COURSE WORK
PROBLEMS OF GLOBALIZATION IN THE SYSTEM OF INTERNATIONAL CULTURAL EXCHANGE
CONTENT:
INTRODUCTION........................................................ ........................................................ ................................... 3
Chapter 1.Globalization, intercultural communications and cultural exchange.................................... 5
1.1.Globalization as a socio-cultural reality.................................................... ........... 5
1.2. The problem of the relationship between value systems.................................................... ..................... 10
1.3. Intercultural exchange in international communication flows.................................. 15
Chapter 2. Practice of organizing international cultural exchange.................................... 19
2.1. Formation of cultural policy in Russia.................................................................... ................... 19
2.2.Cultural exchange programs as a mechanism for overcoming contradictions between value systems.................................................... ........................................................ ........................................... 24
CONCLUSION................................................. ........................................................ ........................... 27
BIBLIOGRAPHY................................................ ........................................................ .......... 29
INTRODUCTIONCultural exchange between peoples is an integral attribute of the development of human society. Not a single state, even the most politically and economically powerful, is able to satisfy the cultural and aesthetic demands and needs of its citizens without turning to the world cultural heritage, the spiritual heritage of other countries and peoples. At the same time, it should be taken into account that cultural exchange has two interconnected sides: cooperation and competition. Rivalry in the field of cultural relations, despite its veil, manifests itself in an even more acute form than in politics and economics. States and peoples are just as selfish as individuals: it is important for them to preserve and expand the influence, first of all, of their culture, and to use the achievements of other cultures in their own interests. In the history of human civilization there are enough examples of large and small nations passing into the past without overcoming internal and external contradictions. The problems of acculturation, assimilation, and integration acquired particular urgency during the period of globalization, when changes in all spheres of life of human society received a noticeable acceleration.
The problems of finding one’s place in the world cultural space, the formation of nationally oriented approaches in domestic and foreign cultural policy are of particular relevance for Russia, which became an independent state in 1991. The expansion of Russia's openness has led to an increase in its dependence on the cultural and information processes taking place in the world, primarily such as the globalization of cultural development and the cultural industry, the outpacing growth of Anglo-American influence in it; commercialization of the cultural sphere, increasing dependence of culture on large financial investments; the rapprochement of “mass” and “elite” cultures; the development of modern information technologies and global computer networks, the rapid increase in the volume of information and the speed of its transmission; reduction of national specificity in global information and cultural exchange.
All of the above determined purpose of the course work , which consists of studying the problems of globalization in the system of international cultural exchange.
IN work tasks includes:
1) reveal the phenomenon of globalization as a socio-cultural reality, show its problems and contradictions.
2) carry out an analysis of the features of modern intercultural exchange and the participation of international organizations and the Russian Federation in it.
The work used publications of domestic (V.V. Natochy, G.G. Pocheptsov, M.R. Radovel, etc.) and foreign authors (J.A. Alonso, A.M. Kacowicz, I. Wallerstein), documents from UNESCO, the Russian Federation, network materials Internet.
Chapter 1.Globalization, intercultural communications and cultural exchange1.1.Globalization as a socio-cultural reality
Globalization by the beginning of the 21st century. no longer just a subject of theoretical debate and political debate, globalization has become a social reality.
In it you can see:
Intensification of cross-border economic, political, social and cultural ties;
The historical period (or historical era) that occurred after the end of the Cold War;
The transformation of the global economy, literally driven by the anarchy of financial markets;
The triumph of the American value system, ensured by the combination of an illiberal economic program with a program of political democratization;
An orthodox ideology that insists on the completely logical and inevitable culmination of the powerful tendencies of a functioning market;
Technological revolution with numerous social consequences;
The inability of nation states to cope with global problems (demographic, environmental, human rights and nuclear proliferation) requiring global solutions.
From the point of view of the formation of global civilization, experts usually identify four sociocultural megatrends:
Cultural polarization. Foci of possible polarization in the coming century: growing economic and environmental inequality (between peoples and regions, within individual countries), religious and market fundamentalism, claims to racial and ethnic exclusivity, the desire of individual states or military-political blocs to expand the zone of their control in a fragmented world , the proliferation of weapons of mass destruction, the struggle for access to scarce natural resources.
Cultural assimilation. It is generally accepted that the last two decades of the last century were marked by the triumph of the ideas of Western liberalism, and F. Fukuyama’s thesis about the “end of history” read: “Westernization” as the consistent subordination - through an ever-expanding system of world markets - to Western values and the Western way of life of all economically active layers of the Earth's population - there is no alternative. The process of establishing universal (“universal human”) norms and rules in international relations is expanding.
Cultural hybridization. This megatrend towards the end of the twentieth century. acquires completely new qualities: the processes of “creolization” of culture, which traditionally led to the formation of new ethnic communities, are complemented by processes of transcultural convergence and the formation of translocal cultures - cultures of the diaspora, rather than traditionally localized cultures striving to gain a national-state identity. The intensification of communications and intercultural interactions, the development of information technologies contribute to the further diversification of the diverse world of human cultures, and not their absorption into some universal global culture(which we will talk about later). The world is gradually turning into a complex mosaic of translocal cultures interpenetrating each other, which form new cultural regions with a network structure. An example is the new professional worlds that have arisen due to the growth of computer and telecommunications networks.
Cultural isolation. XX century gave numerous examples of isolation and self-isolation of individual countries, regions, political blocs, and resorted to means of political and cultural isolation (“cordons sanitaire”) or cultural self-isolation (“iron curtain”) in order to consolidate social systems against external and internal enemies. The sources of isolationist tendencies in the coming century will be: cultural and religious fundamentalism, environmental, nationalist and racist movements, the rise to power of authoritarian and totalitarian regimes that will resort to measures such as sociocultural autarky, restrictions on information and humanitarian contacts, freedom of movement, tightening censorship, preventive arrests, etc.
The main axes along which the civilizational shift occurs at the end of the 20th - beginning of the 21st centuries. appear as follows:
A) The “culture” axis is a shift from cultural imperialism to cultural pluralism.
B) The “society” axis is a shift from a closed society to an open society.
Schematically, scientists propose to represent the relationship between the axes along which a civilizational shift occurs and the main cultural archetypes that determine the dynamics of globalization processes in the form of a “parallelogram” (Fig. 1).
Culture of Consolidation characterized by the dominance of synchronous organizational systems, all changes and functions of which are strictly linked in time.
The culture of consolidation is characterized by an autarkic type of management - either non-productive activity and balancing on the brink of survival, or production associated with the need to replenish diminishing sources of “natural gifts” (picking fruits, hunting, fishing; in more developed economic formations - mining of minerals and other types of raw materials , extensive agriculture). The main ethical value of this archetype is social justice, the measure of which is determined by authority (religious, spiritual, political), and the basic moral and psychological principle is collectivism.
Fig. 1. Main cultural archetypes in the era of globalization
Competition culture implemented in the forms of random organizational systems that involve contractual relations between interested participants. Such systems are characterized by an entrepreneurial organizational culture, in which forms of organizing joint and individual activities predominate.
The main ethical value of a competitive culture is personal freedom as a guarantee of success, and the basic moral and psychological principle is individualism.
Culture of confrontation characteristic h closed (hierarchical) organizational systems with bureaucratic management forms and a bureaucratic organizational culture, in which forms of organizing joint and consistent activities predominate. Each higher level of the organizational hierarchy is called upon to resolve conflicting relationships that arise at the lower level. Therefore, the area of goal determination inherent in this culture turns out to be the interests of the “top”.
Culture of cooperation assumes open organizational systems with democratic management forms. Participatory organizational culture with a predominance of forms of organizing joint creative activities. The area of goal determination is the legitimate interests of the majority of the people with mandatory consideration of the interests of the minority.
Fragmegration- a term meaning a combination of integration and fragmentation processes, introduced by the American political scientist J. Rosenau. This is the formation and strengthening (integration) of blocs and alliances of “national states”.
Localization- the consolidation of ethnic and civilizational formations based on fundamentalist ideologies that pursue a policy of cultural isolation as a surrogate form of social and cultural tolerance makes the formation of a global civilization impossible.
Glocalization- the term was proposed by the head of the Japanese corporation "Sony" Akio Morita) - the combination of processes of modernization of local cultures with the achievements of the emerging global multicultural civilization occurs as a result of cultural hybridization, i.e. constructive cooperation and mutual enrichment of cultures within cultural regions.
Actually globalization can be considered as a mega-trend of cultural assimilation (according to I. Wallerstein, it corresponds to the forecast scenario of a “democratic dictatorship”), which found its expression in the universal neoliberal doctrine.
The greatest challenge today is managing the ideological conflicts that permeate every religion and every culture.
Existing trends predetermine a new quality of intercultural communication (IC), where the framework principles of interaction can be formulated as follows:
1. MC participants should perceive each other as equal parties, freed from any sense of self-superiority.
2. You should listen to each other carefully, carefully understanding the arguments.
3. To deny yourself many things.
4. Always start from scratch, building a new type of relationship between equal parties.
Scientists propose solving the problem of global governance on the basis of a broad program that takes into account the multidimensional nature of globalization, making it possible to distinguish between the spheres of action of effective market mechanisms and the spheres of collective - international - actions aimed at preserving the common human heritage and solving humanitarian issues.
1.2. The problem of the relationship between value systems
If we look at globalization from the point of view of the problem of the relationship and interaction of value systems, then first of all it should be noted that in the modern world, with its ever-increasing trends towards integration and dialogue, the question of a full understanding of each other by people representing different forms is becoming increasingly important. and the content of the culture of thinking, values and behavior. The question of the possibility or impossibility of cross-cultural communication, the problems arising in connection with it, the loss of some meanings and meanings when representatives of different cultures come into contact, should be interpreted as a question of a conflict of identities. In other words, a situation of misunderstanding naturally arises between representatives of different cultures - national, religious, professional or organizational.
The most important condition for intercultural communication of ethnic groups is the characteristics of their value worlds, the relationship between their value systems. At the same time, the global socio-historical circumstances into which certain ethnic subjects are “placed” by the will of fate practically do not depend on them and at the same time significantly determine their relationships. In addition, these relationships can be consciously regulated by people and are associated with their own choice - to live in peace and friendship or in enmity and anger.
Scientists rightly believe that in order to overcome conflict and tension between different ethno-national communities, objective and accurate knowledge of the value (cultural) systems of the corresponding communities, the qualitative and quantitative relationship between such systems is of great importance.
In this regard, the understanding of such entities (or phenomena) as geoculture, global culture, intercultural communications, determining the coordinates of value systems in the modern world.
For example, regarding the term geoculture, then in its first meaning it is a synonym for “cultural imperialism”, the cultural power of the industrialized World North over the economically backward countries of the South. The concept of “geoculture” became widespread in science after the publication of the book “Geopolitics and Geoculture” by the American scientist Immanuel Wallerstein in 1991. “Geoculture,” according to Wallerstein, is the cultural basis of the capitalist world-system that formed at the beginning of the 16th century. and now - after the collapse of the socialist experiment - experiencing the most significant crisis in its history. The basis of geoculture, Wallerstein believes, is made up of three beliefs: (a) that states that are present or future members of the United Nations are politically sovereign and, at least potentially, economically autonomous; (b) that each of these states has in fact only one, at least one predominant and original, national “culture”; (c) that each of these states can, over time, separately “develop” (which in practice apparently means achieving the standard of living of current OECD members).
