Radugina X restomatia on cultural studies textbook. Radugin A.A
6
Section one. The essence and purpose of culture.................................................... .....7
Chapter 1. Culture as a subject of cultural studies.................................................... .................7
1. The concept of culture. Culture as the semantic world of man...................................................7
1.1. Concept of symbol. Symbolic forms of culture. ...........................................8
1.2. Man as a creator and creation of culture.................................................. ................9
1.3. Dialogue of cultures................................................... ........................................................ ......9
1.4. Basic forms of spiritual culture................................................................... ......................10
2. Culturology as a humanitarian science................................................... ........................eleven
2.1. The origins of cultural studies as a science.................................................... ..............................eleven
2.2. Unity of understanding and explanation in cultural studies. Culturology as the implementation of a dialogue of cultures...........11
LITERATURE .................................................... ........................................................ .................12
Chapter 2. Basic schools and concepts of cultural studies.................................................... .............12
1. Hegel’s philosophy as a theory of culture.................................................... ..............................12
2. Philosophy of culture by Oswald Spengler.................................................... ......................14
3. Man, creativity, culture in Berdyaev’s philosophy............................................. ..........17
3.1. The free human spirit as a creator of culture. ........................................................ ....17
3.2. Free spirit and symbolic forms of culture: the internal contradiction of cultural creativity..................17
4. Culture and the unconscious beginning of man: Freud’s concept.18
5. Culture and the collective unconscious: the concept of Carl Gustav Jung 20
5.1. Collective unconscious and its archetypes....................................20
5.2. Culture and the problem of the integrity of the human soul...................21
6. “Challenge and Response” - the driving spring in the development of culture: the concept of Arnold Toynbee.................................22
7. Value as a fundamental principle of culture (P. A. Sorokin) .23
8. Culture as a set of sign systems (structuralism of C. Lévi-Strauss, M. Foucault, etc.) ...............24
9. The concept of gaming culture (J. Huizinga, X. Ortega y Gasset, E. Fink). ..........25
LITERATURE .................................................... ....................................26
Chapter 3. Culture as a system................................................... ........................26
1. Structural integrity of culture.................................................... .......27
1.1. Material and spiritual aspects of culture. Man is a system-forming factor in the development of culture......27
1.2. Culture as a normative-value and cognitive activity.28
2. Multidimensionality of culture as a system.................................................... .........31
2.1. The purpose of culture................................................... ...........................31
2.2. Interaction of nature and culture. Ecological culture of human activity...................32
2.3. The relationship between culture and society...................................33
LITERATURE .................................................... .....................................36
Chapter 4. Organizational culture and entrepreneurial culture.37
1. The concept of enterprise culture. The value aspect of organizational culture...................................37
2. The main elements and features of the functioning of the sign-symbolic system in the enterprise........40
3. Typology of organizational culture. The state of organizational culture at Russian enterprises......41
LITERATURE .................................................... .....................................43
Chapter 5. Mass and elite culture.................................................... ..........43
1. Concept, historical conditions and stages of the formation of mass culture.................................. 43
2. Economic prerequisites and social functions of “mass” culture............................................44
3. Philosophical foundations of mass culture....................................45
LITERATURE .................................................... ................................48
Chapter 6. The relationship between ideological and humanistic trends in artistic culture......49
1. The concepts of “ideology” and “humanism” in modern social philosophy and cultural studies.............................................. 49
2. The relationship between ideological and humanistic trends in the modern artistic process. Universal in the system of artistic culture.................................................... ....................50
3. Evolution of views on the relationship between ideological and humanistic tendencies ....................................52
LITERATURE .................................................... ................................54
Section two. Development of world culture.........................54
Chapter 1. Myth as a form of culture.................................................... .........54
1. Mystical participation as the main relation of myth......54
2. Myth and magic................................................... ....................................56
3. Man and community: myth as a denial of individuality and freedom 57
LITERATURE .................................................... ................................58
Chapter 2. Culture of the Ancient East.................................................... .......59
1. Social and ideological foundations of the culture of the Ancient East 59
1.1. Eastern despotism as the social basis of ancient cultures 59
1.2. Myth, nature and state in the cultures of the Ancient East 60
1.3. Combining humanity and statehood as a problem of Confucian culture.................................62
1.4. Taoism: freedom as dissolution in nature.................................63
1.5. Buddhism: freedom as an internal withdrawal from life, a complete negation of existence.................64
LITERATURE .................................................... ................................70
Chapter 3. History of ancient culture.................................................... .......70
1. Characteristic features of ancient Greek culture....................................70
2. The main stages of development of Hellenic artistic culture 74
3. Artistic culture of Ancient Rome....................................77
LITERATURE .................................................... ...................................80
Chapter 4. Christianity as the spiritual core of European culture 80
