creativity, human, levels of consciousness, levels of mind

Annotation:

The article examines the understanding of creativity, its levels, focus, significance and development of its technologies in modern culture

Article text:

"Creativity is the creation of something new." It is in this transcription that the concept of creativity exists in culture. Because of this, culture and creativity are phenomena that flow from one another. As culture is created in the process of creativity, so creativity is nourished and developed at the expense of culture. Therefore, it is advisable to consider creativity as the pinnacle of the main driving force - activity, in the process of which new values \u200b\u200bare created that have this or that cultural status.

Creativity is a complex problem, the mystery of which will always excite the minds of people. Despite numerous investigations in this area, the secret of creativity has not been solved, and, obviously, cannot be fully revealed. It is quite obvious that there are as many styles, types, methods of creativity as there are creators. Each develops his own method, his own creative laboratory, however, several major directions have emerged that set themselves the task of defining the essence of creativity.

The levels of creativity are also varied. Distinguish creativity in the sphere of performance, authorship, imitation, interpretation, variability, improvisation, etc. Moreover, all these areas have a pronounced specificity, form the skills necessary in this area, etc. But with a greater degree of certainty, creativity is divided into creative processes in the field of creating ideas (productive) and technology creation (reproductive).

Researchers of creative processes have been trying to prioritize these positions for a long time. Supporters of the “creators of ideas” (Lyubkokht F., Ransvert S., Shipurin G. and others) believe that the main thing in creativity and, therefore, culture is the creation of ideas, that is, thought forms, which can then be clothed in the attire of a specific object. Ideas, thoughts are the main wealth of culture. Therefore, man and humanity must form a correct understanding in relation to this aspect. Supporters of the “technological component” (V. Zaraev, A. Zverev, R. Fuiding, A. Yankers, etc.) believe that the idea is an important, but not so significant position in creativity. People cannot feed on ideas; the latter must be clothed in objects. For the development of society, not only correct ideas are needed, but also optimal technologies. They contribute to filling society with cultural samples. Therefore, it is important not only to come up with a model, but also to create an item quickly, with lower costs, at a high quality level. This requires a technology that can help a person master a particular profession, skills, teach the creation of objects, cultural products, etc. Technological creativity is a huge field in which creative methods, teaching methods, methods of performing certain actions, etc. are created.

Recently, both levels of creativity are considered equivalent, noting that priority is given to one direction or another, depending on the mentality of national cultures. Thus, Russian culture - emphasizes and considers creativity in the sphere of production of ideas more significant; performance-oriented cultures (Japan, China and other oriental cultures) consider creativity in the field of technology more significant. Obviously, it is advisable to consider creativity in one direction or another equally significant and consider its priority from the point of view of the impact on the personality.

In addition to creating a new one that is significant for the existing culture, creativity can act in this capacity in relation to the individual. Therefore, reproductive (reproducing) types of knowledge and activities that are not new for society put the individual in a creative situation, thereby developing new abilities, skills, abilities, knowledge in it. Because of this, each new generation becomes creators in the process of assimilating the existing culture.

In literature, creativity is interpreted as “a process of human activity that creates qualitatively new values. Creativity is the ability of a person to create a new reality that satisfies diverse human needs from material delivered by reality, arising in labor. " In the history of the development of mankind, there have been several directions-views on creativity. Plato saw it as a "divine obsession", transforming in directions and cultures, but remaining the same in essence, this position exists to this day.

Scientists have always tried to systematize creativity. Aristotle noted the types of mimesis in art, Rousseau and Descartes adhered to the principles of rationalism - the development of canons that control activity in the cognitive sphere and the moments of development into creativity. Russian philosophers and writers created their own systems - theoretical and artistic; in which it is possible to reflect the highest creative achievements.

The theories of Z. Freud and E. Fromm, in which the Freudian school associates creativity and the creative process with sublimation, are widely known. Therefore, creativity in this interpretation is a balancing of the principle of pleasure and reality, which Freud considers as the main types of the human psyche. Therefore, creativity is the desire to satisfy the accumulated desires, to adapt through this transformation in reality, which is seen as a game. At the same time, desires are complexes inherent in childhood, which have strengthened and increased under the influence of numerous social prohibitions associated mainly with the sexual sphere. As a result, all the artist's work gives an outlet to his sexual desires. This interpretation is transferred by Freudians not only to explain the process of creation, but also to the content of works, which, in turn, are transferred to the analysis of perception. Moreover, society and social collisions, Freud notes, are generated by precisely these reasons, the cause of mental breakdowns, tensions, conflicts lies in this biological zone.

Fromm viewed creativity as an understanding of the problem of the essence and existence of man, coming to the conclusion that the main thing in this world is love not in Freudian-sexual clothes, but all-embracing love, the basis of which is art. Therefore, the main thing in the world is art, a person's search for himself, the expression of his searches in artistic images that took place in the past, present and future.

A number of researchers associate creativity with systematic activity, mainly of a substantive nature. We can say that it is this position that prevails in the development of the phenomenon of creativity in the European school. Intensive systematic purposeful activity becomes the basis of any creativity. Phrases are widely known, such as Tchaikovsky's statement “inspiration is a rare guest, she does not like to visit the lazy,” Pushkin’s “talent is one drop of giftedness and ninety-nine drops of sweat,” Pascal “only well-trained minds make accidental discoveries”, etc.

But the mechanisms of inclusion in creativity in the Western scale are practically not worked out. Under the study of creative methods, first of all, external attributes are considered - the systematics of work, lifestyle, nutrition, the use of thermal techniques, etc. This gap is quite clearly manifested in the life of creators. Among the huge number of talents born of the Western European, Russian, American school, you can count many who were included in creativity for short periods, after that experiencing long periods of inaction and despondency, some artists could create works under the influence of alcoholic, narcotic substances, which destroyed the physical and mental body and led to known consequences.

Many artists were looking for their own methods of entering the desired state. It is known that Pushkin and Tolstoy loved to walk barefoot on snow and stone floors, citing the fact that blood more powerfully irrigates the brain, which begins to work better. Someone had to endure severe stress, a kind of shock that made it possible to acquire the properties necessary for creativity. But, in spite of the difference in the ways, everywhere there is a general tendency to enter the state of “other being”, the stay in which is not indifferent to the psyche. It is no coincidence that there are so many talents with fragile mental health in the Western school, in Russian reality. It is obvious that creativity needs not only to be explained from the point of view of rough material positions, but also to be considered in more subtle categories, which should be supported by a clear mechanism of entry and exit from it.

These positions are beautifully developed in oriental schools. Therefore, when analyzing the relationship between culture and creativity, we will focus on these methods and explanations of the positions of creativity.

Eastern esoteric culture is the oldest and integral part of the culture of mankind. It contains a system of general ideas about genesis, structure and world order. Due to the fact that such knowledge greatly enhances power over the world and others, the initiates should have had special qualities - specific indicators of the brain, capable of accommodating knowledge, spiritual maturity, responsibility and being able to carry it Transformation of sacred knowledge and teachings into exoteric (open , secular, accessible to everyone) allows you not only to get acquainted with them theoretically, but also to be included in the technique of mastering spiritual methods. Let's dwell on some of them. Alisa A. Bailey, Satprem, Sri Aurobindo Ghosh, Osho Rajnesh, Russian researchers Roerichs, Kapten, Antonov V.V., Lapin A.E., Kashirina T.Ya., Malakhov G.P. They say that creativity is nothing more than a connection to a single information field and all that a person can do is to find the most acceptable way to enter it.