The “geoculture” of the world-system, the ideological justification of the inescapable inequality between the rich center and the poor periphery in the 20th century. there was liberalism, the general belief that a politically free nation, having chosen the correct (capitalist or socialist) economic course of development, would achieve success and power. Now humanity is experiencing the collapse of former liberal hopes, so in the very near future the “geoculture” of the world system must change significantly.
WITH global culture also not everything is clear. Its possibility and desirability are actively denied. This denial is rooted in many schools of thought - deconstruction, postmodernism, postcolonialism, poststructuralism, cultural studies - although, of course, there are very different approaches within each of these movements. The point of the entire argument is that the assertion of universal truths is, in fact, a “founding narrative” (i.e., a global narrative), which in practice is nothing more than the ideology of the dominant groups in the world system. The various proclaimed universal truths are nothing more than particular ideologies. But this statement does not yet answer the question: Do universal moral norms exist in principle? Is a global culture possible?
Some would like to admit that “universalism is always historically contingent,” without denying that the desire to create an acceptable global culture has always accompanied human history. Moreover, without the requirement of universality, regardless of how it is characterized - as universal correspondence, universal applicability or universal truth - no academic discipline can justify its right to exist.
At the same time, it is obvious that information revolution, changed the traditional balance of power in society, forced people to talk about a single global information community - a society in which, at first glance, there seems to be no place for ethnocultural characteristics, nations and national relations, national traditions, about a single information space, about a new civilization without national borders. And as if in contrast to the emerging new cultural reality, from the second half of the 20th century in American and then in European science, the growth of the ethnic factor in social processes was recorded. This phenomenon was even called “ethnic revival.” Ethnic values again began to acquire special significance. Year after year, the struggle of ethnic minorities for the expansion of their ethnocultural rights in America and Europe became more active, and in the 1980-90s this process swept over Russia. Moreover, such social activity does not always take place in a calm manner; sometimes it is expressed in the form of open social conflicts, accompanied by a wave of violence.
As a result, a number of contradictions arise between these two trends:
Contradiction between modernism and traditionalism;
The contradiction between “us” and “stranger”, which is especially characteristic in the dialogue of two cultures - European and Asian, more precisely, Western and Eastern;
The contradiction between global and local forms of culture, which in the light of the “information revolution” takes on a special meaning;
The contradiction between the technical and humanitarian aspects of culture.
The theoretical aspects of these contradictions are not sufficiently understood, while the very fact of their existence in modern society is no longer denied by anyone. Of particular interest to researchers is the study of the interaction of local and global forms of culture; there is a growing need to predict the further impact of the information revolution on the ethnic components of culture and vice versa.
It is a mistake to think that cultural globalization is only the spread of Western mass culture, in fact, there is interpenetration and competition of cultures. The imposition of Western cultural standards in those nation states where historical and cultural traditions are especially strong leads to an ethnocultural upsurge, which sooner or later will be expressed in the strengthening of nationally colored social ideologies. At the same time, states that have “weak” roots of cultural traditions due to the nature of their history are experiencing the modern crisis of public consciousness much weaker. The interaction of local and global culture ultimately occurs along the path of processing cultural innovations and adapting them “for oneself”, while the threshold for the perception of innovations by the civilizational system is determined by the traditionalism of a given society.
Analyzing this aspect of the problem, it should be noted that the core of each culture has high immunity, resisting the penetration and influence of other cultures; on the contrary, unified norms, standards and rules formed within the framework of Western civilization spread relatively easily on a global scale, which is explained by the fact that generally accepted Western structures, institutions, standards and rules grow on the basis of a historically established sum of technologies, which always presupposes the presence of identical rational mechanisms management, rational activities and rational organizational forms. In cases where we are talking about highly adaptive cultures, for example, Japanese, Korean, and partly Chinese, the process of modernization transformations occurs, as a rule, not only painlessly, but even with a certain acceleration.
The above allows us to conclude that the era of globalization in the cultural aspect carries at least two trends: on the one hand, it is a change in the traditional way of life of a person, on the other hand, it stimulates the adaptive defense mechanisms of culture; this process sometimes becomes acutely conflicting in nature.
1.3. Intercultural exchange in international communication flows
A major role in eliminating the contradictions inherent in the global process of interpenetration of cultures belongs in modern society to the United Nations, which considers cultural and scientific exchange, intercultural communications as important elements in moving towards international peace and development. In addition to its main activities in the field of education, the United Nations Educational, Scientific and Cultural Organization (UNESCO) focuses on three other areas - science for development; cultural development (heritage and creativity), as well as communication, information and computer science.
The 1970 UNESCO convention prohibits the illegal import, export and transfer of cultural property, and the 1995 convention promotes the return of stolen or illegally exported cultural objects to the country of origin.
UNESCO's cultural activities aim to promote the cultural dimensions of development; promoting creation and creativity; preservation of cultural identity and oral traditions; promotion of books and reading.
UNESCO claims to be a world leader in promoting press freedom and the pluralistic and independent nature of the media. In its main program in this area, it seeks to promote the free flow of information and strengthen the communication capabilities of developing countries.
The UNESCO Recommendations on the International Exchange of Cultural Property (Nairobi, 26 November 1976) states that the General Conference of the United Nations Educational, Scientific and Cultural Organization recalls that cultural property is the fundamental element of the civilization and culture of peoples. The Recommendations also emphasize that the expansion and strengthening of cultural exchanges, ensuring a more complete mutual acquaintance with achievements in various fields of culture, will contribute to the enrichment of different cultures, while respecting the originality of each of them, as well as the value of the cultures of other peoples, constituting the cultural heritage of all mankind. The mutual exchange of cultural property, once it is provided with legal, scientific and technical conditions that make it possible to prevent illegal trade and damage to these values, is a powerful means of strengthening mutual understanding and mutual respect between peoples.
Moreover, by “international exchange” UNESCO means any transfer of ownership, use or storage of cultural property between states or cultural institutions of different countries - be it in the form of loan, transfer for storage, sale or gift of such property - carried out in the conditions , which can be agreed upon between the interested parties.
The UN and UNESCO constantly emphasize the inequalities of information flows that exist in the modern world. Back in 1957, UNESCO drew the attention of the UN General Assembly to a kind of information hunger based on the discrepancy in exchange between the rich countries of the North and the poor countries of the South.
The world gets 80% of its news from London, Paris and New York. Industrialized countries fully control areas such as scientific and technical information, information related to industrial, commercial, banking, trade operations, information about natural resources and climate received from satellites. Such information is controlled by government agencies and large corporations and does not reach developing countries. In this case we have a one-way street.
This causes some concern to the UN and UNESCO, since the quantitative superiority will certainly turn into a qualitative one. A similar discrepancy is also observed at the level of cultural exchange.
There are also other types of asymmetry that make communication fundamentally unequal. For example, there is a so-called external asymmetry when multinational companies begin to take over the content of cultural and entertainment programs in developing countries. The incentive to produce home-produced programs, films, and books is gradually disappearing. The result is a monotony of tastes, styles and content of cultural life.
In general, this is an important issue because the free exchange of information, protected by the international community, is not being realized today. This is a significant problem also because the development of the country and the corresponding communication capabilities are interconnected. Therefore, UNESCO is focusing its efforts on the formation of a new world information and communication order that makes information exchange more equivalent.
Chapter 2. Practice of organizing international
cultural exchange
2.1. Formation of cultural policy in Russia
Cultural policy can be defined as a set of measures taken by various social institutions and aimed at forming a subject of creative activity, defining conditions, boundaries and priorities in the field of creativity, organizing the processes of selection and transmission of created cultural values and benefits and their assimilation by society.
The subjects of cultural policy include: government bodies, non-state economic and business structures and cultural figures themselves (and the latter play a dual role in cultural policy, being both its subjects and objects). In addition to cultural figures, the objects of cultural policy include the sphere of culture itself and society, considered as a set of consumers of created and distributed cultural values.
In the field of formation of Russia's foreign cultural policy, it should be noted that in the last decade Russia has gained the opportunity to redefine its internal and external cultural policies, develop the legal framework for international cultural interaction, conclude agreements with foreign countries and international organizations, and formulate a mechanism for their implementation . The country has begun the process of transforming the previous system of international cultural cooperation, which developed under the administrative-command system, into a new democratic system based on universal human values and national interests. The democratization of international relations contributed to the elimination of strict party-state control over the forms and content of international cultural exchanges. The “Iron Curtain”, which for decades had hampered the development of contacts between our society and European and world civilization, was destroyed. Professional and amateur artistic groups and cultural institutions were given the opportunity to independently establish foreign contacts. Various styles and trends in literature and art have gained the right to exist, including those that previously did not fit into the framework of official ideology. The number of government and public organizations taking part in cultural exchanges has increased significantly. The share of non-state financing of events held outside the country (commercial projects, sponsorship funds, etc.) has increased. The development of foreign relations between creative teams and individual artists on a commercial basis not only helped to increase the international prestige of the country, but also made it possible to earn significant foreign currency funds necessary to strengthen the material base of culture. Political and bureaucratic obstacles in processing travel of Belarusian citizens abroad have been reduced.
Guided by the Concept of Foreign Policy of the Russian Federation and in accordance with Decree of the President of the Russian Federation of March 12, 1996 No. 375 “On the coordinating role of the Ministry of Foreign Affairs of the Russian Federation in pursuing a unified foreign policy line of the Russian Federation,” a great deal of work is being done to form cultural cooperation between Russia and foreign countries. Ministry of Foreign Affairs of Russia.
The core task of Russia's foreign cultural policy is to form and strengthen relations of mutual understanding and trust with foreign countries, develop equal and mutually beneficial partnerships with them, and increase the country's participation in the system of international cultural cooperation. The Russian cultural presence abroad, as well as the foreign cultural presence in Russia, helps to establish for our country a worthy place on the world stage, consistent with its history, geopolitical position, total power and resources.
Cultural exchanges are designed to establish and maintain stable and long-term connections between states, public organizations and people, and contribute to the establishment of interstate interaction in other areas, including in the economic sphere.
International cultural cooperation includes connections in the field of culture and art, science and education, the media, youth exchanges, publishing, museums, libraries and archives, sports and tourism, as well as through public groups and organizations, creative unions and individual groups of citizens .
The basis of ties in the field of culture are artistic and artistic exchanges in their traditional forms of touring and concert activities. The high authority and uniqueness of the domestic performing school, the promotion of new national talents to the world stage ensure a stable international demand for the performances of Russian masters.
In the system of educational exchanges, an important role belongs to the implementation of a retraining program abroad for Russian management personnel represented by managers of real sectors of the economy and civil servants.