1. The fundamental difference between Christianity and pagan beliefs......81
2. Historical background of Christianity...................................81
3. Fundamentals of the Christian faith. The discovery of personality and freedom......81
4. Why Christianity became a world religion...................................83
5. Spiritual and moral problems of the Sermon on the Mount......83
5.1. The contradiction between the Spirit and the world.................................................... .......83
5.2. Paradoxes of Christian morality.................................................... .....84
6. The importance of Christianity for the development of European culture......85
Literature ........................................................ ...................................85
Chapter 5. Culture of Western Europe in the Middle Ages...................................85
1. Periodization of medieval culture.................................................... .......86
2. Christian consciousness - the basis of medieval mentality 87
3. Scientific culture in the Middle Ages.................................................... .........88
4. Artistic culture of medieval Europe...................................89
4.1. Roman style................................................ ...................................89
4.3. Medieval music and theater.................................................. ......91
5. “Spiritual forests” of the culture of the New Age....................................93
LITERATURE .................................................... ................................93
Chapter 6. Culture of the Western European Renaissance.................................93
1. Humanism - the value basis of the culture of the Renaissance.................................93
2. Attitude to ancient and medieval culture....................................95
3. Features of the artistic culture of the Renaissance......96
3.1. Italian Renaissance................................................... ................97
3.2. Northern Renaissance................................................... ................98
LITERATURE .................................................... ................................98
Chapter 7. The Reformation and its cultural and historical significance.................................99
1. Cultural and historical conditions and prerequisites of the Reformation 99
2. Martin Luther's spiritual revolution.................................................... ........100
3. Spiritual foundations of the new morality: Work as “worldly asceticism” .................. 101
4. Freedom and reason in Protestant culture....................................101
LITERATURE .................................................... ................................103
Chapter 8. Culture of the Enlightenment.................................................... .......103
1. The main dominants of the culture of the European Enlightenment...............103
2. Style and genre features of art of the 18th century 104
3. The flourishing of theatrical and musical culture....................................105
4. Synthesis of ethics, aesthetics and literature in the works of the great French educators.........106
LITERATURE .................................................... ................................108
Chapter 9. .................................................... ....................................112
Chapter 10. Artistic culture of the 20th century: modernism and postmodernism 112
1. Worldview foundations of modernist art.................................112
2. The variety of types and forms of artistic culture of modernism 113
3. Attempts to create synthetic forms of art....................................119
4. Postmodernism: deepening aesthetic experiments of the 20th century 120
LITERATURE .................................................... ...............................121
Section three. The main stages of the development of Russian culture......121
Chapter 1. Formation of Russian culture...............................................121
1. Pagan culture of the ancient Slavs...............................................122
2. The adoption of Christianity is a turning point in the history of Russian culture.....123
3. Culture of Kievan Rus.................................................... ....................125
LITERATURE .................................................... ....................127
Chapter 2. The flourishing of Russian culture 128
1. Culture of the Muscovite kingdom (XIV-XVII centuries) .............................. 128
2. Culture of Imperial Russia (beginning of the 17th - end of the 19th centuries) 132
LITERATURE .................................................... ................................135
Chapter 3. “Silver Age” of Russian culture.................................135
1. Peculiarities of Russian culture at the “turn of the century” ...............135
2. Artistic culture of the “Silver Age” .................. 136
LITERATURE .................................................... ................................140
Chapter 4. The Soviet period of development of Russian culture..................................141
1. Ideological attitudes of communists in relation to artistic culture.....141
2. The first post-October decade in the development of Russian culture 142
4. Sociocultural situation of the 60-70s of the 20th century in Russia..............144
5. Soviet culture of the 80s of the XX century 145
LITERATURE .................................................... ................................145
Chapter 5. Protection of national cultural heritage.................................146
1. On continuity in the development of culture. Organizational basis for the protection of national cultural heritage..146
2. The Russian estate is the most important part of the cultural heritage........................147
3. Revival of religious and cult culture....................................148
4. Program of the Russian Cultural Foundation “Small Towns of Russia” 149
5. The fate of national artistic crafts and crafts of Russia 150
LITERATURE .................................................... ................................151
Conclusion ................................................. ................................151
Gaudeamus igitur
Juvenes dum sunuis!
Post jucundam juventutem,
Post molestam senectutem
Nos habebit humus
Ubi sunt qui ante nos in mundo fuere?
Vadite ad superos Transeans ad inferos
Quos si vis videre!
Vita nostra brevis est, Brevi finietur;
Venit mors velositer, Rapit nos atrociter Neminu parcetur!
Vivat academy!
Vivant professors! Vivat memorum quodlibet!
Vivat memobra quodlibet!
Semper sin in flore!
Compiler and executive editor prof. A. A. Radugin
God's gift is beauty;
and if you think about it without flattery,
Then you have to admit:
Not everyone has this gift,
Beauty needs care
without him beauty dies,
Even if her face is similar to Venus herself.
Ovid
alma mater
Reviewers: Titov S. N.,
doctor of philosophical science,
Professor of the Department of Philosophy
Voronezh State University; Department of History and Theory of Culture, Voronezh State Pedagogical University
Culturology: Textbook / Compiled and responsible. editor A.A. Radugin. - M.: Center, 2001. - 304 p.