The information field is heterogeneous in its composition. It is extremely multidimensional and the lower - the mental layer consists of five layers of the mind - ordinary, higher, illuminated, intuitive, global. These positions are most fully developed by Sri Aurobindo, according to which we will give these characteristics. He believed that each layer of the mind has a special color and vibration. It is the properties or qualities of light, the nature and frequency of vibrations that are the barriers of the layers of the mind. So, in his interpretation, the lowest or ordinary mind - gray maize with many dark dots that swarm around people's heads, that huge mass of information that constantly attacks a person. (The human brain is considered by esoteric teachings not as a thought-creating organ, but as a receiver that constantly catches certain thoughts and information). The ordinary mind is the most dense layer, huge in its volume, which keeps ordinary people captive to its information, focused mainly on the nature and quality of interpersonal communication. The people in it are infinitely dependent on each other, mutual emotions and often cannot maintain a single stable mood for a long time. They, in the words of A. Bailey, are unhappy, as they are at the bottom of the ocean and do not represent the beauty of the upper solar floors. Creativity is possible here to an extremely small extent. Most often it is reduced and practically replaced by compiling already created works.

Higher intelligence is most often found among philosophers and thinkers. Its color also changes. Shades appear in it, there are flashes of light that do not disappear for a while. Here information is concentrated, focused on a specific mind, which is quite tough in nature and is focused on constant analysis, dismemberment. A person entering this layer cannot understand the information received at once, he correlates it with his attitudes for a long time, selects episodes from it, composes and creates his own subject, different from the general information field, in a new way. Emotions in this layer last longer than in the ordinary mind, but they also depend on the mass of surrounding circumstances. The illumined mind is characterized by a different nature. Its basis is no longer "general neutrality, but clear spiritual lightness and joy, on this basis, special tones of aesthetic consciousness arise." This layer of the mind is flooded with a golden stream of light, saturated with different shades, depending on the consciousness of the creator. A person who has entered this layer is in a state of lightness, joy, love for everyone around, constant readiness for positive actions. The mind expands infinitely and gladly accepts the whole world and itself in this world. Information coming from the common field is perceived immediately, does not require long-term adaptation to the qualities of the creator. Creativity is carried out in various directions - sciences at the level of discoveries, art in all its multi-genre, worship of the new, sincere love. The ascent to this stratum is characterized by a sudden flowering of creative abilities and most often manifests itself in poetry. Most of the great poets went into this layer, the great composers drew their ideas from it. Every person can go out into it from time to time and children become a vivid confirmation of this, who in the period of 4-7 years often speak in poetry, and, although mechanical rhyming often occurs here, there is a certain connection with the illumined mind. A person who has mastered spiritual practice and is able to enter this layer of mind is in it for as long as he needs, illuminates others with his light and warmth. These are radiant people who attract others to themselves.

Intuitive Mind differs in clear transparency, mobility, airiness, not connected with metal constructions. The exit into it happens suddenly. After staying in other layers of the mind, a person becomes knowledgeable not at the level of building mental structures, but at the level of all-knowledge, all-understanding. Intuition brings a state of constant joy and happiness, when a person enters the stage of not cognition, but recognition, as Sri Aurobidno says - the truth is remembered. “When there is a flash of intuition, it is clearly seen that knowledge is not the discovery of something unknown - it only reveals itself, there is nothing more to discover - this is a gradual recognition in time of that moment of Light when we saw everything. The language of intuition is extremely concrete, there are no pompous phrases in it, but there is also no warmth of the illumined mind.

Global mind - a peak that a person rarely approaches. This is the level of cosmic consciousness where personal individuality is still preserved. It is from this stratum that great religions come, all great spiritual teachers draw their strength from it. It contains the greatest works of art. The consciousness of a person who has entered this layer is a mass of constant light, where the contradictions of the lower layers of reason are eliminated, since everything is filled with light, which creates harmony, joy and universal love. A person can rarely achieve global consciousness, but when this happens, it is carried out in different ways: by religious dedication, artistic, intellectual activity, heroic deeds - everything that a person can overcome himself with. All these layers of the mind are mental, lower layers, which can be reached through long-term spiritual practice, perfectly developed by humanity.

In fact, the spiritual practices-methods created in the East are the only ones that were given to man, which could and can create powerful spiritual health and superhuman abilities. Thus, the fruits of creativity, which we often consider with vanity as our own, in fact are a connection to a single information field, to different layers of the mind. It is no coincidence that the spiritual teachers of humanity rarely put their names under the works written by them, explaining this by the fact that they were simply dictated to them.

Techniques for entering different layers of the mind are extremely diverse. Now they are becoming popular all over the world. But everywhere there remains a common position of maintaining spiritual and physical purity, abstinence in food, and the use of a significant number of verified meditations.

Almost everyone feels the connection with different layers of the mind at different times. Everyone remembers the moments of recognizing some locality, phrases, thoughts that seemed to have already met, although you clearly know that you are facing it for the first time. The connection with the information field is very clearly traced, when a person is carried away by a certain idea. Some time after thinking it over, the necessary literature literally begins to “pour in” on him, meetings with people who can help him take place. That is, access to the general information layer always attracts related information. Everyone has intuitive glimpses when a person clearly knows what will happen, but a particular mind begins to persuade him that all this is illogical and, therefore, ridiculous. Hence, a significant number of wrong actions.

This information makes it possible to get closer to the study of the phenomenon of provincial creativity. It is known that in some parts of the world, to which Russia belongs, the layer of ordinary or lower intelligence is narrowed, therefore the entire culture of our country is saturated with information from higher strata. Hence, people born in this territory are initially endowed with big data to enter higher information fields. But the narrowing of this layer is differently represented in specific localities and, to a large extent, depends on the abundance of people living together. In territories with a large number of them, the lower layer of the mind (capital) becomes denser, which is so concentrated that it is extremely difficult to break through it. The abundance of people gives rise to a very powerful field that coordinates group actions, including everyone in a single vibrational vibration. As long as you live and act in resonance with everyone, you feel comfortable, and only when a person begins to look for his own path, that is, to leave the general stream of vibrations, others begin to consciously press on him. Each of us experienced opposition when we tried to make an independent decision. At this moment, a lot of people appear around who give completely natural “correct” arguments and attack us with their reasoning. They calm down only when they get their way. Sri Aurobidno Ghosh pointed out: “While we are wandering in a common herd, life turns out to be relatively simple, with its own successes and failures - few successes, but not too many failures; however, as soon as we want to leave the common rut, thousands of forces rise up, suddenly very interested in us behaving “like everyone else” - we are personally convinced of how well our imprisonment is organized ”. In this situation, the forces of a person are spent primarily on opposing surrounding influences, a person floats in the waves of the lower mind, not having the strength to go beyond its limits.

Being in the provinces, in nature, is extremely necessary for creators. This is nothing more than an attempt and an opportunity to stay in a less saturated layer of the lower mind, to concentrate one's forces and enter other information fields. Representatives of all branches of knowledge and art have written about this need quite a lot. In the provinces, the layer of the lower intelligence is not only narrowed, it is also less dynamic, as it were, rarefied. Among the many gray dots and swirls, other colors are visible, other vibrations are felt. Less attack by alien forces makes it easier to overcome these barriers.

The next point, which is obvious here, is related to activities. The practical orientation of the work of the majority of the inhabitants of the province with a clear verification of value orientations and the very way of life directs a person not to the pointless rational flexibility of the intellect, but to stability associated with human life values. This relative calmness does not disturb and does not give rise to the dynamics of the lower mind to the same extent as in other environments, as a result of which its attacks are somewhat smoothed out and there is an opportunity to preserve one's "I". Despite the fact that at present the media have over-saturated the layer of the lower mind, this is equated by the stability of the way of life. It seems that this is why the province remains a field of creation, in which the very way of life orients a person towards creativity.