Among the regulations aimed at regulating cultural exchange between Russia and foreign countries, an important role is also played by the Decree of the Government of the Russian Federation of January 12, 1995 N 22 “On the main directions of cultural cooperation of the Russian Federation with foreign countries”, which in particular states that cultural cooperation of the Russian Federation with foreign countries is an integral part of Russian state policy in the international arena.
As an example indicating the serious attention of the state to issues of cultural exchange, one can cite the activities of the Russian Center for International Scientific and Cultural Cooperation under the Government of the Russian Federation (ROSZARUBEZHTSENTR). The main task of Roszarubezhtsentr is to promote the establishment and development of information, scientific, technical, business, humanitarian, and cultural ties between Russia and foreign countries through its system of representative offices and centers of science and culture (RCSC) in 52 countries of the world.
Roszarubezhtsentr has the following main tasks: developing, through Russian centers of science and culture (RCSC) and its representative offices abroad in 68 cities in Europe, America, Asia and Africa, a wide range of international relations of the Russian Federation, as well as promoting the activities of Russian and foreign non-governmental organizations in developing these connections; promoting the formation abroad of a comprehensive and objective understanding of the Russian Federation as a new democratic state, an active partner of foreign countries in interaction in cultural, scientific, humanitarian, information fields and the development of world economic relations.
An important area of activity of Roszarubezhcenter is participation in the implementation of state policy for the development of international scientific and cultural cooperation, familiarizing the foreign public with the history and culture of the peoples of the Russian Federation, its domestic and foreign policy, scientific, cultural, intellectual and economic potential.
In their activities, Roszarubezhcenter promotes the development of contacts through international, regional and national governmental and non-governmental organizations, including with specialized organizations and institutions of the UN, the European Union, UNESCO and other international organizations.
The foreign public is given the opportunity to become acquainted with the achievements of Russia in the field of literature, culture, art, education, science and technology. These same chains are served by holding complex events dedicated to the constituent entities of the Russian Federation, individual regions, cities and organizations of Russia, and the development of partnerships between cities and regions of the Russian Federation and other countries.
Despite the state's attention to issues of cultural exchange, in recent years the cultural sphere has been within the strict framework of market relations, which significantly affects its condition. Budget investments in culture have sharply decreased (both in percentage and in absolute terms). Most of the regulations adopted by the authorities regulating relations in this area are not implemented. The financial situation of both the cultural sector in general and creative workers in particular has deteriorated sharply. Increasingly, cultural institutions are forced to replace free forms of work with paid ones. In the process of consuming cultural goods provided to society, domestic forms begin to dominate; As a result, there is a decrease in attendance at public cultural events.
The implementation of the policy announced by the state towards the formation of a multi-channel system of financing culture is carried out poorly in practice due to insufficient legal elaboration, the insignificance of the tax benefits provided for sponsors, and the incomplete formation of the very layer of potential sponsors - private entrepreneurs. The benefits guaranteed by tax legislation are often one-sided, since they mainly concern only state cultural organizations.
A very important feature characteristic of today’s culture of the country is the inculcation in society of the values of Western (primarily American) civilization, which is reflected in a sharp increase in the share of Western mass culture products in the cultural offer. This occurs to the detriment of the introduction into the public consciousness of norms and values traditional for the Russian mentality, and to a decrease in the cultural level of society, especially young people.
2.2.Cultural exchange programs as a mechanism for overcoming contradictions between value systems
Specific programs of cultural exchanges between countries greatly contribute to overcoming contradictions between the value systems of different peoples. An example of this is the Cultural Exchange Programs between Russia and the United States of America, among which the following are widely known:
Fulbright Scholar Exchange Program
Fulbright master's/postgraduate program
· Internship for university teachers
· “Current Issues” program within the framework of the “Freedom Act”
Fulbright-Kennan Program for Scholars in the Humanities and Social Sciences
· Galina Starovoitova Fellowship Program on Human Rights and Conflict Resolution
· “Young Leaders” - a Russian-American program for future leaders of government and public organizations
· Freedom Act program for university students
· "Act for Freedom" - an exchange program for schoolchildren ("Flex" Program).
Freedom Act University Partnership Program
· Russian-American competition for teachers of English and regional studies in the USA
· Edmund S. Muskie Fellowship Program and Freedom Act Graduate Fellowship Program
· Hubert Humphrey Program
· Program “Cooperation of Professional Associations”
· Efficient production program
· Open World Program
· SABIT - Special American business internship program
· Cochrane Fellows Program
· Art programs
· Summer institutes and seminars, etc.
For example, the Fulbright Program is open to Russian specialists who want to travel to the United States to lecture or conduct scientific research. Applicants must have a candidate or doctorate degree, scientific publications, and be fluent in English. Grants are provided for a period of three to eight months.
The selection of participants for the program is carried out on the basis of an open competition and includes consideration of a questionnaire, assessment of the scientific project by reviewers, an interview in English and the final screening stage, which is carried out by a commission consisting of Russian and American scientists and specialists.
"Young Leaders" - a Russian-American program for future leaders of government and public organizations provides scholarships to Russian university graduates who have outstanding leadership qualities and intend to work in the government or public sector. The program is directly implemented by the International Research and Exchange Council (IREX).
The program provides young leaders from Russia and the United States with the opportunity to undergo training and professional internships in areas significant to the development of democracy in Russian society, as well as in the field of Russian-American historical, political and governmental relations. Russian fellows will study management systems in the public, government or corporate sectors. The program includes a year of study at a university or college at the master's level without obtaining an academic degree. In addition, program participants will be required to engage in community service and undergo a professional internship for a period of four to twelve weeks.
The Freedom Act program for university students is intended for first, second and third year students at Russian universities. The program provides scholarships for a one-year internship at an American college or university without obtaining an advanced degree. The program is directly administered by the International Research and Exchange Council (IREX).
Thus, we can talk about serious achievements and good prospects in this area of international cooperation.
CONCLUSION
An analysis of the development of international cultural cooperation shows that certain progress has been achieved in this area compared to previous decades. However, globalization leaves its mark on intercultural communications, expressed in a whole set of serious contradictions, primarily at the value (worldview) level.
The most important feature of the development of modern society, undoubtedly, is the process of mutual penetration of cultures, which at the end of the 20th - beginning of the 21st century acquired a universal character. Thanks to radio, television, cinema, the Internet and other media, the intervention of American mass culture, as well as authoritative cultural standards of Europe and some Asian regions, began in the cultural space of the whole world.
Despite the cultural transformations taking place in the world, the changes that have taken place in our country can be assessed as generally positive. A transition has taken place from strict ideological control to cooperation based on universal human values, and the right to the existence of various styles and forms of creative expression and self-expression has been recognized.
At the same time, it is obvious that the theoretical support of Russia’s foreign cultural policy noticeably lags behind existing needs. There is no reason to talk about a sufficient analysis of current processes and forecasting of future ones. There are only contours of foreign cultural policy, and not a complete system. The residual principle of financing the cultural sector still applies. However, existing trends generally show positive dynamics, which is greatly facilitated by the active involvement of Russian citizens in international cultural exchange programs. From our point of view, the task of developing, within the framework of the cultural policy of the state, a comprehensive system of value guidelines, norms and attitudes (ideology), which today are dispersed in various regulations, is very important. Its constituent spiritual elements include democratic rights and personal freedoms, eternal, enduring values of interhuman relationships. The goal of creating such an ideology should be to achieve a general consensus based on the views shared by the majority of members of society, which can serve as an effective mechanism for social stabilization and normal development of Russian society.
Regarding the problems of globalization affecting the system of international cultural exchange, the following can be said: the process of interpenetration of cultures is inevitable. In the current difficult conditions of relations between countries with different value systems and levels of social development, it is necessary to develop new principles of international dialogue, when all participants in communication are equal and do not strive for dominance.
BIBLIOGRAPHY
1. The concept of foreign policy of the Russian Federation // Independent Military Review. 2000. No. 25 (July 14-20).
2. Wallerstein I. Analysis of world systems and the situation in the modern world. Per. from English P.M. Kudyukina. /Under the general editorship of Ph.D. watered Sciences B.Yu. Kagarlitsky. St. Petersburg, "University Book", 2001. pp. 208-226.
3. Natochy V.V. Cultural policy of Russia: problems and prospects // Abstract of dissertation. Ph.D. watered nauk.-Ufa, 2001.
4. Malinovsky P. Russia in the context of global trends of our time http://www.archipelag.ru/text/566.htm.
5. Natochy V.V. Cultural policy in conditions of market relations // Eurasian necklace. - Orenburg, 2001.
6. United Nations: basic facts. Publishing house "Ves Mir", M., 2000.
7. Pocheptsov G.G. Theory of communication - M.: “Refl-book”, K.: “Vakler” - 2001.
8. Radovel M.R., Tuguz Yu.R. Interethnic relations as a correlation between the value systems of ethnic groups // Value foundations of state power and management of Russia at the turn of the century. Rostov n/d - Pyatigorsk, 2000.
9. Radovel M.R. Factors of mutual understanding in intercultural communication // Materials of the international scientific and practical conference "Communication: theory and practice in various social contexts" Communication-2002" ("Communication Across Differences") Part 1 - Pyatigorsk: PSLU Publishing House, 2002. - p. .19.
10. Hots A.Yu. Information revolution and ethnic aspects of the culture of modern society // Abstract of thesis. Ph.D. philosopher. Sciences. - Stavropol, 2001.
11. Yarmakhov B.B. Intercultural communication: the aspect of social identity // Materials of the international scientific and practical conference "Communication: theory and practice in various social contexts" - "Communication Across Differences" Part I - Pyatigorsk : Publishing house PGLU, 2002.
12. Alonso J.A. Globalisation, civil society, and the multilateral system // Development in practice. - Oxford, 2000. - Vol. 10, N 3-4.
13. Wallerstein I. Capitalist civilization. - Binghampton (N.Y.), 1992.
14. Kacowicz A.M. Regionalization, globalization, and nationalism: Convergent, divergent, or overlapping? // Alternatives. - Delhi; N.Y., 1999. - Vol. 24, N 4.
15. Open the Social Sciences: Report of the Gulbenkian Commission on the Reconstruction of the Social Sciences, Stanford: Stanford Univ. Press, 1996.
16. Pieterse J.N. Globalization as hybridization // Intern. sociology. - L., 1994. - Vol. 9, N 2.
17. Website of the US Embassy in Moscow http://www.usembassy.ru/bilateral/bilateralr.php?record_id=pa_exchanges.
18. http://pravo2002.by.ru/intern/09/med01309.html.
International cultural exchange is the most important process of interaction and mutual enrichment of the cultures of the peoples of the world, contributing to the progress of human civilization over many centuries. In the past, the exchange of information in the cultural sphere was random, often acquiring barbaric forms during conquests. There was not only the interpenetration of cultures of peoples, but sometimes also the decline of civilizations, the disappearance of entire cultural layers. Humanity as a whole was thus losing the invaluable experience accumulated over centuries of creative search and hard work.