K 90
ISBN 5-88860-046-6
The manual is written in accordance with the “State requirements (Federal component) for the mandatory minimum content and level of training of higher school graduates in the cycle “General humanitarian and socio-economic disciplines”. It examines the essence and purpose of culture: the main schools, concepts and trends in cultural studies, the history of world and domestic culture, the preservation of world and national cultural heritage.
Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
Without announcement ISBN 5-88860-046-6
BBK 71.0.ya73
A.A. Radugin, 2001
Reader on cultural studies (Radugin A.A.)
The book is an anthology of thematically structured cultural texts - extracts from the works of thinkers of different eras, as well as monuments of world literature. In accordance with the requirements (Federal component) for the mandatory minimum content and level of training for higher school graduates in the cycle “General Humanitarian and Socio-Economic Disciplines,” the texts highlight the essence and purpose of culture, the main schools in cultural studies, the history of world and domestic culture, issues of preservation world and national cultural heritage.
Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
Preface
Section one. ESSENCE AND PURPOSE OF CULTURE
topic 1. Culture as a subject of cultural studies
E. Durkheim 12
topic 2. Basic schools and concepts of cultural studies
I.G. Herder 27
G.V.F. Hegel 43
A. Schopenhauer 49
F. Nietzsche 51
O. Spengler 58
ON THE. Berdyaev 81
Culture and the unconscious beginning of man: Freud's concept
Z. Freud 104
Culture and the collective unconscious: the concept of K.G. cabin boy
K.G. Jung 126
J. Huizinga 131
K. Lévi-Strauss 133
J. Derrida 137
topic 3. Culture as a system
N.P. Ogarev 144
R. Bella 145
MM. Bakhtin 155
S. Norman 156
K.D. Kavelin 161
topic 4. Relationship between ideological and humanistic tendencies in artistic culture
N.G. Chernyshevsky 203
J.P. Sartre 205
K. Marx 206
F. Engels 206
V.S. Soloviev 207
S.N. Bulgakov 210
MM. Bakhtin 213
M. Heidegger 214
Section two. DEVELOPMENT OF WORLD CULTURE
topic 5. Myth as a form of culture
A.F. Losev 218
S.A. Tokarev 219
A.A. Potebnya 223
D.D. Fraser 232
E. Kassirer 236
A. Bely 244
topic 6. Culture of the Ancient East
Bhagavad Gita 249
Mahabharata 250
Ramayana 255
Tipitaka 258
Nirvana 259
Lao Tzu 261
Confucius 263
topic 7. History of ancient culture
Plato 266
Aristotle 276
Horace 283
topic 8. Christianity as the spiritual core of European culture
Bible 288
M. Weber 292
topic 9. Culture of Western Europe in the Middle Ages
Augustine 305
Value as a fundamental principle of culture
P.A. Sorokin 308
R. Guenon 311
Le Goff J. 319
topic 10. Culture of the Western European Renaissance
Humanism is the value basis of the Renaissance culture
L. Valla 335
D. Pico Dela Mirandola 345
D. Bruno 353
M. Montaigne 355
topic 11. The Reformation and its cultural and historical significance
M. Weber 373
topic 12. Culture of the Enlightenment
N. Boileau 386
topic 13. The cultural crisis of the twentieth century and ways to overcome it
ON THE. Berdyaev 404
topic 14. Artistic culture of the 20th century: modernism and postmodernism
Technical Manifesto of Futurist Literature 416
The first manifesto of futurism by F.T. Marinetti 421
Manifesto of Surrealism 1924. Andre Breton 426
Dada Manifesto 446
Houseman et al 448
Manifesto of surrealism. Ivan Goll 449
J. Habermas 451
J.-F. Lyotard 467
Section three. MAIN STAGES OF DEVELOPMENT OF CULTURAL RUSSIA
topic 15. Formation and development of Russian culture
CM. Soloviev 472
P.N. Milyukov 480
L. Shestov 487
G.P. Fedotov 488
IN AND. Ivanov 495
D.S. Likhachev 498
V.V. Veidle 505
D.S. Likhachev 517
ON THE. Berdyaev 521
I.A. Ilyin 528
M. Gorky 529
IN AND. Lenin 546
topic 16. "Silver Age" of Russian culture
V.Ya. Bryusov 552
IN AND. Ivanov 558
topic 17. Soviet period of development of Russian culture
A.A. Zhdanov 556
Preface........................................................ ........................................................ .............6
Section one. The essence and purpose of culture.................................................... .....7
Chapter 1. Culture as a subject of cultural studies.................................................... .................7
1. The concept of culture. Culture as the semantic world of man...................................................7
1.1. Concept of symbol. Symbolic forms of culture. ...........................................8
1.2. Man as a creator and creation of culture.................................................. ................9
1.3. Dialogue of cultures................................................... ........................................................ ......9
1.4. Basic forms of spiritual culture................................................................... ......................10
2. Culturology as a humanitarian science................................................... ........................eleven
2.1. The origins of cultural studies as a science.................................................... ..............................eleven
2.2. Unity of understanding and explanation in cultural studies. Culturology as the implementation of a dialogue of cultures...........11
LITERATURE................................................. ........................................................ .................12
Chapter 2. Basic schools and concepts of cultural studies.................................................... .............12
1. Hegel’s philosophy as a theory of culture.................................................... ..............................12
2. Philosophy of culture by Oswald Spengler.................................................... ......................14
3. Man, creativity, culture in Berdyaev’s philosophy............................................. ..........17
3.1. The free human spirit as a creator of culture. ........................................................ ....17
3.2. Free spirit and symbolic forms of culture: the internal contradiction of cultural creativity..................17
4. Culture and the unconscious beginning of man: Freud’s concept.18
5. Culture and the collective unconscious: the concept of Carl Gustav Jung 20
5.1. Collective unconscious and its archetypes....................................20
Edited by A.A. Radugina
X restomatia in cultural studies
Tutorial
God's gift- beauty;
and if you think about it without flattery,
Then you have to admit: this gift
not everyone has it
Beauty needs care
without him beauty dies,
Even if her face is similar to Venus herself.