The history of mankind clearly enough demonstrates the dependence of creativity on the place of creation, where creators retire in quiet, remote, high-mountainous places, where the layer of the lower mind is rarefied.

Therefore, now we are faced with the task not only to teach young people a set of information collected by a specific mind, but also to draw their attention to teaching time-tested methods that open an exit to these structures, to teach them to perceive high works of art, communicate and understand worthy scientific discoveries.

In this case, the study of spiritual practices of the East will be invaluable; there are now a lot of books and schools of this direction. It will be useful for students to turn to literature of this kind and develop a habit of new activities.

It seems that it will not only optimize creative processes, but will allow solving more global problems: it will show the way to the formation of true spirituality, teach people to draw from high information layers, prepare them for painstaking and intense work. After all, it is known that intellectual and spiritual activity is the most difficult and requires tremendous will, efforts on oneself, helping to achieve the desired state, which comes only as a result of prolonged thoughtful practice.

Now creativity, its comprehension, the development of creative skills is experiencing a real boom. The combination of East-Western methods of creativity, the widespread use of meditative and other spiritual techniques, one becomes possessing a certain amount of creative skills, one's own creative laboratory, which allows one to fill the vacuum of knowledge and skills in a short time. Therefore, creativity becomes not just desirable, but a necessary component of human life. And, if in ancient times, it provided the possibility of survival in the natural environment, now it is a tool for survival in the social environment.

Obviously, the scale of creative processes will increase, as society moves to a new level of development, where intellectual activity becomes the main area of \u200b\u200bactivity, therefore it is simply impossible to overestimate the study of the problem of the relationship between creativity and culture.

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Thinking over the idea of \u200b\u200bculture, identifying the meanings contained in it inevitably leads to the idea of \u200b\u200bcreativity. The idea of \u200b\u200bcreativity in general is much older than the idea of \u200b\u200bculture. For thousands of years, man has interpreted creativity in such a way that it had nothing to do with what would later become a thought about culture. The point here is that the idea of \u200b\u200bculture is inseparable from man. It really arises only when a person begins to think of everything that exists through the prism of his own transformative efforts in relation to nature. The idea of \u200b\u200bcreativity, starting from the primitive era and up to the Renaissance, was correlated exclusively with superhuman beings, with gods (God). A person who made creative claims thereby assumed the functions of a deity. The magician could act as a creature dominating the natural elements, subordinating them for their own purposes. But that is precisely why he violated the measure of the human, his activities were not legal, the magician sought to enter the sphere of superhuman reality, he was a rival of the gods, so to speak, an impostor god. When, in the new European (Renaissance and post-Renaissance) era, the idea of \u200b\u200bcreativity is united with a person, when he begins to perceive himself as a creator, only then does the idea of \u200b\u200bculture appear at its core. In its original sense, the idea of \u200b\u200bculture is the idea of \u200b\u200bhumanity, human self-deification. And it is not at all accidental that in the Renaissance it is inseparably accompanied by the idea of \u200b\u200bthe divine dignity of man. Before displacing, making irrelevant any ideas about God, man thought of himself, if not directly God, then in His role.

The statement that the idea of \u200b\u200bcreativity is very ancient should be understood in a limited sense. This is so and not quite so. If everything is reduced to the most general and simple scheme, then for millennia two types of ideas about creativity prevailed in human consciousness and subconsciousness. Both of them are equally inadequate, at the same time they reveal something essential in the creative act and, to no less degree, obscure it.

The first of them, one way or another, identifies creativity with the generative principle. First, to create is to give birth. Childbirth is at the heart of everything. Not only mothers give birth to their children, animals give birth to young. The whole world is a huge cosmic body and everything that arises in it, in one way or another, is born of the maternal principle. Secondly, creativity was thought of as conception. It seems that the difference is not essential here, it seems to us natural: in order to give birth, you must first conceive. But the archaic primitive consciousness did not directly identify conception and childbirth. Not only birth, but also conception was entirely related to the maternal principle, the transfer of emphasis to conception highlighted the masculine principle, associated with activity, and not with pure spontaneity.

It should be especially noted that in many mythologies the theme of creativity is associated with the image of death, decay, dismemberment of a certain initial integrity of being. Let's say for the Germans, Indians, Egyptians, etc. world-space is created in the process of murder and division into parts of the primordial being that preceded the world.

All of the listed modifications of the idea of \u200b\u200bcreativity are united by the main thing: they are naturalistic in nature, creativity in them is a natural process.

The second type of concept of creativity proceeds from the assimilation of creativity to the productive activity of man, although its subjects are deities. The analogy with handicraft production is very common: the act of creativity presupposes intelligence, design, skill. This is already a supernatural process. Man compares creativity not to what is below him, but to what is on a par with him as a person. It may seem that the idea of \u200b\u200bcreativity as a productive activity is more adequate than others. After all, it expresses the moment of rationality, sequence of actions, goal-setting. More important, however, is that both types of ideas about creativity are united by the main thing. And in one and in the other case, the new (and creativity always carries novelty and uniqueness) seems to be present in advance. Either something embryonic reveals itself in its entirety - the first type of representations, or the product of creativity is reduced to the combinatorics of a pre-existing one (the idea in the mind of the creator, his skill, the material of transformative activity) - the second type of representations.

As you can see, the original mythological images of creativity do not grasp the most essential in it. They do not answer the main questions: where does the created come from, what does the creation of the previously not former consist of, how does the process of transition from nonexistence to existence take place? The answer to these questions has not been found beyond the limits of mythological concepts - neither by philosophy, nor by scientific knowledge. Culturology is no exception here.

And it's not about the imperfection of philosophical or scientific knowledge. One must be aware of the fact that the theme and image of creativity, being primordially associated with the divine world, was thus thought and presented as something super-natural. In any religion, God or gods are incomprehensible due to the fact that there is a gulf between divine and human reality. Accordingly, creativity as an attribute of deity is incomprehensible. After all, creativity and creation is God's turning to the world, which results in the emergence along with a supernaturally divine reality and a natural reality. The result of the emergence is given to a person, the ends of the process are before his eyes and in his hands, but the beginnings, sources are lost in the unattainable height of the divine world. A person can attain them only by becoming God. If a person has no claims to self-deification, the idea of \u200b\u200bthe incomprehensibility of creativity will always remain for him. This is, in particular, in Christianity.

The Christian view of creativity is an understanding of it as a creation. God creates the world from nothing, from pure absolute nothing. As soon as Christianity makes a concession and at least somehow admits that God creates from Himself (say, from the ideas eternally present in him) or from some semblance of primordial material, some kind of reality that exists besides God, and the very foundations of the Christian doctrine will be shaken. Along with the trinitarian question (the trinity of God) with the problem of the divine-human nature of Christ, the idea of \u200b\u200bcreation from nothing is the basis of the foundations of Christianity. In the Creed, birth and creation are divorced. God only begets God. He is His Son. People are by nature created, they are born in God by grace.

But if you understand and somehow clearly think about the idea of \u200b\u200bcreation from
nothing is 1 * 6possibility6 ",;, then you can approach, feel for some moments of her
presence. AND jjin ^ o. ^ ceu ^ qHaji ^ BrvicKaej ^^ JuQSb- foreword.
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the idea_t ^ 05enia_from ^ hj ^ o,; ^^ jjja4i ^ 4Tq_o ^^ its shortcomings

stupidity did not at all bewitch or paralyze the mind and will of the Christian. The idea of \u200b\u200bcreation is so incredibly rich and inexhaustible in its consequences, it opens such horizons for man, so permeates the world with life and meaning, that it is more than enough to proceed from it, and not gaze into it, distraught with powerless tension.