At the dawn of human history, more civilized forms of cultural exchange were associated with the development of trade relations. But they often depended on chance, were even more often limited to a narrow region and were very unstable. Individual peoples developed as closed cultural systems. Over time, relations in the world became more systematic and widespread. The successes of navigation, the geographical discoveries of Europeans, the development of trade - all this created conditions for the dissemination of knowledge about the culture of various peoples. This process was accompanied by European colonization and the creation of colonial empires, which led to unbridled robbery and destruction of the culture of the peoples subject to the Europeans.
Only with the creation of large-scale industry in Europe and the increased export of capital to dependent countries did their peoples become acquainted with the elements of industrial civilization and partly became familiar with European education. Conditions arose for the development of sustainable cultural exchange: the entire economic, political and spiritual life of mankind began to acquire an increasingly international character; new incentives for exchange in the field of culture and the acquisition of advanced experience appeared.
The destructive consequences of world wars and the emergence of weapons of mass destruction in the 20th century led to the strengthening of the anti-war movement and the development of broad communication between peoples based on an understanding of the need to rebuild the entire system of international relations. In the course of international cooperation in this area, awareness of the integrity of the modern world and the danger of its division into closed ethnocultural and military-political groups has increased. Overcoming barriers created during historical development has become an urgent need of our time.
International cultural exchange not only continues to demonstrate a steady trend towards expanding the scope and forms of mutual influence of the cultures of the peoples of the world, but is also becoming a necessary condition for any movement along the path of progress. Wide contacts between peoples and the development of modern means of communication greatly simplify the possibility of exchanging information. Nowadays it is difficult to imagine even a small corner of the Earth that would be completely separated from communication with the outside world and would not, to one degree or another, experience the influence of world culture. Thanks to the fact that the achievements of human thought and spirit can be used for the benefit of all mankind, it is possible to resolve the most difficult problems of the world community. The realization of this opportunity depends on how quickly international cooperation in the intellectual sphere is established.
International cultural exchange has acquired a global, interconnected, progressive character; it has a deep internal motivation for development. However, at the end of the 20th century, it still depends on a number of external factors that have a huge impact on all aspects of our lives.
In modern conditions, integration in the intellectual and spiritual spheres significantly accelerates the process of solving vital problems facing humanity. Moreover, international cooperation, as a rule, leads to intensive and widespread implementation of the results of scientific research and other generally recognized manifestations of creativity in the everyday life of peoples. International cultural exchange promotes the intensification of creative processes, ensuring the inclusion of significant spiritual potential of representatives of many nations, increasing the level of competition between them, and strengthening the role of moral incentives. From a historical perspective, thanks to international cultural exchange, it becomes possible to overcome the division of the world into so-called “civilized” and “uncivilized” peoples, to ensure a genuine solution to the problems of human civilization on a truly democratic basis, which allows us to hope for sustainable progress in the world.
In the second half of the 20th century. The creative process has become significantly more complicated. Activities in this area sometimes require large capital investments and complex organization, affecting social structures on a national and international scale. This is the effective organization of the economic life of society, which will allow a steady increase in investment in the cultural sphere, and the organization of modern education, providing a high level of training at all its stages, and the continuity of advanced training, and the organization of cultural life, regulating the harmonious development of all elements of a person’s spiritual life. All this inevitably requires the combined efforts of specialists from various fields of knowledge and representatives of various layers and areas of science and culture, often from different countries. The organization of such work involves the need to coordinate efforts at the international level, overcome narrow national interests, and attract significant resources from the world community.
After the Second World War, the task of promoting international cooperation in the field of science and culture was entrusted to the United Nations (its charter explicitly refers to this function). The XIV session of the General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in November 1966 adopted the Declaration of Principles for International Cultural Cooperation, which declares that “cultural cooperation is the right and duty of all peoples and nations, which must be shared with a friend with gapes and art.” The Declaration determined the main directions of cooperation between states in the field of culture Melekhin B.I. Cultural and scientific communication of peoples. Voronezh, 1968. However, the activities of international organizations within the UN show that to date it has not been possible to establish an effective system of international cooperation in this area.
At the end of the 20th century, it became increasingly obvious that for many peoples of the world (but not all) the stage of development when the “national idea” was the only creative basis for the formation of national culture was passed.
A modern alternative to national isolation is the process of integration of the cultural environment of peoples. Unfortunately, this objective process sometimes takes on the character of “cultural intervention” on the part of economically more stable states. Unification inevitably leads to the loss of “their identity” by many peoples, to the erosion of the deep roots of national culture and the superficial, imitative assimilation of elements of mass culture. Negodaev I.A. On the path to the information society. Rostov-on-Don, 2001 p.51. All this leads to the impoverishment of culture as a whole. Often, such a process as a response causes the growth of nationalism and the desire for autarky, and even destabilizes international relations. World culture develops as an integral system only when it includes in its arsenal the centuries-old experience of peoples with gigantic historical layers of culture and originality of spiritual ideals.
International cultural exchange is not only creative, but also social in nature. This is determined by the fact that during the exchange of cultural values, a process of communication between representatives of national cultures occurs, which over time becomes more and more widespread. For many representatives of the creative intelligentsia, cultural exchange becomes part of social activity; their national and international associations arise, which aim to expand the scope and deepen the forms of international cooperation. In addition, state and international organizations are involved in the process of organizing cultural exchange, which also have a significant impact on the nature of international cultural relations.
Involving intellectual circles with diverse knowledge and a broad view of the world community as a whole in discussing the most pressing interstate problems sometimes makes it possible to find unconventional solutions to problems that suit all parties involved in the negotiation process. The authority of the international intellectual elite can encourage government officials to change the system of priorities in the political course of individual countries and the world community as a whole. This circumstance makes international cultural exchange a factor in international politics.
The political determinism that characterizes research on the history of international cultural exchange in the 20s and 30s was determined mainly by the circumstances under which these works were written. In the conditions of the Cold War, the atmosphere of confrontation between two military-political groups inevitably left its mark on the consciousness of scientists. In addition, the very subject of the study - international cultural relations in the period between the two world wars - was characterized by a high degree of politicization. Finally, culture, by its nature, inevitably reflects the ideological and political trends dominant in society. Therefore, the objective basis for political determinism in research on this issue certainly remains today. But along with this, a broader understanding of the content of international cultural exchange in accordance with the diversity of culture itself is becoming more and more obvious, and, consequently, a further expansion of the scope of research on this topic. This presupposes the need, based on the indisputable achievements of historiography, to attract new sources and comprehend what is happening, taking into account the objective content of the process of mutual influence of national cultures.
The increasing role of spiritual interaction between peoples is a long-term trend in world development. Awareness of the significance and specificity of international cultural exchange becomes a necessary prerequisite for the stabilization of international relations and a factor in the use of this very complex and subtle instrument of human communication in the interests of the progress of civilization.
Cultural exchange in the system of international relations
Introduction
Lecture outline
Lectures 9. Main directions of socio-cultural exchange and cooperation between countries
Introduction
1. Cultural exchange in the system of international relations:
1.1. Concept of international cultural exchange
1.2. The main forms and directions of international cultural exchange at the turn of the XX-XXI centuries
2. International relations in the field of education:
2.1. Theory of international relations in education
Today, at the beginning of the 21st century, cultural ties and humanitarian contacts are acquiring special importance in international relations. New challenges of the time, problems of globalization, cultural expansion give issues of international cultural exchange undeniable significance and relevance.
At the present stage, international cultural exchange is not only a necessary condition for the movement of humanity along the path of progress, but also an important factor in international relations in the conditions of democratization and integration of world society.
Modern cultural ties are distinguished by significant diversity, wide geography, and flow in various forms and directions. Processes of democratization and transparency of borders give even greater importance to cultural exchange in the system of international relations, which unites peoples, regardless of social, religious, or political affiliation.
In addition, many issues of cultural interaction are now being actively discussed by authoritative international organizations, more and more intergovernmental associations are emerging, where the problems of cultural interaction, dialogue - cultures are given great importance.
The purpose of the lecture is to study the main directions of sociocultural exchange and cooperation between countries.
The objectives of the lecture are to consider the main directions and forms of international cultural exchange at the turn of the 20th-21st centuries, and to analyze international relations in the field of education.
In modern international relations, issues of international cultural cooperation are of particular importance. Today there is not a single country that does not pay close attention to the issues of building strong cultural contacts with the peoples of other states.
Culture, being a process of spiritual, creative, intellectual communication, implies the mutual enrichment of new ideas in the context of cultural exchange and thus performs an important communicative function, uniting groups of people different in their social, ethnic, and religious affiliation. It is culture that today becomes the “language” on which the entire system of modern international relations can be built.
The centuries-old experience of cultural contacts, which date back to ancient times, is of great importance in the development of the main directions, forms and principles of international cultural interaction.
The theoretical and practical significance of cultural connections in the modern political space, active processes of integration and globalization in the modern world, problems of cultural expansion dictate the need to address issues of international cultural exchange in the system of international relations.
Cultural exchange in the system of international relations has a certain specificity, which is dictated by the basic content of the concept of culture and the essence of the definition of international relations. International cultural exchange includes all the features of culture and reflects the main stages of its formation, which are directly related to contacts between peoples, states, civilizations and are part of international relations. Cultural ties have a significant difference from international relations in that cultural dialogue between countries continues even when political contacts are complicated by interstate conflicts.
Thus, taking into account the specifics of international cultural relations, we can come to the following definitions of this concept - general and specific.
Cultural exchange in the system of international relations is a complex, complex phenomenon that reflects the general patterns of international relations and the world cultural process. This is a complex of diverse cultural ties along state and non-state lines, including the entire spectrum of different forms and areas of interaction, reflecting both modern international relations and historically established forms, with significant stability and breadth of influence on political, economic, social, and cultural life.
- The main forms and directions of international cultural exchange at the turn of the XX-XXI centuries.
International cultural relations can be classified not only from the point of view of exchange participants, but also from the point of view of directions and forms of interaction. Turning to this issue, one can find examples of multilateral and bilateral cooperation at the state and non-state level.
The forms of cultural exchange themselves are an interesting phenomenon of cultural and political life and deserve special attention.
In all the diversity of cultural exchange today, several directions and forms of cultural interaction can be distinguished, most clearly and fully reflecting the features of modern international relations and the specifics of cultural development at the present stage.
The main areas of cultural exchange include: international musical ties, international ties in the field of theater and cinema, international sports ties, international scientific and educational ties, ties in the field of international tourism, trade and industrial contacts. It is these areas that have received the greatest development in modern conditions. In this paper we will consider international relations in the field of education.
The main forms of international cultural exchange at the present stage include festivals, competitions, tours, competitions, sports congresses, scientific and educational conferences, research and educational exchange programs, the practice of scholarships and grants, the activities of foundations and scientific organizations, exhibitions, fairs, as well as joint cultural projects.
All these forms took shape quite a long time ago, but only under conditions of integration and internationalization did they receive the most complete and consistent development.
Of course, the specifics of each direction of cultural interaction will not always allow us to fully adhere to this scheme, therefore, in addition to general positions, when presenting each problem, we will first of all pay attention to its specifics.