Ovid
Moscow 1998
Publishing house
UDC008(09)(075.8)
BBK 63.3(0-7)ya73
Reader on cultural studies: Proc. manual / Compiled by:
X91 Laletin D. A., Parkhomenko I. T., Radugin A. A.
Rep. editor Radugin A. A. - M.: Center, 1998. - 592 p.
ISBN 5-88860-044-Х
The book is an anthology of thematically structured cultural texts - extracts from the works of thinkers of different eras, as well as monuments of world literature. In accordance with the requirements (Federal component) for the mandatory minimum content and level of training for higher school graduates in the cycle “General Humanitarian and Socio-Economic Disciplines,” the texts highlight the essence and purpose of culture, the main schools in cultural studies, the history of world and domestic culture, issues of preservation world and national cultural heritage.
Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
No announcement
ISBN 5-88860-044-Х
BBK63.3(0-7)ya73
© Radugin A. A., 1998
Preface
Section one
^ ESSENCE AND PURPOSE OF CULTURE
E. Durkheim 12
^ Main schools and concepts of cultural studies
I.G. Herder 27
G.V.F. Hegel 43
A. Schopenhauer 49
F. Nietzsche 51
O. Spengler 58
ON THE. Berdyaev 81
Culture and the unconscious beginning of man: Freud's concept
^ S. Freud 104
Culture and the collective unconscious: the concept of K.G. cabin boy
K.G. Jung 126
J. Huizinga 131
K. Lévi-Strauss 133
J. Derrida 137
Culture as a system
N.P. Ogarev 144
R. Bella 145
MM. Bakhtin 155
S. Norman 156
K.D. Kavelin 161
Relationships
ideological and
humanistic
trends in artistic culture
N.G. Chernyshevsky 203
J.P. Sartre 205
K. Marx 206
F. Engels 206
V.S. Soloviev 207
S.N. Bulgakov 210
MM. Bakhtin 213
M. Heidegger 214
Section two
^ DEVELOPMENT OF WORLD CULTURE
Myth as a form of culture
A.F. Losev 218
S.A. Tokarev 219
A.A. Potebnya 223
M. Mead 228
D.D. Fraser 232
E. Kassirer 236
A. Bely 244
Culture of the Ancient East
Bhagavad Gita 249
Mahabharata 250
Ramayana 255
Tipitaka 258
Nirvana 259
Lao Tzu 261
Confucius 263
History of ancient culture
Plato 266
Aristotle 276
Horace 283
Christianity as a spiritual core
European culture
Bible 288
M. Weber 292
Western European culture
in the Middle Ages
Augustine 305
Value as a fundamental principle of culture
P.A. Sorokin 308
R. Guenon 311
Le Goff J. 319
Culture of the Western European Renaissance
^ Humanism value basis of Renaissance culture
L. Valla 335
D. Pico Dela Mirandola 345
D. Bruno 353
M. Montaigne 355
Reformation
and its cultural and historical significance
^ M. Weber 373
Culture of the Enlightenment
N. Boileau 386
The cultural crisis of the twentieth century and ways to overcome it
^ N.A. Berdyaev 404
Artistic culture of the twentieth century:
modernism and postmodernism
Technical Manifesto of Futurist Literature 416
^ The first manifesto of futurism by F.T. Marinetti 421
Manifesto of Surrealism 1924. Andre Breton 426
Dada Manifesto 446
Houseman et al 448
Manifesto of surrealism. Ivan Goll 449
J. Habermas 451
J.-F. Lyotard 467
Section three
^ MAIN STAGES OF CULTURAL DEVELOPMENT Russia
Formation and development of Russian culture
CM. Soloviev 472
P.N. Milyukov 480
L. Shestov 487
G.P. Fedotov 488
IN AND. Ivanov 495
D.S. Likhachev 498
V.V. Veidle 505
D.S. Likhachev 517
ON THE. Berdyaev 521
I.A. Ilyin 528
M. Gorky 529
IN AND. Lenin 546
"Silver Age" of Russian culture
V.Ya. Bryusov 552
IN AND. Ivanov 558
Soviet period of development of Russian culture
A.A. Zhdanov 556
^ A.D. Sakharov 570
Preface
The modern education system is focused on updating all the creative abilities of students: the harmonious development of their intellectual, professional, moral and aesthetic qualities. The study of the cycle of humanitarian and socio-economic disciplines is expected to play a significant role in solving this problem. A key role in the humanitarian training of specialists belongs to cultural studies. In accordance with the general education standard "State requirements (Federal component) for the mandatory minimum content and level of preparation of higher school graduates in the cycle "General humanitarian and socio-economic disciplines" in the course of studying cultural studies, a student must learn to understand and be able to explain cultural phenomena and their role in human life, to distinguish forms and types of cultures, the main cultural and historical centers and regions, to know the history of world and domestic culture, to take care of the preservation and enhancement of national and world cultural heritage.