Human creativity is based on the same acts of objectification (incarnation) and pd £ pre-notation (disincarnation). In equal measure, although THYa is different, both of them are creative, although at the ordinary level we habitually call creativity primarily or even exclusively the act of objectification. When the human uniqueness of the inner world becomes an external being, a new, hitherto not the former objective reality of a work of art or a philosophical text, creativity in this case is nothing but a change in the way of individual and personal being. From the mobile-fluid world of images, representations, ideas, it passes into a frozen form, separated from the I personality. Creativity ^ v ^ _m ^ 1 ^ c ^] ^ s ^ o ^ begins not just ^ co_n ^ p ^^ od, _x_wy1 of the external state, but also the clarification, ordering, harmonization of what was \ inner world ^ _tv £ rtsak_For the idea of \u200b\u200bculture, "| Гв1жЖ ^^ ^ man" is read asTtv ^ schuy ~ in potency. The idea of \u200b\u200bculture does not know the immutable division of people on the principle of "belonging or not belonging to culture. Qj-1 here is the universality of the creative nature of man. One of the insoluble problems of cultural studies is that in the vast majority of cases, the creative nature of a person is not actualized. Potential creators do not reveal its unique inner world, it does not become a work, remaining a state of mind, amorphous and unclear. Probably the most impressive evidence of the creative nature of man is dreams. For many people, they represent the kingdom of harmony, sounds, colors, lines. Their difference from works of genius in one. These dreams will not

they are surrounded by objective reality, remaining a part of the inner, mental life of a person.

Creativity as defining can be designated as productive ^ Along with it, although this is obvious to me, there is also creativity as self-creation. It is based on de-objectification (decompressed ^ rBnm & ^ ac ^ - v pre-perception (for example, reading a book) a person makes his inner property the inner world of another person, previously objectified in the text. As a result, he is literal-meaning-taodit. Only in contrast to the productive ^ rO "tv" op ^ "the essence is engraved not outside, but inside the person, he creates. Hamo1O.with. After all, the same book read, if it is really read, something changes in the inner world of a person, there is a shift in his worldview, previously unheard strings of the soul are affected, etc.

Along with the two mentioned types of creativity, productive and self-creation, the creative moment also carries communication (communication). In the process of communication, people ^ o1d ^ yTmrperpecreating "And those r -With whom they communicate. Communication includes moments of objectification and de-objectification, only by the peculiarity that they continuously pass one into another. So, in conversation as a kind of communication, the spoken word (objectification) directly becomes the state of the one to whom it is addressed, i.e. it becomes de-objectified, becoming the inner world of the interlocutor.

Communication not only can be and is creativity, but also has, oh "tpfit / iftdes;^ yoytsYayyshhe bsche influence ffa ■■ "friendUtsshdg jnnjv4 (* bxfta_Qfipathe study of historical and cultural material testifies to the fact that creative-educational creativity too often forms only the tip of the iceberg, the underwater part of which is creativity as communication. A clear evidence of what has been said is the stable feature of productive and creative activity. Over the centuries and even millennia, creative breakthroughs have been carried out through the activities of cultural communities, unthinkable without continuous communication, circles, canojbLOB, unions, brotherhoods, etc. The Platonic and Florentine Academies, the Jena circle of romantics, the World of Art association - in all these small, more or less closed communities, approximately the same thing happened. It was preliminarily spoken out, clarified, highlighted what later became the product of the activity of the lone creator. Of course, he did not just write down, memorize, but in any case, in the process of communication, something of a decisive degree of importance was stimulated and initiated. That which outside the community would have remained a spiritual darkness, something that did not take shape in the act of revelation and expression. Therefore, very often the individual creator is not at all a self-sufficient and self-contained subject of creativity. Rather, he is a decorator, a finisher, an interpreter of what came together in the process of communication.

To understand the essence of creativity, it is very important to take into account that it not only coincides with culture, forms its core, but contradictions between creativity and culture are possible and real. To clarify them, let us once again turn to the idea of \u200b\u200bculture.

Until now, speaking about culture in its separation from nature, about culture as a unity of objectification and de-objectification, we have left aside the point that the existence of culture presupposes a harmonious constitution of man. As a subject of culture, in his transformative efforts, a person creates a "second nature" (his own and external, surrounding him) as some higher, in comparison with purely natural, harmony. After all, the idea of \u200b\u200bculture only arises when a person feels himself not just a creator, but also a creature capable of creating a world more sublime and beautiful in comparison with the one he finds in the process of creativity.

It is precisely on the point of harmony that the most acute contradictions between creativity "and culture are possible. So, and so, during the last two centuries, the ideal of creativity and the creator was reduced to the creation of an absolutely perfect product.

in words, to the embodiment of the highest truth, goodness and beauty in the product of creativity - this is the very person as in his objective embodiment, jajLy in the activity dimension. From the point of view of culture, a person cannot be completely subordinate to what he creates, what he objectifies in the product. No matter how great works are created, they are created for a person and outside of him have no meaning. Moreover, they should contribute to its harmonious and all-round development - this is the requirement of culture in relation to creativity, such is the cultural ideal. Another question is to what extent it is achievable for a creatively productive person. Not in everything, not always and not in everyone. Let's look at the testimonies of the creators themselves. Both of them are not only the greatest writers of the XX century, but also people who pondered the problem of creativity.

The first characteristic of creativity belongs to V. Nabokov. “I have noticed more than once,” writes V. Nabokov in his autobiographical novel “Other Shores”, “that if I give a fictional hero a living trifle from my childhood, it begins to fade and fade in my memory. Whole houses that have been safely transferred into the story fall apart. in the soul it is completely soundless, as in an explosion in silent cinema "1. Let's try to translate Nabokov's chased prose into the language of cultural studies. "To give a fictional hero a living trifle from his childhood" - after all, this is to objectify, to objectify his inner world in its uniquely personal, intimate aspect. "Whole houses fall apart in the shower." Is it not about the fact that the objectified ceases to be my inner world? He is depleted and impoverished. Gaps of non-being arise in the soul. Where is the harmonious and all-round development of the creator in the process and result of creativity? He's gone. There is a culture being for another, for the reader. He will undoubtedly have an act of de-objectification created by a great Russian writer.

The second evidence of creativity in its correlation with culture is contained in T. Mann's letter to the researcher of his work: “Not without a gesture of shameful denial, I sometimes notice, for example, that on the basis of my books I am considered to be a downright universal mind, a man of encyclopedic knowledge. an illusion. In fact, for a writer ... world famous, I am incredibly uneducated. At school I did not learn anything but reading and writing, a small multiplication table and a little Latin. Everything else I rejected with stupid tenacity and was considered an inveterate lazy - prematurely; for later I showed excellent diligence when it was necessary to bring a scientific basis for any poetic works, that is, gain positive knowledge in order to literally beat them ... So I was alternately an educated physician and biologist, well-grounded orientalist, Egyptologist , a mythologist and historian of religion, a specialist in medieval culture and poetry, etc. It's bad, however, that both only the work for which I went to such scientific expenses is finished and put aside, with incredible speed I forget everything I learned for this occasion and with an empty head I am in a miserable consciousness of my complete ignorance, so that one can imagine the bitter laughter in which this praises my conscience "1. Let us take into account that T. Mann's letter contains a certain amount of self-irony and exaggeration. Moreover, that he exaggerates must be taken seriously.