Cultural exchange in the system of international relations, analysis of its main forms is necessary knowledge not only for specialists, but also for a wide audience, which, using specific material, will be able to present a real picture of modern cultural life in all its diversity.
- Specialty of the Higher Attestation Commission of the Russian Federation17.00.08
- Number of pages 155
CHAPTER. I. NATIONAL CULTURE AS A COMMON SOCIETY. AND OSO
1.1. Ethnic diversity and mutual enrichment of cultures.*.
1.2. Cultural exchange as a historical pattern
CHAPTER 2. CURRENT STATE OF INTERNATIONAL CULTURAL
2.1. Basic principles and forms of cultural exchange of European countries.*
2.2. Problems of cultural interaction between peoples.
Introduction of the dissertation (part of the abstract) on the topic “International cultural exchange and its impact on the development of national culture”
Relevance of the study - The development of international cultural exchange, the improvement and progress of interstate relations, the deepening of mutual understanding between peoples is one of the characteristic features of modernity * Improving cultural exchange is a powerful incentive in the development of the creative potential of peoples, the intensification of the process of mutual influence and mutual enrichment of national cultures. Therefore, it is important to understand the diverse nature of the connections between national cultures, to adequately assess the significance of their national flavor and identity, which not only do not oppose the development of universal human culture, but are also a necessary condition for enriching this process.
Today, the issues of identifying and analyzing contradictions, understanding the nature of international cultural exchange, and determining further prospects for its study in the context of the humanization of interstate relations are particularly pressing. The goal of increasing the role of exchanges in the field of culture in order to familiarize oneself with the cultural heritage of other states in all its forms, with the spiritual and dramatic achievements of our time is becoming increasingly important.
The relevance of the development of this topic is also determined by the need for scientific analysis of the mechanism of cultural exchange, improving the ways of interaction between national cultures, expanding the range of possibilities for their full functioning in the process of forming a diverse universal human culture.
Moreover, taking into account and adequately assessing the individually specific parameters of the cultures of various peoples, reflected in their local manifestations and traditions, today acts as one of the essential conditions for scientifically based management of social processes. The tendency to increase the need for knowledge that could strictly scientifically and fairly fully reproduce the local parameters of different cultures makes itself felt in a wide variety of areas of practical activity, ranging from socio-economic to the development of foreign policy strategy.
The feasibility of studying the specifics of international cultural exchange is also dictated by modern trends in the development of national cultures, the increasing need to intensify meaningful dialogue between peoples, overcoming stereotypes and dogmas that constrain interstate cooperation to this day. The collapse of the totalitarian system has opened up wide opportunities for access to a variety of information and genuine cultural values , to rethink positions in ensuring fruitful international cultural exchange, primarily political, ideological and practical"
The significance of studying this problem is also enhanced because it is organically connected not only with the prospects for raising the status of national cultures and expanding the possibilities for their inclusion in the context of world culture, but also with the prospects for social development in general.
In the context of deepening tendencies towards isolation, disrespectful, and sometimes hostile attitudes towards other nations and nationalities, the search for ways to ensure mutual respect, mutual tolerance and mutual understanding of people seems especially relevant. In this regard, cultural interaction, the exchange of genuine spiritual and moral values that form the basis of the national cultures of different peoples, act as an effective factor in the consolidation of humanity, the humanization of interstate relations in general* In this context, cultural exchange is a fundamental part in the improvement of political, economic and sociocultural relationships on a global scale. In this regard, the search for ways and forms of intensifying and improving the process of international cultural exchange is of particular relevance. Hence the interest in this phenomenon as a subject of research is quite justified. There is no doubt that the theoretical disagreements existing in this area determine the need to intensify research and serious discussion of certain concepts that represent cultural exchange at different levels and in different logical and practical aspects."
Considering that the category “cultural exchange” is key in the dissertation, we will carry out a terminological analysis of it in the introduction, which will help to more clearly and deeply characterize the modern interpretations of the category under consideration.
In the scientific literature, there is no consensus on the concept of “cultural exchange”; clear definitions of starting positions have not been developed. An attempt to give a scientific definition of cultural exchange was made by A.M. Khodkaev (151, pp. 29-30).
The lack of definition, however, does not mean that the process of cultural exchange is not studied. The reason here is different. Many authors view cultural exchange as interaction, mutual influence of cultures of different peoples, on the one hand, and as the impact of one culture on another through various channels and means, on the other. In our opinion, hence the use of such concepts as “cultural interaction”, “cultural contacts”, “cultural communication”, “cultural dialogue”, “cultural cooperation”, “cultural connections”, “cultural relations”, etc. In many cases, the concepts of “cultural cooperation,” “cultural ties,” and “cultural relations” are considered synonymous.
However, for a more complete definition of the concept of “cultural exchange,” it seems advisable to turn to authors who specifically studied the processes of cultural interaction, problems of contact, and dialogue*
First of all, the concept of S.N. Artanovsky, who substantiated the theory of cultural communication and cultural contacts, attracts attention. According to his classification, there are three stages of cultural communication: I) contact, contact between peoples, when people get acquainted with other cultures and a different way of life; 2) establishing certain relationships, studying a foreign culture, selective exchange of cultural values; 3) cultural synthesis (4, p. 95).
In addition, the author also puts forward the structure of cultural contacts: “By cultural contacts we understand connections between peoples, in which I) the contacting parties are located in different territories (or were originally located in them) and 2) the contact occurs conditionally in one time period” (6 , p. 18). In this S.N. Artanovsky sees the main difference between cultural contacts and cultural continuity, where cultures are located on the same time period1. In conditions of cultural contact, the contacting party is located in the next period of time relative to the “donor culture” and often in the same territory.
In the scientific literature, cultural contacts are also interpreted as a manifestation of the communicative function of culture internationally. This is one of the functions that allows us to successfully solve the problem of genuine culture - to strengthen the connection between times and peoples, to put all the best that has been created by humanity at the service of its further development and improvement. Cultural blasphemy helps to overcome the alienation of peoples from the spiritual values of humanity and the world-historical process.
M.S. Kagan analyzes the possibilities of applying communication theory to the study of relationships between cultures, in particular, the use of the concept of “dialogue” to designate intersubjective relationships that are realized not only at the interpersonal level, but also in relation
1 Considering that the category of continuity is of great methodological importance, researchers are trying to reveal the content of the concept of “cultural exchange” through a theoretical understanding of the patterns of continuity (A.M. Khodkaev). However, it is important to take into account that continuity as a philosophical category provides not only for the “absorption” of everything progressive created at all stages of cultural development, but also in relation to the enormous factual material accumulated by culture in modern foreign countries; we highlight this conclusion, since only based on “selection” and selection of everything positive, it is impossible to understand the progressive development associated with the processing of “available” material by living practice*
For a more detailed and comprehensive consideration of the content of the concept of “cultural exchange”, it is necessary to take into account the interdependence of the categories of continuity and inheritance. After all, the process of inheritance and exchange of cultural values is inextricably linked with the critical development of certain manifestations of continuity. Moreover, cultural exchange includes the fight against all negative manifestations of historical continuity. In this paper we use the category "inheritance" more broadly. This is not only a critical understanding of the positive in the culture of the past, but also a similar attitude towards cultural values created in modern conditions. tions of aggregate subjects (nations, classes, etc.) and certain products of their activities - cultures.
A number of domestic scientists, among whom we should highlight primarily L.M. Batkin, M.M. Bakhtin, T.P. Grigorieva, N.I. Conrad, in their studies based on rich factual material, have proven the fruitfulness of considering the relationships of cultures as a dialogical process, requiring general philosophical and theoretical understanding. The authors try to identify different types of interaction between cultures, where dialogue acts as a specific type of cultural interaction.
From the above it follows that the concept of cultural exchange is closely interrelated with the other categories mentioned. Their widespread use in our research dictates the need to determine priorities. In our opinion, the category of “cultural interaction” is more scientific. It acts as the basis of cultural synthesis, a kind of system-forming factor. Other categories are only a partial manifestation of interaction, depending on various factors (temporal, spatial, geographical, economic, political, etc.). Cultural exchange is characterized by the presence of various forms, channels, means of ensuring this process, its organized and purposeful nature. The interaction of different cultures occurs only through the exchange of spiritual values. This process underlies the formation and establishment of a universal human culture.
Currently, cultural exchange covers a wide and diverse range of cultural phenomena.” In parallel with the intensification of this process, the forms of cultural communication and cultural relationships are being improved, filling them with new content.
Thus, cultural exchange should be considered not only as a spiritual process of exchange of ideas, thoughts, emotions, mutual transfer of knowledge, skills, skills, products of this activity, embodied in objects of material culture, but also as a specific form of interaction between cultures, different from others (contact, dialogue) of an organized and purposeful nature. The main goal of local cultural exchange should be the humanization of interethnic relations.
The degree of scientific development of the problem. Many domestic and foreign philosophers, historians, sociologists and ethnographers of the past have turned to the study of intercultural interaction. Issues of international cultural exchanges are reflected in various philosophical, sociological concepts and theories: the theory of the historical cycle, the concept of social evolutionism, the concept of local cultures and civilizations, the concept of the unity of the world-historical process. To solve research problems, the author turned to the works of J. Vico, I. G. Herder, N. L. Danilevsky, M. J. Condorcet, L. G. Morgan, K “X Strosa, P. Sorokin, A. D. Toynbee , E.B.Taylor, O.Spengler for the purpose of their comparative analysis.
Due to the fact that in the noted concepts and theories the topic of interest to us was studied only indirectly, many of its issues did not receive detailed consideration.
A comprehensive study of the specifics and prospects of interaction between cultures was undertaken only in the 20th century. Particular attention should be paid to diffusionism (B. Malinovsky) as a direction in cultural studies that has placed the problem of cultural innovation in the center of attention; acculturation studies (W.H. Homes, F. Boas, J. McGee), studying the interaction of cultures as a specifically historical process.
All this ultimately significantly expanded the initial basis for rethinking the history of world culture, overcoming the concepts of “autonomous”, closed development of individual cultures as impenetrable organisms. Despite the fact that philosophical and historical reflections on cultural exchanges and intercultural interaction were different and sometimes diametrically opposed, the idea of “the historical unity of civilization, a systematic consideration of individual cultures in connection with the theory of world culture - world studies” has become established in modern scientific knowledge "(81, p. 16).
The problem under study is inextricably linked with the patterns of development of culture and the cultural and historical process as a whole. The works of such scientists as A.I.Arnoldov, S.N.Artanovsky, L.M.Eakhkin, M.M.Bakhtin, V.S.Bibler, L.P.Bueva, E.A.Ve- Vilin, I.E.Diskin, N.S.Davidovich, N.S.Zdobin, S.6 .Ikonnikova, M.CJtaraH, N.I.Konrad, D.S.Likhachev, Yu.A.Lukin, V M. Mezhu ev, E. A. Orlova, Yu. M. Shor and others.
Works devoted to the analysis of the interaction of national cultures, their genesis and essence are also important for this study (A.G.Agaev, Yu.V.Arutyunyan, T.Yu.Burmistrova, A.I.Golovnev, L.M.Drobi^ Eva, S.G. Kaltakhchyan, G.G. Kotozhekov, M.I. Kulichenko, A.P. Melnikov, P.S. Sokhan and others.