Textbooks and teaching aids on cultural studies can provide some assistance in mastering these problems. However, a deep comprehension of cultural phenomena is possible only as a result of familiarization with primary sources - the works of thinkers of different eras, as well as literary monuments of world culture. To acquaint the reader with the main works in the field of cultural studies, to make them feel the originality of cultural thought, its features and diverse forms is one of the main goals of the proposed textbook.
The selection of material for the book was subordinated to the solution of these problems. The compilers sought to ensure that the material presented in this publication represents the cultural process holistically and comprehensively. The selection of fragments was aimed at ensuring that they adequately expressed the views of the relevant thinkers and at the same time were accessible to understanding by a wide readership. The structure of the textbook corresponds to the program of the course "Cultural Studies".
Section one
ESSENCE
^ AND PURPOSE
CULTURES
Culture as a subject of cultural studies
DURKHEIM EMIL
On the division of social labor.-M.: Nauka, 1991-P. 5255
At first glance, nothing seems easier than to determine the role of the division of labor. Isn’t its effect known to everyone? Since it increases both the productive power and the skill of the worker, it constitutes a necessary condition for the material and intellectual development of society, the source of civilization. On the other hand, since absolute value is readily attributed to civilization, they do not even think about looking for another function for the division of labor.
That the division of labor really produces this result is impossible to even try to dispute. But if it had no other result and did not serve for something else, then there would be no reason to attribute to it a moral character.
Indeed, the services rendered to them in this way are very far from moral life, or at least have a very indirect and distant relationship to it. Although it is now customary to respond to Rousseau’s harsh criticism with praises to the contrary, it has not been proven at all that civilization is a moral thing. To solve this question one cannot resort to the analysis of concepts, which are inevitably subjective, but one must find a fact suitable for measuring the level of average morality, and then observe how it changes as civilization progresses. Unfortunately, we do not have such a unit of measurement; but we have it in relation to collective immorality. Indeed, the average number of suicides and crimes of all kinds can serve to indicate the height of immorality in a given society. But if we turn to experience, it speaks little in favor of civilization, for the number of these painful phenomena seems to increase as science, art and industry progress (See: Alexander von Oettingen. Moralstatistik. Erlangen, 1882. para. 37 etc.; Tarde. Criminalite comparee (P., F. Alcan) / chapter II (On suicide, see below, book II, chapter 1, para. II). Of course, it would be somewhat frivolous to conclude hence, that civilization is immoral, but it is possible, by
At the very least, be sure that if it has a positive, beneficial influence on moral life, then this influence is rather weak.
However, if we analyze that ill-defined complex that is called civilization, we will find that the elements of which it consists are devoid of any moral character.
This is especially true for the economic activities that constantly accompany civilization. Not only does it not serve the progress of morality, but crimes and suicides are especially numerous in large industrial centers. In any case, it is obvious that it does not represent external signs by which moral facts are recognized. We replaced stagecoaches with railways, sailing ships with huge steamships, small workshops with factories; this whole flourishing of activity is generally regarded as beneficial, but it has nothing morally obligatory. The artisan and small industrialist who resist this general trend and stubbornly hold on to their modest enterprises perform their duty just as well as the large manufacturer who covers the country with a network of factories and unites a whole army of workers under his command. The moral consciousness of a nation does not err; it prefers a little justice to all the industrial improvements in the world. Of course, industrial activity has its basis: it satisfies certain needs, but these needs are not of a moral order.
This can be said with even greater justification about art, which is absolutely opposed to everything that looks like duty, since it is the kingdom of freedom. It is luxury and decoration, which may be wonderful to have, but it is not necessary to acquire them; what is superfluous is not necessary. On the contrary, morality is an obligatory minimum and a severe necessity, it is our daily bread, without which societies cannot live. Art responds to our need to expand our activity without a goal, for the pleasure of spreading it, while morality forces us to follow a certain road to a certain goal; whoever says “duty” also says “coercion.” Therefore, art, although it can be animated by moral ideas or intertwined with the evolution of moral phenomena proper, is not moral in itself. Observation may even establish that in individuals, as in societies, the immoderate development of aesthetic inclinations represents a serious symptom from the point of view of morality.