First of all, attention is drawn to the fact that the German writer has a motive similar to Nabokov: creativity-objectification devastates the artist when, after creating a work, he "with incredible speed forgets everything he has learned" and "remains in the wretched consciousness of his complete ignorance." Mann also has additional accents. So, he clearly sounds the motive of the incompatibility of creativity with universalism, i.e. all-round personal development. And another motive: a person is chained to his creativity, creativity owns him, and not he creativity. Man is subordinated to some force that is outside of him. And this is already incompatible with the ideal of self-direction and the highest value of the individual so important for the idea of \u200b\u200bculture. By the creative act this ideal is shaken and undermined. If you ask the simplest question, which is preferable - "to carry everything with you", to feel in yourself the presence of those knowledge, ideas, images that are acquired by education, or each time to forget them, giving them to the embodied in a work, then from the standpoint of culture it is equally important both: both the inner wealth of the personality and its realization in a creative product. T. Mann expresses a different experience, the experience of oblivion, which means the dying of the soul, because the life of a person consists equally in momentary, here and now lasting impressions and in the ability to remember and remember.

As noted, the tension between productive creativity and culture is relatively recent. It is especially acute in the XX century. It can be attributed to one of the symptoms of a cultural crisis. But there were epochs that did not know this crisis. In particular, and because the productive creativity-objectification was more balanced by creativity-self-creation and creativity-communication. The creator himself did not reduce his life to the overwhelming goal of embodying his inner world, but strove to live in a holistic and versatile manner. Moreover, often self-creation, or, as they said back in the last century, "self-improvement" was valued no less, if not more highly than productivity.

History and Culturology [Ed. second, revised and additional] Shishova Natalya Vasilievna

15.3. Development of culture

15.3. Development of culture

Culture has played a large role in the spiritual preparation of the changes called perestroika. Cultural figures with their creativity prepared the public consciousness for the need for change (T. Abuladze's film "Repentance", A. Rybakov's novel "Children of the Arbat", etc.). The whole country lived in anticipation of new issues of newspapers and magazines, television programs in which, like a fresh wind of change, a new assessment was given to historical figures, processes in society, and history itself.

Representatives of culture were actively involved in real political activities: they were elected as deputies, city leaders, and became leaders of national-bourgeois revolutions in their republics. Such an active social position led the intelligentsia to a split along political lines.

After the collapse of the USSR, the political split among cultural and art workers continued. Some were guided by Western values, declaring them universal, others adhered to traditional national values. On this basis, almost all creative ties and groups have split. Perestroika abolished bans on many types and genres of art, returned to the screens shelved films and works prohibited from publication. The return of the brilliant culture of the Silver Age belongs to the same period.

The culture of the turn of the XIX and XX centuries showed us a whole "poetic continent" of the finest lyricists (I. Annensky, N. Gumilev, V. Khodasevich and others), profound thinkers (N. Berdyaev, V. Soloviev, S. Bulgakov, etc.) , serious prose writers (A. Bely, D. Merezhkovsky, F. Sologub and others), composers (N. Stravinsky, S. Rachmaninov, etc.), artists (K. Somov, A. Benois, P. Filonov, V. Kandinsky and others), talented performers (F. Chaliapin, M. Fokin, A. Pavlova and others). This stream of "forbidden" literature had, in addition to a positive and a negative point: young writers, poets, screenwriters were deprived of the opportunity to publish in state publications. The crisis in architecture also continued due to the reduction of construction costs.

The development of the material base of culture slowed down sharply, which affected not only the absence of new films and books on the freely formed market, but also the fact that, along with the best foreign samples of culture, a wave of products of dubious quality and value rushed into the country.

Without clear government support (this is evidenced by the experience of developed Western countries) in the conditions of market relations, culture has little chance of survival. Market relations by themselves cannot serve as a universal means of preserving and increasing the spiritual and socio-cultural potential of society.

The deep crisis in which our society and culture is now is a consequence of the long-term disregard for the objective laws of social development in the Soviet period. The construction of a new society, the creation of a new person in the Soviet state turned out to be impossible, since throughout the years of Soviet power, people were separated from true culture, from true freedom. Man was considered as a function of the economy, as a means, and this dehumanizes man as much as a technogenic civilization. "The world is experiencing the danger of dehumanization of human life, dehumanization of man himself ... Only the spiritual strengthening of man can resist such a danger."

Researchers of various culturological concepts talk about a civilization crisis, about a change in cultural paradigms. The images of postmodern culture, culture of the end of the millennium (Fin Millenium) have many times surpassed the naive decadence of modernist culture of the end of the century (Fin de Sitcle). In other words, the essence of the ongoing changes (as applied to the change in the cultural paradigm) is that it is not culture that is in crisis, but the person, the creator, and the crisis of culture is only a manifestation of its crisis. Thus, attention to a person, to the development of his spirituality, spirit is overcoming the crisis. Books of Living Ethics drew attention to the need for a conscious approach to the future changes in the cultural and historical evolution of man and highlighted ethical problems as the most important condition for the development of man and society. These thoughts resonate with the modern understanding of human life and society. Thus, P. Kostenbaum, a specialist in the education of American leadership cadres, believes that "a society built not on ethics, not on mature hearts and minds, will not live long." N. Roerich asserted that Culture is the cult of Light, Fire, reverence for the spirit, the highest service for the perfection of man. The affirmation of the true Culture in the mind of a person is a necessary condition for overcoming the crisis.

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Creativity is an activity that generates something qualitatively new and is distinguished by uniqueness, originality and socio-historical uniqueness. Creativity is specific to a person, since it always presupposes a creator - a subject of creative activity. Creative activity is a unique feature of the human race. It is multifaceted and manifests itself in all areas of material and spiritual culture, each acquiring its own specificity, but nevertheless retaining a universally significant option. The meaning of creative activity is precisely in the formation of a person as an active subject of social activity. In this aspect, creativity acts as a necessary attribute of culture.

Generic human essence is a set of such human properties that, manifesting in each individual personality, are preserved by representatives of the human race throughout its existence. This is the concentration of the most stable relationships that the human personality enters into. Interacting with nature, a person manifests the first property of a generic essence, his natural corporeality or objectivity. The first object that a person masters in the course of his life is his body. In the process of purposeful interaction with nature - labor, a person uses certain tools to achieve his goal. The objective result of human labor is yavl. Both the improvement of the person himself and the objects created by human labor. The second manifestation of the generic human essence is formed as a result of natural human need in human society, and it manifests itself in human sociality, society and the soulfulness arising as a result of their manifestation. Being from birth within a certain society, a person cannot do without a society of people throughout his life. Finally, the third manifestation is the spirituality of a person after his humanization (this is fully manifested after the appearance of experiences in a person). Real human spirituality is defined as a value attitude, the main way of existence of which is. experiencing meaning. Value is the significance of an object, person or phenomenon revealed in the process of experiencing for the experiencing personality. Creativity should be interpreted as the source of something eternal, enduring in culture.

Creation. Concept and essence. Types of creativity.

Creativity is an activity that generates something qualitatively new and is distinguished by uniqueness, originality and socio-historical uniqueness. Creativity is specific to a person, because it always presupposes a creator - a subject of creative activity.