The scientific literature examines in some detail the issues of cultural interaction between peoples within the framework of ethnocultural research. In this regard, we relied on research on the problems of ethnocultural contacts (G.V. Arukhyunyan, M.S. Aruionyan, Yu.V. Bromley, L.Y.1^milev, E.S. Markaryan, P.A. Dmitriev, I.M. Kuznetsov, etc.).
Theoretical understanding of the problem under study from the point of view of its current state and prospects was carried out on the basis of a number of monographs, scientific collections and books (9, 22, 26, 27, 54, 63, 65, 79, 84, 89, 90, 107, etc.) , articles in periodicals (6, 12, 15, 57, 61, 62, 79, 91, 95, 118, 144, 149, 150, 157, etc.).
Closely related to the topic of the study are dissertation studies examining the interaction of artistic cultures (E.R. Akhmedova, A.I. Ozhogin, E.G. Khiltukhina), theoretical problems of the development of national cultures, their genesis (D.D. Berdnyarova, A. ". K.Degtyarev, V.N.ipsov, N.D.Ismukov, N.VLSoksharov, K.E.Kushcherbaev, G.Mirzoev, V.H.Tkhakakhov, A.B.Elebaeva), interstate cultural and information communication (A.V. .Kravchenko, E.D.Smirnova, Y.R.Streltsova, A.A.NdangaChyakanda, A.M.Khodzhaev, V.GLshchenko), international legal aspects of cultural cooperation (A.I.Kikhalshivila, B.I.Melekhin , AL.Seshtko).
The object of cultural exchange is the process of cultural exchange, considered as a means of mutual enrichment of national cultures.
The subject of the study is the substantive foundations and mechanisms of cultural interaction between European countries.
The relevance of the topic of this study determined its goal: a theoretical analysis of the characteristics, trends and mechanism of international cultural exchange as an effective factor in the intensification of the development of national cultures.
The implementation of this goal involves solving the following specific and interrelated tasks:
1. Understanding the essential definitions of national culture.
2. Identification of the dialectics of the general and the specific in national culture in order to identify trends in the modern process of internationalization of cultures,
3. Generalization of new phenomena and trends in the field of international cultural exchange, identification of patterns and prospects for its development.
4. Disclosure of the objective and natural nature of international cultural exchange in the process of cultural and historical development.
The scientific novelty and theoretical significance of the study lies in the generalization and development of scientific ideas about the process of international cultural exchange and the interaction of national cultures.
The author has attempted to analyze the main factors stimulating the development of national culture in the process of cultural exchange. Theoretical material shows that cultural exchange is historically natural and a necessary condition for cultural and historical development.
The conceptual approaches of philosophers, cultural scientists, ethnographers, and sociologists to the definition of the categorical apparatus from the point of view of problems of intercultural interaction are considered.
The analysis of the works of domestic and foreign scientists indicates that despite numerous studies on the problems of intercultural interaction, issues of international cultural exchange, improving its forms, organization in a rapidly changing world have not yet been sufficiently covered in the scientific literature*
The practical significance of dissartyati is as follows:
1. The theoretical developments of this study have practical significance for a more competent use of the mechanisms of intercultural interaction and the practical organization of cultural exchange.
2. The results and conclusions of the work can be used in the activities of organizations, institutions, departments, diplomatic services dealing with issues of interstate cultural cooperation
3* The materials of this dissertation may be useful in developing courses on the theory of culture in educational institutions, in educational, methodological and scientific literature, as well as in lecture work.
Methodological basis of the study. The dissertation is based on principles and approaches developed in domestic and foreign cultural science (historicism, dialectical approach, systematicity, etc.). Of great importance in the research process was the appeal to the works and articles of leading philosophers, ethnographers, cultural scientists, sociologists, diplomats and politicians involved in various aspects of the interaction of cultures and international cultural cooperation. When analyzing the problem under study, the dissertation author also relied on articles, materials of international conferences, forums, seminars, symposia on the problems of cultural cooperation, program documents of UNESCO and other international organizations.
The theoretical analysis of the problem under study allowed us to formulate the following concept: cultural exchange is carried out as a process of mutual enrichment of national cultures, each of which represents a logical step in the development of world culture* Modern processes of intercultural interaction largely determine the nature of international cultural exchange, its focus on cooperation, mutual knowledge of cultural heritage, searching for optimal solutions to common problems of existence and personality, overcoming political and national contradictions, psychological barriers.
AproG)yagrgya work - The results of our research received preliminary approval at the Republican Interuniversity Scientific Conference (Chisinau, 1967), at the scientific conference of the Moldavian Institute of Arts (Chisinau, 1988), where the author made presentations. The main content of the work is reflected in the following publications:
I" Organization and methodology of working with folk art groups in the system of cultural exchange: Methodological development to help students of correspondence education / Mod. state Institute of Arts, - Chisinau, 1989. - 41 p.
2, Cultural exchange as a historical pattern //confe-rinta d« totalizer® a narnaii atiintlfico-metodice a profesorilor,
I Inatitutul de arte p* «mil 19EO 22-26 April 1991 (Tezele rapporturilor ei comaiioarilor). Inatltutul de arte din Moldova*- Ghiai-nau, 1991
3, Cultural exchange as a factor in the development of folk art // Culture, Creativity, Man: Abstracts of reports rep. conf. -Samara, 1991. - pp. 53-54.
The structure of the research paper is determined by the goals and objectives of the study and includes an introduction, two chapters, a conclusion and a list of references.
Similar dissertations in the specialty “Theory and History of Culture”, 17.00.08 code VAK
Social dynamics of intercultural communications between Russia and China 2010, candidate of cultural studies Lan Xia
Transformation of modern domestic education in the context of dialogue between cultures of Russia and the USA 2011, Doctor of Cultural Studies Kucheruk, Irina Vladimirovna
Intercultural communication as a factor of sociocultural changes 2006, candidate of cultural studies Verkhovskaya, Zhanna Aleksandrovna
Modern intercultural dialogue in the context of network (information) interactions in the educational space of the CIS 2013, candidate of philosophical sciences Kim, Maria Vladimirovna
The work of Rainer Maria Rilke in dialogue with the cultures of Russia and France 2006, candidate of cultural studies Gulyaeva, Tatyana Petrovna
List of references for dissertation research Candidate of Philosophical Sciences Bely, Vitaly Ivanovich, 1992
1. Agaev A, G, Socialist national culture. M.: Politizdat, 1974, - 136 p.
2. Anastasyev N. Indivisible heritage: world culture belongs to everyone // New time. 1988, - J6 5, - pp. 36-37,
3. Andrushchak V.E. Soviet Moldova in the cooperation of the USSR with the liberated and capitalist countries, Chisinau: Kartea Moldovenyaska, 1987, - 293 pp.
4. Artanovsky S.N. Historical unity of humanity and mutual influence of cultures. L., 1967* - 268 p.,
5. Artanovsky S.N., Criticism of bourgeois theories of culture and problems of ideological struggle. L., 1981* - 82 p.
6. Artanovsky S.N. International cultural contacts in the past and present // Philosophy. Sciences. 1987. - & 7. - P. 15-26*
7. Artanovsky S.N., Multinational state from the point of view of cultural studies // Philosophy, sciences, 1990. - * 8* - P. 38-47.
8. Artanovsky S.N. Some problems of cultural theory. -L., 1977. 83 p.
9. Arutyunov S, A* Peoples and cultures: development and interaction. M.: Nauka, 1989. - 243 p.
10. Akhmedova E.R., Interaction of artistic cultures as an aesthetic problem: Dissertation, . Ph.D. Philosopher Sciences* M., 1986. -170 p.
11. Baller E.A. Continuity in the development of culture. M.: Nauka, 1969. - 294 p.
12. E2. Barsukov AL. Communication in the service of humanity // Film and television technology* 1990, - & 5* - P. 38-45,
13. Bakhtin M.M., Aesthetics of verbal creativity. M,: Art, 1986. - 445 p.
14. Berdnyarova D.Kh. Socialist national culture: genesis and essence: Abstract, dissertation. . Candidate of Philosophy, Sciences. L., 1985. - 18 p.
15. Bibler B.C. Culture. Dialogue of cultures (experience of definition) // Issues. philos" 1989. - No. 6, - P, 31-42.
16. Boas F. The mind of primitive man /Trans. from English M., 1926. - 154 p.,
17. Bromley Yu.V. National processes in the USSR: in search of new approaches. M,: Nauka, 1988, - 208 p.
18. Bromley Yu.V. Essays on the theory of ethnicity. M.: Nauka, 1983. -412 p.
19. Bromley Yu.V. Man in the ethnic (national) system // Issues. Philosopher 1968. - L 7. - P. 16-28.
20. Bromley Yu.V., Podolsky R.G. Created by mankind. -M.: Politizdat, 1984. 272 p.
21. Brudny A.A. New thinking. Frunze: Kyrgyzstan, 1988. -104 p.
22. Vachnadze G.N. World Television. New media, their audience, technology, business, politics. -Tbilisi, 1989. - 672 p.
23. Verdery K., Ethnicity as culture: some Soviet-American contrasts // Social sciences abroad. Ser. 3, Philosophy and sociology: RZH/INION. 1984, - £4, - S. I49-I5I.
25. Interaction of nomadic cultures and ancient civilizations,
26. Alma-Ata: Nauka, 1989. 464 p.
27. Interaction of cultures of the USSR and the USA: XVIII-XX centuries. M.: Nauka, 1987. - 228 p.,
28. Interaction of artistic cultures of socialist countries /AS USSR. M.: Nauka, 1988. - 446 p.
29. Vico J. Foundations of a new science of the general nature of nations, -I.: Zfdozh. lit., 1940. 615 p.
30. Vinogradov I. Freedom or predestination? // Friendship of Peoples. 1990, - No. 7. - P. 205-210.
31. Vishnevsky Yu, R. Cultural cooperation of socialist countries and systematization of its main indicators // Questions of history and historiography of socialist culture, M., 1987, -S. 139-152,
32. Vavilin E.A., Fofanov V.P. Historical materialism and the category of culture. Theoretical and methodological aspect, Novosibirsk: Nauka, 1983. - 199 p.
33. Voinar I. Culture as a measure of development (new UN program) DEEKhZh0 // Social sciences abroad. Ser. I. Problems of scientific communism: Pl/INION. - 1989. - J8 5. - P. 125-129.
34. Volkov V. Horizons of cultural exchange // Cultural life. 1985. - J& II. - pp. 28-29.
35. Comprehensive international security. International legal principles and norms. M.: International. relations, 1990. -328 p.
36. Gavlik L. Culture is a means of communication between peoples // Security problems on the European continent: Ref. Sat. - M., 1988. - P. 235-239.
37. Gachev G, National images of the world: (Towards the analysis of national characteristics and national identity in culture) // Vopr, lit. 1987. - J* 10. - P. I56-I9I.