Of all the elements of civilization, only science under certain conditions has a moral character. Indeed, societies are increasingly striving to recognize the responsibility of the individual to develop
Your mind through the assimilation of established scientific truths. There is now a certain amount of knowledge that we should all have. A man is not obliged to throw himself into a great industrial battle or to become an artist; but everyone is now obliged not to be ignorant. This duty makes itself felt so strongly that in some societies it is sanctioned not only by public opinion, but also by law. However, one can see where this privilege characteristic of science comes from. The fact is that science is nothing more than consciousness brought to the highest degree of clarity. But in order for societies to live under the current conditions of existence, it is necessary that the field of consciousness, both individual and social, expand and clarify. Indeed, the environment in which they live is becoming more and more complex and, therefore, more mobile, therefore, in order to exist for a long time, they need to change often. On the other hand, the darker the consciousness, the more resistant it is to change, because it does not see quickly enough either that changes need to be made, or in which direction to make them. On the contrary, an enlightened consciousness knows how to find a way to adapt to them in advance. That is why it is necessary that reason, guided by science, take a more active part in the course of collective life.
But the science, the mastery of which is now required of everyone, almost does not deserve this name. This is not science - this is at best the most general and simple part of it. It really comes down to a small number of mandatory pieces of information that are required from everyone simply because they are intended for everyone. Real science infinitely surpasses this ordinary level: it includes not only what it is a shame not to know, but everything that is possible to know. It presupposes in those who engage in it not only those average abilities that all people possess, but also special inclinations. Therefore, being available only to a select few, it is not obligatory. This is a useful and beautiful thing, but not necessary to such an extent that society imperatively demands it. It is advantageous to secure it; but there is nothing immoral in not mastering it. It is a field of action open to the initiative of all, but into which no one is forced to step. It is no more necessary to be a scientist than to be an artist. So science, like art and industry, is outside morality (“The essential feature of goodness compared to truth is to be obligatory. Truth in itself does not have this character” (Janet. Morale, p. 139).
The reason for much disagreement about the moral character of civilization is that very often moralists do not have an objective criterion for distinguishing moral facts from those that are not. Usually moral
They name everything that has nobility and value, everything that is the subject of some lofty aspirations - and only thanks to this excessive expansion of the meaning of the word is it possible to introduce civilization into the realm of morality. But the field of ethics is not so uncertain; it covers all the rules to which behavior is subject and to which sanctions are associated, but nothing more. Consequently, civilization, since there is nothing in it that would contain this criterion of morality, is morally indifferent. Therefore, if the division of labor did not create anything other than the very possibility of civilization, it would participate in the formation of the same morality of neutrality...
P.225 - 227:
Of course, there are many pleasures that are now available to us and which simpler creatures do not know. But we are subject to many sufferings from which they are spared, and we cannot be sure that the balance is in our favor. Thought is undoubtedly a source of joys which can be very powerful; but at the same time, how many joys she disrupts! For one solved problem, how many questions have been raised and left unanswered! For one resolved doubt, there are so many mysteries that confuse us! In the same way, if a savage does not know the pleasures brought by an active life, then he is not subject to boredom, this torment of civilized people. He allows his life to flow calmly, without feeling the constant need to hastily fill its too short moments with numerous and urgent matters. Let us not forget, moreover, that for most people work is still a punishment and a burden.
It will be objected to us that among civilized peoples life is more varied and that diversity is necessary for pleasure. But civilization, along with greater mobility, also introduces greater monotony, for it has imposed monotonous, continuous work on man. The savage moves from one occupation to another in accordance with his motivating needs and circumstances; A civilized person always devotes himself entirely to one and the same occupation, which presents the less variety the more limited it is. Organization necessarily presupposes absolute regularity in habits, for a change in the mode of functioning of an organ cannot take place without affecting the whole organism. On this side, our life leaves less room for the unexpected and at the same time, due to its greater instability, it robs pleasure of some of the security that it needs.
True, our nervous system, having become more subtle, is accessible to weak excitations that did not affect our ancestors, in whom it was very coarse. But at the same time, many excitements
What were once pleasant have become too strong and therefore painful for us. If we are sensitive to more pleasures, then the same is true for suffering. On the other hand, if it is true that, as a rule, suffering produces a greater shock in the body than pleasure (See: Hartmann. Philosophic de 1 "inconscient, P), that unpleasant excitement gives us more pain than pleasant - pleasure, then this greater sensitivity would rather hinder happiness than favor it. Indeed, very refined nervous systems live in suffering and even eventually become attached to it. Is it not remarkable that the main cult of the most civilized religions is the cult of human suffering? The continuation of life now, as before, requires that on average pleasures prevail over pain, but it cannot be argued that this predominance has become greater.