It is customary to distinguish types of creative activity in accordance with the type of thinking that underlies each of them. On the basis of conceptual-logical thinking, scientific creativity develops, on the basis of holistic-figurative - artistic, on the basis of constructive-figurative - design, on the basis of constructive-logical - technical. Consider the features of the creative process in science, technology, art and design. Lotman calls culture and art in two ways of seeing the world or "through the eyes of culture." With the help of science, culture comprehends the existing and the natural, and art is the living of the unexpired, the exploration of the never-before, the passage of the roads not traveled by culture. The creative process in science is limited by the framework of logic and facts, the scientific result reflects the current state of the scientific picture of the world, and the goal of scientific creativity is the desire to achieve objective truth. In artistic creation, the author is limited by the framework of his own talent and skill, moral responsibility and aesthetic taste. The process of artistic creation includes both conscious and unconscious moments, a work of art becomes as an initially open system, a text that exists in a certain context and has an internal unspoken subtext. As a result of artistic creation, a work of art is the embodiment of the artist's inner world, re-created in a generally significant, self-valuable form. Technical creativity is conditioned by the present needs of civilization in achieving the greatest comfort and maximum adaptation to the environment. The result of technical creativity is a technical device, a mechanism that best meets the existing human needs. Design creativity arises at the junction of technical and artistic creativity and is aimed at creating a thing that has not only a functional and expedient, but also an expressive external form. The result of design creativity is the reconstruction of the object-material environment of a person. Design art revives the forgotten thesis of ancient culture: "Man is the measure of all things." Designers are faced with the task of creating things commensurate with a person, creating such a household and industrial object environment that would contribute to the most effective solution of production problems and would allow maximum realization of human abilities and intentions. Creativity is an indispensable condition for the emergence of culture and the realization of the generic human essence. In creativity, a person expresses himself as a free individuality and is freed from any external restrictions, firstly, associated with a person's physical capabilities: physical, physiological and mental, and, secondly, associated with a person's social life. Creativity as an intrinsically valuable process is carried out when, taking place in certain socio-cultural conditions: social, economic, political, moral and religious, legal and ideological, setting a certain actual cultural level, it sets itself previously unprecedented goals, is realized in a search, selective way and receives a result that expands the measure of the creator's freedom. It is creativity, when a person focuses on his spiritual side, that contributes to the liberation of a person from the interfering conventions of the surrounding world. Culture and creativity make a person free from the oppression of his sex and age parameters, from the oppression of communality and from the dictates of mass character and standardization. It is creativity as a way of being of culture and self-realization of the individual that becomes the mechanism for preserving the unique human individuality and self-worth of the individual. The Creator is HOMO FABER - a creator man who has risen above the natural environment, above everyday needs, above the creation of only practically necessary. Consequently, the first of all possible manifestations of creativity is the formation of a creative personality.

A creative person, regardless of the sphere of her activity, is usually distinguished by high intelligence, relaxed thinking, ease of association, fearless play with ideas and at the same time the ability to build logical schemes and establish interdependencies, patterns. A creative person should have independence of opinions and judgments, assessments, the ability to correctly and reasonably prove and defend their point of view. First of all, for a creative person, vigilance in finding a problem and the ability to pose questions are important. A creative person should have the ability to focus attention and hold it for a long time on any question, topic or problem, to concentrate attention in the process of searching for a heuristic solution. Creative intelligence is distinguished, as a rule, by the ability to operate with vaguely defined concepts, to overcome logical inconsistencies, to have the ability to curtail mental operations and bring distant concepts closer together. A creative person should be exacting of himself and others and self-critical. Doubt in generally accepted truths, rebellion and rejection of tradition should be combined in it with internal discipline and strictness towards oneself. Creative people are distinguished by their wit, sensitivity to the funny and the ability to notice and comically comprehend contradictions. However, psychologists note that passion for a creative task, detachment from the world leads to the appearance of everyday absent-mindedness and secondary importance of relations between people, an increased desire for self-affirmation