38. Herder I.G., Ideas for the philosophy of human history / Yer, and approx. A.V. Mikhailova. M.: Nauka, 1977. - 703 p.
39. Golovnev A.I., Melnikov A.P. The rapprochement of national cultures in the process of communist construction. Minsk, 1979. - 176 p.
40. Greek I.F. Moldavian SSR in socio-political relations between the USSR and the People's Republic of Belarus (second half of the 50s-70s). - Chisinau: Stintsa, X990. - 147 p.
41. Grushin B.A. General and special in models of world development (political and sociological aspects) // Sots. research. -1990, No. 2. - P. 15-22.
42. Gulyga A.V. Herder. 2nd ed., revised. - M.: Mysl, 1975. - 181 p.,
43. Gumilyov L.N. Geography of ethnos and historical period. -L.: Nauka, 1990. 286 p.43. ^Gumilyov L.N., Ancient Rus' and the Great Steppe. M.: Mysl, 1989. - 764 p.
44. Gumilyov L.N. Ethnogenesis and biosphere of zemzka. 2nd ed., revised, and additional. - D.: Leningrad State University Publishing House, 1989. - 495 p.
45. Kh^milev L.N., Ivanov KL1. Ethnic processes: two approaches to studying // Sots. research. 1992. - L I. - P. 50-58.
46. Danilevsky N.Ya. Russia and Europe, A look at the cultural and political relations of the Slavic world to the German-Roman world, St. Petersburg, 1871, X, 542 p.
47. Degtyarev A.K. Dialectics of national and international in Soviet culture: Author's abstract. dis, . Ph.D. philosopher, science. -M., 1987. 25 p.
48. Dzyuba I, Do we recognize national culture as an integrity 11 Communist. 1988. - No. 18. - P. 51-60.
49. Dialogue of historians: Letter from A. Toynbee to N.I. Conrad // New World. 1967. - J6 7. - P. 175-177.
50. Diskin I.E. Culture: strategy for socio-economic development. M.: Economics" 1990. - 107 p.
51. Dmitriev P.A., Mylnikov A.S. Cultural contacts of the peoples of Central, South-Eastern Europe and Russia in the era of the formation of nations // Volr. stories. 1986. - No. 4. - P. 94^95.
52. Drobizheva JLM, National identity and socio-cultural incentives for development // Sov. ethnography. 1985. - A 5. -S. 3-16.
53. Ev Tukh V.B. International conference "Ethnic processes in the modern world" // Sov. ethnography. 1987. - No. 2.1. pp. 134-137.
54. Eremina E.V. International exchange of information. M., 1988. - 144 p.
55. Zhumatov S. International cooperation in the field of culture. USSR Commission for UNESCO // SESCO Bulletin. -1985. - L 3. - P. 12-14.
56. Western Europe and the cultural expansion of “Americanism” / Comp. Yu.M. Kargamonov. M.: Art, 1985. - 250 p.
58. Zvereva S. Holiday of sacred music // Sov. music. -1990. No. 5, - pp. 93-96.
59. Zykov V.N. General and special in the development of national culture: Author's abstract. dis. . Ph.D. Philosopher Sci. L., 1984. - 15 p.
60. Kashlev Yu.B. Cultural connections in Europe: ten years after Helsinki // Culture and Life. 1985. - £ 7. - pp. 24g-25.
61. Kashlev Yu.B. International humanitarian cooperation: status and prospects. M.: the greatest, 1988. - 62 p. (New in life, science and technology. International. 1988. No. II).
62. Kashlev Yu.B., Pan-European process: yesterday, today, tomorrow, M.: Mezhdunar. relations, 1990. - 184 p.
63. Kashlev Yu.B. Pan-European spiritual communication: who is for and who is against // International, life. 1985, - No. 8. - P. 95-98.
64. Kizma V.V. Specificity of cultures and cultural invariants // Philosophy: history and modernity. M., 1988. - P. 116122.
65. Kikalishvili A.I. International legal forms of participation of the USSR in international cultural cooperation: Abstract, dissertation. , Ph.D. legal Sci. M., 1987. - 16 p.
66. Kagan M.S. The role of interpersonal communications and national orientations in the transmission of ethnic culture // Study of the continuity of ethnocultural phenomena. M.: Institute of Ethnography, 1980, pp. 5-14.
67. Kozlova N.N. Means of communication and public relations // Philosophy. Sciences. 1990. - No. 9, - S, 23-27.
68. Koksharov N.V. The unity of the international and national in the spiritual culture of socialism: Abstract, dissertation, . Ph.D. philosopher, science. L., 1988, - 17 p.
69. Konrad N.I. West and East. 2nd ed. - M,: Nauka, 1972. - 496 p.
70. Kotozhekov G.G. Genesis of national culture. Abakan, 1991. - 192 p.
71. Kravchenko A.V. Yugoslav-Soviet cooperation in the field of artistic culture (1955-1985): abstract. dis, . Ph.D. history Sci. Kharkov, 1988. - 18 p.
72. Red Book of Culture? / Comp. and dredisl, V. Rubinovich. M.: Art, 1989. - 423 p.
73. Kuznetsov I.M. Adaptability of ethnic cultures. Ethnocultural types of personality self-determination (towards the formulation of the problem) // Sov, ethnography. 1988. - In I. - pp. 15-26.
74. Kulichenko M.I., Nation and social progress. M.: Nauka, 1983. - 317 p.
75. Culture in the modern world: state and development trends: Sat. reviews. Vnp. 2, The East in modern cultural interpretations. M., 1989. - 64 p.
76. Culture and art in the modern world: state and development trends: Review, inf. Shp. 5. Dialogue about culture. M, 1989. - 92 p.
77. Culture of the people of Central and South-Eastern Europe in the 18th-19th centuries. Typology and interactions. M.: Nauka, 1990. -287 p.
78. Cultural heritage and traditional culture of the peoples of Europe in the formation of the “Common European House”, Novgorod, 1990. -129 p.
79. Cultural connections two-way road (Round, table) // Theater, life. - 1987. - Jfe 6, - pp. 18-21,
80. Kuscherbaev K.E. The nation as a subject of culture: Dis. . Ph.D. Philosopher Sci. M., 1991. - 147 p.,
81. Lavrovskaya I, M. Interaction and dialogue of cultures // Philosophy. Sciences, 1986, - L 6. - P. 155-156.
82. Lazarev V.N. O. Spengler and his views on art. -M., 1922, 153 p.
83. Lazareva E. Perva mladezhka international sreshcha v culturology // Scientific Zhivo. 1989. - # 4. - P. 27-28.
84. Larchenko S.G., Eremin G.H. Intercultural interactions in the historical process. Novosibirsk: Science. Sib. department, I99I. - 174 p.
85. Lynchev E. General European house from architecture, metaphor and real project // New time. 1990. - No. 3. - P. 112-1X8.
87. Likhachev D.S. Russian culture in the modern world // New world, 1991. - In I. - pp. 3-9.
88. Lukin Yu.A. Culture in the struggle of ideas. M.: Art, 1985. - 277 p.
89. L'tikova G. Cultural activities of the Northern Council in the 70s and 80s // General problems of culture. - 1990. - Yap. 6, -S. 4-17.
91. SW. Mamontova V, V. philosophy of culture of N.N. Roerich and the humanistic style of thinking // Philosophy: history and modernity. M., 1988" - pp. I07-IX7.
92. Markaryan E.S., Essays on the Theory of Culture, Yerevan: Publishing House of the Academy of Sciences of the Armenian SSR, 1969. - 228 p.
93. Markaryan E, S. Correlation between formational and local historical types of culture // Ethnographic studies of the development of culture. M.: Nauka, 1985. - P. 7-31.
94. Markaryan E.S. Theory of culture and modern science: (Logical-methodological analysis), M.: Mysl, 1983. - 284 p.
95. Mass communications in the context of modern cultural and information processes" Alma-Ata: Gishsh, 1990" - 59 p.
96. Medvedev A, M. Exchange in nature and society // Philosophy. Sciences. 1990. - L 2. - S. II&-I23*
97. Mezhuev V.M. Culture and history. M.: Politizdat, 1977. - 199 p.
98. Milanovic M. International treaties in the field of culture // International. policy. 1967. - No. 902. - P. 26-29.
99. Mingorska M., Slavova R. Svetovna, regional and national culture // Problem. on culture. 1967. - * 4" - C, 62-71.
101. IZ. Mirzoev G. Dialectics of interaction between national and international in the spiritual culture of modern society:. Abstract* dissertation. . Ph.D. Philosopher Sci. Alma-Ata, 1969. - 19 p.*
102. Mulyarchik A. The Unfound Door // New Time* 1991.25. pp. 46-47"
103. Mularchik A. Lost generation or generation of lucky ones? C New Time* 1991. - J6 36, - P. 46-47.
104. Muntean D. Soviet research on Romanian culture and art // Romanian, lit. 1986. - No. 7. - S, 88-89.
105. National cultures and interethnic relations // Issues lit. 1969. - . - P. 3-76.
106. Our culture in the world // Mezdunar. life, 1990.1. 0.3-18,
107. Ndinga-Makanda A.A. International information retrieval languages by culture and the possibilities of their research in developing countries: Author's abstract. dis, . Ph.D. ped. Sci. L., 1985* -17 p.
108. Novik I.V., Abdulaev A*Sh, Introduction to the information world* M.: Nauka, 1991. - 228 p.
109. Novikov V.Y. Individual, special and general in the investigation of certain phenomena of social life // Questions of the theory of knowledge, Perm, 1961. - C, II3-I26.
110. X22. Oizerman T.I. Are there universals in the sphere of culture? // Question Philosophy - 1962, L 2. - P. 37-42.
111. Pavlov N. International and cultural deinost-basic problem on self-government // Problem. on kulshchurat. 1987. - J& 6. -S. 54-64.
112. Porshnev B.F. Social psychology and history. M.: Nauka, 1979. - 228 p.
114. Prusakova A., Uvarova A. Electronic mail in the dialogue of cultures // Nar. image. 1990. - Jfc 9. - S. I5I-I53,
115. Raatz F. Cultural exchange between East and West: Cooperation or rivalry? // Helsinki process, human rights and cooperation in humanitarian fields: Ref. Art. /AS USSR. INION, M., 1988.- pp. 190-198.
116. Rybakov R. Silk Road to the Future. About the KHNESCO project "The Silk Road - the path of dialogue" // Sov. culture. - 1990.24 November. P. 13.
117. Samatov Sh.B. Development of national cultures in modern conditions. Tashkent: Uzbekistan, 1990* - 166 p.
118. Sangeli L.M. Socio-political and cultural connections of Soviet cities with related cities of foreign countries (on the mat. MSSR) // Izv. Academy of Sciences of the MSSR. Ser. Societies, science. 1987.2. pp. 68-71.
119. Serebrenko N.I., Sokolova A.E., The crisis of culture as a historical phenomenon (in the concepts of N. Danilevsky, O. Spengler,
120. P. Sorokina) // Philosophy. Sciences. 1990. - th 7. - pp. 37-47.
121. Sidorova G. Visas, computers and “not allowed” // New time, 1989, L 21. - P. 10-12,
122. Slovinsky Ch.S. Universal and specific in dialectical contradictions and their knowledge. Minsk, 1975, - 144 p.
123. Smirnova ED, Czech-Russian cultural relations (second half of the 18th century): Abstract. dis. . Ph.D. ist. Sci. Minsk, 1988. - 28 p.