Finally, and this is especially important, it has not been proven that this surplus has ever served as a measure of happiness. Of course, in these dark and still poorly understood questions nothing can be said for sure; it seems, however, that happiness and the sum of pleasures are not the same thing. This is a general and constant state that accompanies the regular activity of all our organic and mental functions. Continuous activities such as breathing or circulating blood do not provide positive pleasure; however, our good mood and mood mainly depend on them. Every pleasure is a kind of crisis: it is born, lasts for a moment and dies; life, on the contrary, is continuous. What constitutes its main charm must be continuous, just like it. Pleasure is local: it is an affect limited to some point in the body or consciousness; life is neither here nor there: it is everywhere. Our attachment to it must, therefore, depend on an equally general cause. In a word, happiness does not express the instantaneous state of some particular function, but the health of physical and moral life as a whole. Since pleasure accompanies the normal implementation of intermittent functions, the more place these functions occupy in life. But it is not happiness; even its level can only be changed within limited limits, for it depends on fleeting reasons, while happiness is something permanent. In order for local sensations to deeply affect this foundation of our sensory sphere, they must be repeated with exceptional frequency and constancy. Most often, on the contrary, pleasure depends on happiness: depending on whether we are happy or not, everything smiles at us or makes us sad. It was not for nothing that it was said that we carry our happiness within ourselves.
But if this is so, then there is no need to ask whether happiness increases with civilization. Happiness is an indicator of health. But the health of any species is not better because it is of a higher type. A healthy mammal does not feel any better than an equally healthy single cell. It should be the same with happiness. It does not become larger where the activity is richer; it is the same wherever she is healthy. The simplest and the most complex beings enjoy the same happiness if they realize their nature in the same way. A normal savage can be just as happy as a normal civilized person...
Culturology. Radugin A.A.
M.: Center, 2001 - 304 p.
The manual is written in accordance with the “State requirements (Federal component) for the mandatory minimum content and level of training of higher school graduates in the cycle “General humanitarian and socio-economic disciplines”. It examines the essence and purpose of culture: the main schools, concepts and trends in cultural studies, the history of world and domestic culture, the preservation of world and national cultural heritage.
Intended as a teaching aid for university students, technical schools, college students, gymnasiums, and high schools.
Format: doc/zip
Size: 440 KB
/Download file
Format: html/zip
Size: 358 KB
/Download file
Format: mhtml/zip
Size: 597 KB
/Download file
TABLE OF CONTENTS
Preface. 6
Section one. The essence and purpose of culture... 7
Chapter 1. Culture as a subject of cultural studies. 7
1. The concept of culture. Culture as the semantic world of man. 7
1.1. Concept of symbol. Symbolic forms of culture. 8
1.2. Man as a creator and creation of culture.. 9
1.3. Dialogue of cultures. 9
1.4. Basic forms of spiritual culture.. 10
2. Cultural studies as a humanities science. eleven
2.1. The origins of cultural studies as a science. eleven
2.2. Unity of understanding and explanation in cultural studies. Culturology as the implementation of a dialogue of cultures. eleven
LITERATURE.. 12
Chapter 2. Basic schools and concepts of cultural studies. 12
1. Hegel’s philosophy as a theory of culture.. 12
2. Philosophy of culture by Oswald Spengler. 14
3. Man, creativity, culture in Berdyaev’s philosophy. 17
3.1. The free human spirit as a creator of culture. 17
3.2. Free spirit and symbolic forms of culture: the internal contradiction of cultural creativity. 17
4. Culture and the unconscious beginning of man: Freud's concept. 18
5. Culture and the collective unconscious: the concept of Carl Gustav Jung. 20
5.1. Collective unconscious and its archetypes.. 20
5.2. Culture and the problem of the integrity of the human soul. 21
6. “Challenge and Response” - the driving spring in the development of culture: the concept of Arnold Toynbee. 22
7. Value as a fundamental principle of culture (P. A. Sorokin) 23
8. Culture as a set of sign systems (structuralism of C. Lévi-Strauss, M. Foucault, etc.) 24
9. The concept of gaming culture (J. Huizinga, X. Ortega y Gasset, E. Fink). 25
LITERATURE.. 26
Chapter 3. Culture as a system. 26
1. Structural integrity of culture.. 27
1.1. Material and spiritual aspects of culture. Man is a system-forming factor in the development of culture.. 27
1.2. Culture as a normative, value-based and cognitive activity. 28
2. Multidimensionality of culture as a system.. 31
2.1. The purpose of culture.. 31
2.2. Interaction of nature and culture. Ecological culture of human activity. 32
2.3. The relationship between culture and society. 33
LITERATURE.. 36
Chapter 4. Organizational culture and entrepreneurial culture. 37
1. The concept of enterprise culture. The value aspect of organizational culture.. 37
2. Basic elements and features of the functioning of the sign-symbolic system in the enterprise 40
3. Typology of organizational culture. The state of organizational culture at Russian enterprises 41
LITERATURE.. 43
Chapter 5. Mass and elite culture. 43
1. Concept, historical conditions and stages of the formation of mass culture.. 43