Revolution and culture. The 1917 revolution divided the artistic intelligentsia of Russia into two parts. One of them, albeit not accepting everything in the Council of Deputies (as many called the country of the Soviets at that time), believed in the renewal of Russia and devoted her energies to serving the revolutionary cause; the other, on the other hand, had a negative and contemptuous attitude towards the Bolshevik regime and supported its opponents in various forms.
V. V. Mayakovsky in a kind of literary autobiography “I myself” in October 1917 described his position as follows: “To accept or not to accept? There was no such question for me (and for other Muscovites-futurists). My revolution. " During the Civil War, the poet worked in the so-called "ROSTA Satire Windows" (ROSTA - Russian Telegraph Agency), where satirical posters, cartoons, and popular prints with short poetic texts were created. They ridiculed the enemies of Soviet power - generals, landowners, capitalists, foreign interventionists, spoke about the tasks of economic development. The future Soviet writers served in the Red Army: for example, DA Furmanov was the commissar of the division commanded by Chapaev; I. E. Babel was a fighter of the famous 1st Cavalry Army; A.P. Gaidar at the age of sixteen commanded a youth detachment in Khakassia.
Future emigrant writers participated in the white movement: RB Gul fought as part of the Volunteer Army, which made the famous "Ice Campaign" from the Don to the Kuban, GI Gazdanov, after graduating from the 7th grade of the gymnasium, volunteered for Wrangel's army. I. A. Bunin called his diaries of the period of the civil war "Cursed Days". MI Tsvetaeva wrote a cycle of poems under the meaningful title "Swan Camp" - a lament over white Russia filled with religious images. The theme of the perniciousness of the civil war for human nature was permeated in the works of the emigrant writers MA Aldanov ("Suicide"), MA Osorgin ("Witness of History"), IS Shmelev ("The Sun of the Dead").
Subsequently, Russian culture developed in two streams: in the Soviet country and in the conditions of emigration. Writers and poets I. A. Bunin, who was awarded the Nobel Prize in Literature in 1933, D. S. Merezhkovsky and Z. N. Gippius, the leading authors of the anti-Soviet program book "The Kingdom of Antichrist", worked in a foreign land. Some writers, such as V.V. Nabokov, entered literature already in emigration. It was abroad that the artists V. Kandinsky, O. Tsadkin, M. Chagall gained world fame.
If the works of emigrant writers (M. Aldanov, I. Shmelev, etc.) were permeated with the theme of the perniciousness of the revolution and the civil war, then the works of Soviet writers breathed revolutionary fervor.
From artistic pluralism to socialist realism. In the first post-revolutionary decade, the development of culture in Russia was characterized by experimentation, the search for new artistic forms and means - a revolutionary artistic spirit. The culture of this decade, on the one hand, had its roots in the "Silver Age", and on the other hand, it took from the revolution a tendency to renounce classical aesthetic canons, to thematic and plot novelty. Many writers saw their duty in serving the ideals of the revolution. This was manifested in the politicization of Mayakovsky's poetry, in the creation of the "Theater October" movement by Meyerhold, in the formation of the Association of Artists of Revolutionary Russia (AHRR), etc.
The poets S. A. Yesenin, A. A. Akhmatova, O. E. Mandel'shtam, B. L. Pasternak continued to create, who began their poetic path at the beginning of the century. A new word in literature was spoken by the generation that came into it already in Soviet times - M. A. Bulgakov, M. A. Sholokhov, V. P. Kataev, A. A. Fadeev, M. M. Zoshchenko.
If in the 20s. literature and visual arts were distinguished by an exceptional variety, then in the 30s, under the conditions of ideological diktat, the so-called socialist realism was imposed on writers and artists. According to his canons, the reflection of reality in works of literature and art had to submit to the tasks of socialist education. Gradually, instead of critical realism and various avant-garde trends, pseudo-realism became established in artistic culture, i.e. an idealized depiction of Soviet reality and Soviet people.
Artistic culture came under the control of the Communist Party. In the early 30s. numerous associations of art workers were liquidated. Instead, united unions of Soviet writers, artists, filmmakers, actors, composers were created. Although formally they were independent public organizations, the creative intelligentsia had to completely submit to the authorities. At the same time, the unions, possessing funds and creative houses, created certain conditions for the work of the artistic intelligentsia. The state maintained theaters, financed the filming of films, provided artists with studios, and so on. The only thing required of artists was to faithfully serve the Communist Party. Writers, artists and musicians who deviated from the canons imposed by the authorities were expected to be "worked out" and repressed (O. E. Mandel'shtam, V. E. Meyerhold, B. A. Pilnyak and many others perished in Stalin's torture chambers).
Historical and revolutionary themes occupied a significant place in Soviet artistic culture. The tragedy of the revolution and the civil war was reflected in the books of M. A. Sholokhov ("Quiet Don"), A. N. Tolstoy ("Walking in agony"), I. E. Babel (collection of stories "Cavalry"), paintings by M. B. Grekov ("Tachanka"), A. A. Deine-ki ("Defense of Petrograd"). Films dedicated to the revolution and the civil war took pride of place in cinema. The most famous among them were "Chapaev", a film trilogy about Maxim, "We are from Kronstadt." The heroic theme did not leave the capital and
from provincial theater stages. The sculpture "Worker and Collective Farm Woman" by V. I. Mukhina, which adorned the Soviet pavilion at the 1937 World Exhibition in Paris, was a characteristic symbol of Soviet fine art. Famous and little-known artists created pompous group portraits with Lenin and Stalin. At the same time, M. V. Nesterov, P. D. Korin, P. P. Konchalovsky and other talented artists achieved outstanding success in portrait and landscape painting.
Prominent positions in the world art of the 20-30s occupied the Soviet cinema. It featured directors such as CM. Eisenstein ("Battleship Potemkin", "Alexander Nevsky", etc.), the founder of the Soviet musical and eccentric comedy G.V. Aleksandrov ("Merry Guys", "Volga-Volga", etc.), the founder of Ukrainian cinema A. P. Dovzhenko (Arsenal, Shchors, etc.). The stars of Soviet sound cinema shone on the artistic horizon: L.P. Orlova, V.V.Serova, N.K. Cherkasov, B.P. Chirkov and others.
The Great Patriotic War and the artistic intelligentsia. Less than a week after the Nazis attacked the USSR, TASS Windows (TASS - Telegraph Agency of the Soviet Union) appeared in the center of Moscow, continuing the traditions of the propaganda and political poster and caricatures of the ROSTA Windows. During the war 130 artists and 80 poets took part in the work of TASS Windows, which published over 1 million posters and cartoons. In the first days of the war, the famous posters "The Motherland Calls!" (I. M. Toidze), "Our cause is just, victory will be ours" (V. A. Serov), "Warrior of the Red Army, save!" (V. B. Koretsky). In Leningrad, the Combat Pencil Artists' Association launched the production of small-format leaflets.
During the Great Patriotic War, many writers turned to the genre of journalism. The newspapers printed military essays, articles, poems. The most famous publicist was I. G. Ehrenburg. Poem
AT Tvardovsky "Vasily Terkin", the front-line verses of KM Simonov ("Wait for me") embodied the feelings of the whole people. The realistic reflection of the fate of people was reflected in the military prose of A. A. Bek ("Volokolamsk highway"), V. S. Grossman ("The people are immortal"),
V. A. Nekrasov ("In the trenches of Stalingrad"), K. M. Simonov ("Days and nights"). The theater repertoire includes performances about life at the front. It is significant that the plays of AE Korneichuk "Front" and KM Simonov "Russian People" were published in newspapers along with reports from the Sovin-Formburo on the situation at the fronts.
The most important part of the artistic life of the war years was front-line concerts and meetings of artists with the wounded in hospitals. Russian folk songs performed by L.A. Ruslanova were very popular, pop songs performed by K.I.Shul-zhenko and L.O. Utesov. Lyrical songs by K. Ya. Listov ("In the dugout"), N.V. Bogoslovsky ("Dark Night"), MI Blanter ("In the forest near the front"), which appeared during the war years, became widespread at the front and in the rear. , V. P. Solovyov-Sedoy ("Nightingales").
Military chronicles were shown in all cinemas. Filming was carried out by operators in frontline conditions, with great danger to life. The first full-length documentary film was dedicated to the defeat of Nazi troops near Moscow. Then the films "Leningrad on Fire", "Stalingrad", "People's Avengers" and a number of others were created. Some of these films were shown after the war at the Nuremberg Trials as documentary evidence of Nazi crimes.
Artistic culture of the second half of the XX century. After the Great Patriotic War, new names appeared in Soviet art, and from the turn of the 50-60s. new thematic directions began to form. In connection with the exposure of the personality cult of Stalin, the overturning of the openly "varnishing" art, especially characteristic of the 30s and 40s, took place.
Since the mid-50s. literature and art began to play the same educational role in Soviet society as they played in Russia in the 19th and early 20th centuries. The extreme ideological (and censorship) pressure of social and political thought contributed to the fact that the discussion of many issues of concern to society was transferred to the sphere of literature and literary criticism. The most significant new development was the critical reflection of the realities of Stalin's time. Publications in the early 60s became a sensation. works by A. I. Solzhenitsyn ("One Day in Ivan Denisovich", short stories) and A. T. Tvardovsky ("Terkin in the Next World"). Together with Solzhenitsyn, the camp theme entered the literature, and Tvardovsky's poem (along with the poems of the young E.A. Yevtushenko) marked the beginning of an artistic attack on the personality cult of Stalin. In the mid 60s. For the first time, Mikhail Bulgakov's novel The Master and Margarita, written in the pre-war period, was published with its religious and mystical symbolism, which was not typical for Soviet literature. However, the artistic intelligentsia was still under the ideological dictates of the party. Thus, B. Pasternak, who received the Nobel Prize for the anti-Soviet novel Doctor Zhivago, was forced to refuse it.
Poetry has always played an important role in the cultural life of Soviet society. In the 60s. poets of a new generation - B.A. Akhmadulina,
A. A. Voznesensky, E. A. Evtushenko, R. I. Rozhdestvensky - with their citizenship and journalistic orientation, the lyrics became idols of the reading public. Poetry evenings at the Moscow Polytechnic Museum, sports palaces, and higher educational institutions were a huge success.
In the 60s and 70s. military prose of a "new type" appeared - books by V. P. Astafiev ("Starfall"), G. Ya. Baklanov ("The dead have no shame"), Yu. V. Bondarev ("Hot snow"), B. L. Vasiliev ("The dawns here are quiet ..."), KD Vorobieva ("Killed near Moscow"), VL Kondratyev ("Sashka"). They reproduced the autobiographical experience of writers who went through the crucible of the Great Patriotic War, conveyed the merciless cruelty of the war they felt, and analyzed its moral lessons. At the same time, the direction of the so-called village prose was formed in Soviet literature. It was represented by the works of F. A. Abramov (trilogy "Pryasliny"), V. I. Belov ("Carpentry Stories"), B. A. Mozhaev ("Men and Women"), V. G. Rasputin ("Live and remember ”,“ Farewell to Matera ”), V. M. Shukshin (stories“ Rural residents ”). The books of these writers reflected labor asceticism in the difficult war and post-war years, the processes of de-peasantization, the loss of traditional spiritual and moral values, the complex adaptation of a yesterday's villager to city life.
In contrast to the literature of the 1930s-1940s, the best prose works of the second half of the century were distinguished by a complex psychological pattern, the desire of writers to penetrate into the innermost depths of the human soul. Such, for example, are the "Moscow" stories of Yu. V. Trifonov ("Exchange", "Another Life", "House on the Embankment").
Since the 60s. performances based on action-packed plays by Soviet playwrights (A.M. Volodin, A.I. Gelman, M.F. Shatrov) appeared on theatrical stages, and the classical repertoire as interpreted by innovative directors acquired a topical sound. Such were, for example, the productions of the new Sovremennik theaters (directors ON Efremov, then GB Volchek), the Taganka Drama and Comedy Theater (Yu. P. Lyubimov).

