenon, that is, on the interpretations and meanings invested in them by social actors. From such positions, it is emphasized that age groups are not objective phenomena, but the result of classification by society and the attribution of certain cultural meanings and characteristics to them. In this case, when assigning a person to a particular age group, self-identification will be more significant.

Denying the existence of "objective" reality, constructivism defends the idea of the "reality" of interpretations. People see the world not as it really is, but as they perceive it, and act not on the basis of what actually happens, but on the basis of their ideas about what is happening. In general, it is human nature to see only what he wants to see. Accordingly, considering age groups as social constructs actualizes the problem of self-identification as the main principle of assigning an individual to a particular age group. However, the problem of sources of interpretation arises: are they truly individual or are they determined by different discourses? The modern philosophical tradition leans toward the second point of view, while our ideas about reality, including age, depend on various forms of disseminated social constructs, among which media discourse occupies a special place.

The youth themselves do not consider themselves as a homogeneous group (neither in their views, nor in their lifestyle, nor in their age). This whole mass of people is divided into their own subcultures. They create their own styles and their own fashion, their own culture.

In the scientific literature there are many different interpretations of the term subculture. It is worth considering four main interpretations of this concept:

1. Subculture is considered as a set of some negatively interpreted norms and values of traditional culture, functioning as the culture of the criminal layer of society (the so-called delinquent subculture).

2. Subculture is understood as a system of values of traditional culture transformed by professional thinking, which has received a unique ideological coloring.

3. Subculture is a somewhat limited culture of a social community, due to the poverty of its social connections, incomplete or difficult access for it to cultural heritage. In fact, this definition limits the concept of “subculture” and allows it to be used only to designate “inferior”, “simplified forms of cultures”.

4. Subculture as a system of values, attitudes, behavior patterns, life style, and so on of any social group, which is an independent holistic formation within the framework of the dominant culture.

This diversity is largely explained by the fact that during its existence the term has undergone a certain semantic evolution. As noted by T.B. Shchepanskaya, “the very concept of subculture was formed as a result of the awareness of the heterogeneity of the cultural space, which became especially obvious in an urbanized society.” The term appeared in scientific literature only in the 30s of the twentieth century, and its widespread use came in the sixties and seventies. This was due to the great interest in youth movements, primarily the hippie movement. Initially, the meaning of the term emphasized the importance of the prefix sub- (sub-), which indicated a subordinate character. “Culture” was considered the worldview system of the ruling elite, while “subculture” denoted hidden, unofficial layers of culture, which were perceived as inferior forms of cultural creativity and as a potential source of social instability. This concept was put on a par with the concepts of “underground” and “counterculture”.

Of course, after some time the concept of subculture acquired a different meaning. On the one hand, the aesthetics, ethics and ideology of youth communities received recognition from society as a special “youth culture”; on the other hand, the existence of other cultures (for example, children’s culture) was discovered. This gave new meaning to the concept, which began to be used to designate a "subsystem" of culture, indicating the multicultural nature of modern society.

At the same time, postmodern thought questions the adequacy of using the term “subculture” in the study of modern trends. The point is that considering the "classical" meaning of the term implies that the concept of subculture presupposes the existence of a fairly easily recognizable dominant culture. However, the fragmentation of modern society makes such a distinction almost impossible. In addition, with the classical approach, subcultures are considered as fairly stable and closed phenomena, building their own system of symbols, values, language, norms of behavior, and an integral way of life. It is assumed that a person belonging to such a group reproduces this way of life constantly. But most modern communities are mobile and temporary. Modern man is in a “supermarket of identities”; he has the opportunity every day to change his appearance, his behavior and his social role. The range of his self-representations is almost endless. Of course, this is most typical of club cultures and virtual communities. After all, on the Internet there are no boundaries at all for choosing your role. Here you can change your social status, gender, age, appearance, in a word, absolutely everything. “Subcultures in this reading are “discourse groups” that concentrate around “their” signs, symbolic practices and values. They connect only for a short time, and then transform, turning into something new."

Such a transformation of the concept was in line with a broader discussion about the content and specificity of any form of identity. R. Brubaker and F. Cooper note that there has been a transition from a “strong” to a “weak” interpretation of identity. In the first case, a high degree of group cohesion, a clear boundary between “us” and “outsiders” and the homogeneity of the group are implied. A weak understanding of identity comes from the idea of its versatility, instability, mobility, heterogeneity, fragmentation and construction.

Here it is worth understanding the system of formation of methods for organizing subcultures and how the formation of communicative connections between these subgroups occurs. That is, how formation occurs at the level of horizontal communication, at the level of “peer to peer”; how this connection influences their further development. Now a completely new, hitherto unseen situation is being formed in the cultural space (as well as in the social space). A single space is being filled with a large number of oppositions to the dominant culture (the emergence of hippie culture should be considered the starting point). Nothing like this had happened before: there was one official position and one opposition. Now many oppositions have appeared, each of which considers itself the most valuable and true, offering its own culture, values, its own worldview and even its own language.

The term “subculture” has not yet been fully formed. It will still undergo changes. The concept itself and its semantic content will be determined by how subcultures develop. These changes will be associated not only with the expansion of the concept, but also with the development of culture (both the dominant culture and subcultures), with the expansion of the media space in which these subcultures/subcultures are located and develop, and with the transformation of society, following the path of fragmentation of one large cultural space into many small ones.

Teplov B. M. Psychology / B. M. Teplov. – M.: Uchpedgiz, 1950. – 216 p.

Cialdini R. Psychology of influence / R. Cialdini. – St. Petersburg: Peter, 2000. – 272 p. – sir. Masters of Psychology

Shchepanskaya T.B. Subcultures/ T.B. Shchepanskaya // Modern urban folklore. – M.: RSUH, 2003. – P. 12-24

Glushkova Olga Mikhailovna,
postgraduate student of UralGAKhA
Scientific adviser:
Doctor of Art History,
Professor Pavlovskaya E.E.