2. Economic prerequisites and social functions of “mass” culture.. 44
3. Philosophical foundations of mass culture.. 45
LITERATURE.. 48
Chapter 6. The relationship between ideological and humanistic trends in artistic culture 49
1. The concepts of “ideology” and “humanism” in modern social philosophy and cultural studies. 49
2. The relationship between ideological and humanistic trends in the modern artistic process. Universal in the system of artistic culture.. 50
3. Evolution of views on the relationship between ideological and humanistic tendencies. 52
LITERATURE.. 54
Section two. Development of world culture... 54
Chapter 1. Myth as a form of culture... 54
1. Mystical participation as the main relationship of myth. 54
2. Myth and magic. 56
3. Man and community: myth as a denial of individuality and freedom.. 57
LITERATURE.. 58
Chapter 2. Culture of the Ancient East. 59
1. Social and ideological foundations of the culture of the Ancient East. 59
1.1. Eastern despotism as the social basis of ancient cultures. 59
1.2. Myth, nature and state in the cultures of the Ancient East. 60
1.3. Combining humanity and statehood as a problem of Confucian culture.. 62
1.4. Taoism: freedom as dissolution in nature. 63
1.5. Buddhism: freedom as an internal withdrawal from life, a complete negation of existence. 64
LITERATURE... 70
Chapter 3. History of ancient culture... 70
1. Characteristic features of ancient Greek culture... 70
2. The main stages of development of Hellenic artistic culture.. 74
3. Artistic culture of Ancient Rome. 77
LITERATURE.. 80
Chapter 4. Christianity as the spiritual core of European culture... 80
1. The fundamental difference between Christianity and pagan beliefs. 81
2. Historical background of Christianity. 81
3. Fundamentals of the Christian faith. Discovery of personality and freedom... 81
4. Why Christianity became a world religion. 83
5. Spiritual and moral problems of the Sermon on the Mount. 83
5.1. Contradiction between Spirit and world. 83
5.2. Paradoxes of Christian morality. 84
6. The importance of Christianity for the development of European culture.. 85
Literature. 85
Chapter 5. Culture of Western Europe in the Middle Ages. 85
1. Periodization of medieval culture... 86
2. Christian consciousness is the basis of medieval mentality. 87
3. Scientific culture in the Middle Ages. 88
4. Artistic culture of medieval Europe... 89
4.1. Roman style. 89
4.3. Medieval music and theater. 91
5. “Spiritual forests” of modern culture. 93
LITERATURE.. 93
Chapter 6. Culture of the Western European Renaissance. 93
1. Humanism is the value basis of the Renaissance culture. 93
2. Attitude to ancient and medieval culture. 95
3. Features of the artistic culture of the Renaissance. 96
3.1. Italian Renaissance. 97
3.2. Northern Renaissance. 98
LITERATURE.. 98
Chapter 7. The Reformation and its cultural and historical significance. 99
1. Cultural and historical conditions and prerequisites of the Reformation. 99
2. The spiritual revolution of Martin Luther. 100
3. Spiritual foundations of the new morality: Work as “worldly asceticism.” 101
4. Freedom and reason in Protestant culture. 101
LITERATURE.. 103
Chapter 8. Culture of the Enlightenment. 103
1. The main dominants of the culture of European enlightenment. 103
2. Style and genre features of the art of the 18th century. 104
3. The flourishing of theatrical and musical culture.. 105
4. Synthesis of ethics, aesthetics and literature in the works of the great French educators. 106
LITERATURE.. 108
Chapter 9. The cultural crisis of the 20th century and ways to overcome it. 108
1. The contradiction between man and machine as a source of cultural crisis. The problem of human alienation from culture 108
2. Dialogue of cultures as a means of overcoming their crisis. 111
LITERATURE.. 112
Chapter 10. Artistic culture of the 20th century: modernism and postmodernism.. 112
1. Worldview foundations of modernist art. 112
2. The variety of types and forms of artistic culture of modernism. 113
3. Attempts to create synthetic forms of art. 119
4. Postmodernism: deepening the aesthetic experiments of the 20th century. 120
LITERATURE.. 121
Section three. The main stages of the development of Russian culture. 121
Chapter 1. The formation of Russian culture. 121
1. Pagan culture of the ancient Slavs. 122
2. The adoption of Christianity is a turning point in the history of Russian culture.. 123
3. Culture of Kievan Rus. 125
LITERATURE.. 127
Chapter 2. The flourishing of Russian culture.. 128
1. Culture of the Moscow Kingdom (XIV-XVII centuries). 128
2. Culture of Imperial Russia (beginning of the 17th - end of the 19th centuries) 132
LITERATURE.. 135
Chapter 3. “Silver Age” of Russian culture.. 135
1. Features of Russian culture at the “turn of centuries”. 135
2. Artistic culture of the “Silver Age”. 136
LITERATURE.. 140
Chapter 4. The Soviet period of development of Russian culture. 141
1. Ideological attitudes of communists in relation to artistic culture. 141
2. The first post-October decade in the development of Russian culture. 142
4. Sociocultural situation of the 60-70s of the XX century in Russia. 144
5. Soviet culture of the 80s of the XX century. 145
LITERATURE.. 145
Chapter 5. Protection of national cultural heritage. 146
1. On continuity in the development of culture. Organizational basis for the protection of national cultural heritage 146
2. The Russian estate is the most important part of the cultural heritage. 147
3. Revival of religious and cult culture.. 148
4. Program of the Russian Cultural Foundation “Small Towns of Russia”. 149
5. The fate of national artistic crafts and crafts of Russia. 150
LITERATURE.. 151
Conclusion. 151