The main trends in the development of post-Soviet culture. One of the features of the development of Russian culture at the turn of the XX-XXI centuries. is its de-ideologization and pluralism of creative search. In the elite fiction and fine arts of post-Soviet Russia, works of the avant-garde trend came to the fore. These include, for example, books by V. Pelevin, T. Tolstoy, L. Ulitskaya and other authors. Avant-garde is the predominant trend in painting. In modern domestic theater, the performances of director RG Viktyuk are imbued with the symbolism of the irrational principle in a person.
Since the period of "perestroika", the isolation of Russian culture from the cultural life of foreign countries began to be overcome. Residents of the USSR, and later the Russian Federation, were able to read books, see films that were previously inaccessible to them for ideological reasons. Many writers returned to their homeland, deprived of their citizenship by the Soviet authorities. A single space of Russian culture has emerged, uniting writers, artists, musicians, directors and actors, regardless of their place of residence. For example, the sculptors E. I. Neizvestny (the tombstone for NS Khrushchev, the monument to the victims of Stalin's repressions in Vorkuta) and M. M. Shemyakin (the monument to Peter I in St. Petersburg) live in the United States. And the sculptures of V. A. Sidur, who lived in Moscow ("The victims of violence" and others), are installed in the cities of the Federal Republic of Germany. Directors N. Mikhalkov and A. Konchalovsky shoot films both at home and abroad.
The radical breakdown of the political and economic system led not only to the liberation of culture from ideological fetters, but also caused the need to adapt to the reduction, and sometimes to the complete elimination of state funding. The commercialization of literature and art has led to the proliferation of works of less artistic merit. On the other hand, even in the new conditions, the best representatives of culture turn to the analysis of the most acute social problems, looking for ways of spiritual improvement of man. Such works include, in particular, the works of filmmakers V. Yu. Abdrashitov ("The Time of the Dancer"), N. S. Mikhalkov ("Burnt by the Sun", "The Barber of Siberia"), V. P. Todorovsky ("Country of the Deaf") , S. A. Solovieva ("Tender Age").
Musical art. Representatives of Russia have made a major contribution to the world musical culture of the 20th century. The greatest composers, whose works were repeatedly performed in concert halls and opera houses of many countries of the world, were S. Prokofiev (symphonic works, the opera War and Peace, ballets Cinderella, Romeo and Juliet), D. D. Shostakovich (Symphony No. 6, opera Lady Macbeth of the Mtsensk District), A. G. Schnittke (Symphony No. 3, Requiem). Opera and ballet performances of the Bolshoi Theater in Moscow were world famous. On its stage, there were both works of the classical repertoire and the works of composers of the Soviet period - T.N. Khrennikov, R.K.Schedrin, A. Ya. Eshpai.
A whole constellation of talented musicians-performers and opera singers who became world-famous worked in the country (pianists E.G. Gilels, S.T.Richter, violinist D.F.Oistrakh, singers S.Ya. Lemeshev, E.V. Obraztsova) ... Some of them could not come to terms with tough ideological pressure and were forced to leave their homeland (singer G. P. Vishnevskaya, cellist M. L. Rostropovich).
Musicians who played jazz music were also under constant pressure - they were criticized as followers of "bourgeois" culture. Nevertheless, jazz orchestras led by singer L.O. Utesov, conductor O.L. Lundstrem, brilliant improviser-trumpet player E.I.Rozner won immense popularity in the Soviet Union.
The pop song was the most widespread musical genre. The works of the most talented authors, who managed to overcome the momentary conjuncture in their work, eventually became an integral part of the culture of the people. These include, in particular, "Katyusha" by M. I. Blanter, "The Volga Flows" by M. G. Fradkin, "Hope" by A. N. Pakhmutova and many other songs.
In the 60s. in the cultural life of Soviet society, the author's song entered, in which the professional and amateur beginnings closed together. The creativity of the bards, who performed, as a rule, in an informal setting, was not under the control of cultural institutions. In the songs performed with the guitar by B. Sh. Okudzhava, A. A. Galich, Yu. I. Vizbor, new motives sounded - a purely personal, and not a cliche-official attitude towards both public and private life. The creative work of V.S.Vysotsky, who combined the talents of a poet, actor and singer, was filled with a powerful civic pathos and wide genre diversity.
It received an even deeper social content in the 70s and 80s. Soviet rock music. Its representatives - A. V. Makarevich (group "Time Machine"), K. N. Nikolsky, A. D. Romanov ("Resurrection"), B. B. Grebenshchikov ("Aquarium") - managed to move from imitating Western musicians to independent works, which, along with the songs of the bards, were the folklore of the urban era.
Architecture. In the 20-30s. the minds of the architects were occupied with the idea of \u200b\u200bthe socialist transformation of cities. So, the first plan of this kind - "New Moscow" - was developed in the early 1920s. A. V. Shchusev and V. V. Zholtovsky. Projects of new types of housing were created - communal houses with socialized consumer services, public buildings - workers' clubs and palaces of culture. The dominant architectural style was constructivism, which provided for the functional feasibility of planning, a combination of various, clearly geometrically outlined forms and details, external simplicity, and the absence of decorations. The creative quests of the Soviet architect KS Melnikov (club named after IV Rusakov, own house in Moscow) gained worldwide fame.
In the mid-30s. a general plan for the reconstruction of Moscow was adopted (re-planning of the central part of the city, laying of highways, construction of a subway), similar plans were developed for other large cities. At the same time, the freedom of creativity of architects was limited by the instructions of the "leader of the peoples". The construction of pompous structures began, reflecting, in his opinion, the idea of \u200b\u200bthe power of the USSR. The appearance of the buildings has changed - constructivism was gradually replaced by "Stalinist" neoclassicism. Elements of classicism architecture can be clearly traced, for example, in the guise of the Central Theater of the Red Army, the stations of the Moscow metro.
The grandiose construction began in the postwar years. New residential areas arose in old cities. The appearance of Moscow has been renewed due to the "skyscrapers" built in the area of \u200b\u200bthe Garden Ring, as well as the new building of the University on the Lenin (Vorobyovy) Hills. Since the mid-50s. the main direction of residential construction was massive panel housing construction. Urban new buildings, having got rid of "architectural excesses", have acquired a dull monotonous appearance. In the 60s and 70s. in the republican and regional centers, new administrative buildings appeared, among which the regional committees of the CPSU stood out for their grandeur. On the territory of the Moscow Kremlin, the Palace of Congresses was built, the architectural motifs of which sound dissonant against the background of the historically developed buildings.
Great opportunities for the creative work of architects opened up in the last decade of the XX century. Private capital, on a par with the state, began to act as a customer for construction. Developing projects for buildings of hotels, banks, shopping centers, sports facilities, Russian architects creatively interpret the legacy of classicism, modernism, constructivism. The construction of mansions and cottages has come into practice again, many of which are being built according to individual projects.

In Soviet culture, two opposite tendencies were observed: politicized art, lacquering reality, and art, formally socialist, but, in essence, critically reflecting reality (due to the artist's conscious position or talent overcoming censorship obstacles). It was the latter trend (along with the best works created in emigration) that gave samples that were included in the golden fund of world culture.

O.V. Volobuev "Russia and the World".