124. Soviet culture: 70 years of development of academician M.P. Kim "/USSR Academy of Sciences. Institute of History of the USSR. M,: Nauka, 1987. - 396 p.
125. Modern Western sociology: Dictionary, M,: Politizdat, 1990, - 432 p.
126. Sokhan P.S. Mutual enrichment of peoples is the most important trend and pattern of the historical process // Cultural and public relations of Ukraine with European countries. - Kyiv, 1990.1. pp. 3-16.
127. Comparative literary criticism and Russian-Polish literary connections /AS USSR. M.: Nauka, 1989. - 205 p.
128. USSR and international cooperation in the field of human rights. M,: Meedunar. rel., 1989, - 708 p.
129. USSR-FRG: towards each other. Spiritual prerequisites and problems of cooperation / Responsible. ed. V.V.Meshvenieradze, K.Hor-nung. M.: Mevdunar, otnosh, 1990, - 320 p.
130. V 148, Khil tukhina E.G. The problem of “West-East” in the study of artistic culture: Dis. . Ph.D. Philosopher Sci. - L*, 1984. -183 s*
131. Khilchevsky Yu* Diplomacy of culture // Mezvdunar* life* -1990* * 4. - P. 56-64.
132. Khilchevsky Yu. So that there is no “bitter aftertaste”: Once again about international cultural exchanges // Pravda * 1989, May 2,
133. Engelbrecht U, Questions for which all humanity is waiting for answers // Theater. 1967. - £ II. - pp. 130-133*
134. Elebayeva A.B. Basic levels and mechanisms of development of socialist national cultures in Soviet society: Dis. . Doctor of Philosophy Sci. M., 1987*157* Edstein M, Speak the language of all cultures // Science and life. 1990. - No. I. - C, 100-103.
135. Yarantseva N*Ya. Continuity and interaction of cultures in the artistic life of society. Kyiv: Nauk* Dumka, 1990. -160 p.
Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.
Current page: 11 (book has 35 pages in total)
Font:
100% +
Chapter III
Main directions and forms of cultural exchange in intercultural communication
§ 1. International relations in the field of music, theater and cinema
International musical, theatrical and cinematic connections as a form of intercultural communications. International musical, theatrical and cinematic connections in international relations. Basic forms of international musical connections. International music competitions. History of international music competitions. The concept of an international music competition. Typology and classification of international music competitions. The largest international music competitions of our time. International pop song competitions. Eurovision and Grammy. International organizations in the field of music. International music competitions in Russia. Competition named after P.I. Tchaikovsky. International music festivals. Concept, typology and classification of international festivals. History of music festivals. The largest international music festivals of our time. International music festivals in Russia. International theater festivals. History of international theater festivals. Avignon and Edinburgh theater festivals. Film festivals, their history, typology and classification. Venice Film Festival. International film festivals in Russia. Moscow International Film Festival.
One of the original areas of intercultural communication, which has its own specifics, can be called contacts in the field of theater and musical art. These types of creativity have exceptional emotional power, are able to engage a large audience in communication and unite people of different nations, religious affiliations and cultural traditions.
Dialogue in the field of music and theater has been going on for a very long time. The first contacts arose almost immediately after the appearance of these types of artistic and musical activities.
It can be noted that communication in the field of music and, to a large extent, theatrical creativity does not occur at the verbal level. The author's talent and the emotional power of the work make it accessible and understandable to a wide variety of audiences. Communications in this area are carried out through different channels and have different problems and results than in other forms of cultural dialogue.
Of course, thanks to the talent of the authors of musical and dramatic works, peoples representing different cultures are brought together, common problems are identified, and a unique artistic environment is formed, the geography of which is significantly different from the traditional one accepted, for example, in international relations.
The development of theatrical and musical creativity cannot be imagined without intercultural communication, which takes place in the professional environment of authors, performers, and in the audience of spectators. This feature has given rise to many forms of intercultural communications in these types of creativity, which will be discussed in this section.
International theatrical and musical ties have a common nature and a long history. These areas of international cultural exchange have been closely interconnected for a long time, and therefore even today they have a common specific impact on the audience and similar patterns of development. Undoubtedly, the history of theater and music dates back to ancient civilizations and goes back more than one millennium; however, while evolving, they have not lost their significance even today. The development of technical means has significantly increased the audience involved in the process of theatrical and musical exchange, which was facilitated by the emergence of cinema, which since the end of the 19th century has become one of the most widespread areas of international cultural dialogue.
The specificity of this area of international cultural exchange is a large audience and a great emotional impact on listeners and viewers. These types of art have exceptional capabilities in shaping a positive image of a country, people, civilizations and can be a powerful tool in modern international relations. The general nature and patterns of these phenomena are reflected in similar forms of their manifestation in international cultural exchange. The most striking forms in which modern international relations in the field of music, theater and cinema are manifested include: festivals and competitions, joint projects, master classes.
What is the importance of international musical connections in modern cultural exchange?
Due to their nature, they contribute to the formation of a positive image of the state. This has been confirmed in the foreign cultural policies of different countries, which have included musical exchanges among their priorities. The theses of the “Foreign Cultural Policy of Russia,” in particular, also indicate the special role of these areas in developing a positive image of the country abroad 160
Theses “Foreign cultural policy of Russia – year 2000”. – pp. 76–84.
The combination of traditions and innovations contributes to the intensive development of these types of creativity and the constant replenishment of the audience.
They contribute to the activation of international contacts, since musical ties can develop even in conditions of interstate contradictions.
Contribute to the enrichment of national cultures and the preservation of cultural diversity in the world.
International music connections are the oldest form of creative communication between people. Today, connections in the field of music are one of the most widespread and emotionally filled manifestations of cultural exchange between people of all races and nationalities, different professional, religious, age, and social backgrounds. Such active participation in international musical exchange is determined by the very nature of music, which is international in essence.
International relations in the field of music are one of the oldest, traditional areas of cultural exchange, since they are associated with the most ancient forms of human culture. Music, literature, theater originated many thousands of years ago. Thus, during the period of ancient states: the states of Mesopotamia, Ancient Egypt (5th – 4th millennium BC), musical and literary culture were developed. They further developed in Ancient Greece, which is considered the birthplace of theater. It is believed that the first theater appeared in the 6th century. BC e. in Athens, although the prototype of the first theatrical performances can be seen earlier, during the Cretan-Mycenaean civilization (XII-IX centuries BC).
Today international relations can develop in the following forms(they largely overlap with the forms of international theatrical relations):
International music competitions
International music festivals
Touring exchange
Repertory exchange
Joint creative events (joint productions, invitation of a foreign conductor, soloist, etc.).
Among the most important actors:
Creative groups and performers,
Theatres, conservatories, philharmonic societies and other musical institutions
International and national musical organizations and unions.
It should be noted that feature of international musical connections is that they develop more actively at the social, individual, and not at the state level.
One of the most common forms of international musical connections, their integral part is international music competitions. Music, like many aspects of culture, cannot exist in the limited space of any society, people or state. Outstanding musicians rarely sit in one place, traveling around the world with concerts, actively communicating with each other in the framework of various competitive projects, festivals and tours, and joint events. For musicians, world recognition is especially important; it is important to earn a name not only in their own country, but also at the global level. It is for this purpose that there is a system of international music competitions, which, among other things, are also a selection system for performers.
International music competitions also play a significant role in international cultural exchange. They expand opportunities for contacts at the state and non-state level, contribute to the formation of a positive image of the country, and enrich the national culture.
Music competitions have a long history. Thus, even in ancient times, there was a tradition of holding various competitions between performers who were both singers and musicians. These competitions were extremely popular in the Hellenic world, so they attracted musicians from all regions of Ancient Greece. The mythological tradition has preserved many legends about divine singers, about competitions of famous musicians, the gods themselves came to listen to them play. Everyone is well aware of the names of the famous Greek heroes Orpheus and Arion, whose magnificent voice and art of playing the cithara were put by the ancient Greeks on a par with military prowess. There are known myths about the musical competitions of the god Apollo with Pan or with the satyr Marsyas, about the rivalry between muses and sirens.
According to ancient tradition, musician competitions were included in the Olympic Games. Since 580 BC. e., the Pythian Games began to be held in Delphi, dedicated to the patron of the arts Apollo, which were Panhellenic competitions for singers. The emergence of competitions and competitions in the era of antiquity was determined by the ideological foundations and spiritual atmosphere of the time. The tradition of holding the Pythian Games has continued to this day. Since 2003, the Delphic Games began to be held in St. Petersburg among youth (music, theater, dance). In Ancient Rome, the tradition of music competitions continued. The winners here were called laureates, because they were crowned with a laurel wreath as a sign of victory.
In the Middle Ages, musical competitions of mimes and jugglers, troubadours and trouvères, spilmans and minnesingers, who traveled throughout Europe without knowing borders, were popular. The competitive nature itself was lost under the conditions of religious dogma, which contributed to the emergence of new forms of musical exchange, which include musical pilgrimage. It is known that at the courts of the reigning persons and the highest nobility there were groups of musicians. There were the first music schools where young people learned the intricacies of playing various musical instruments. Interest in music has manifested itself across class lines in various strata of society at all times. In the Middle Ages, it was common for traveling actors, including musicians, to travel around Europe in search of income, organizing a kind of tour. Since the music was beyond the limitations of language, it was reproduced by the performer in its original source and did not require translation. This property of universal accessibility in terms of perception by the listener contributed to the popularization of musical works on an international scale. Talented performers were appreciated and invited abroad. Interest in foreign novelties of musical creativity, both among the educated nobility and among representatives of the lower classes, was quite great in all countries, despite religious and ideological differences. In addition, thanks to technological progress, the opportunity arose to create new musical instruments that made it possible to diversify their sound, give a special coloring and flavor to the musical palette of the work, which as a result had a stronger emotional impact on listeners.
The development of musical forms of presentation of works, as well as the emergence of a wide range of performing instruments, received noticeable development in the 17th – 18th centuries in the countries of Western Europe, which was associated with rapid economic growth and cultural development in these countries. In modern times, ancient ideals are experiencing a rebirth. The practice of various competitions and competitions is returning, in particular in the field of music. Thus, first of all, competitions in the performing arts began to develop between individual musicians who enjoyed particular fame, or among performers on individual instruments - organ, violin, harpsichord. The 18th-19th centuries were especially rich in events of this kind.
It is known that in the first half of the 18th century, a meeting between two great musicians, G. F. Handel and D. Scarlatti, took place in Rome, and G. F. Handel was recognized as the best at playing the organ, and D. Scarlatti at the harpsichord. In the 18th century, in Dresden, a competition took place between J.S. Bach and the famous organist Louis Marchand, who competed in the art of musical improvisation. In 1781, in Vienna, at the court of Emperor Joseph II, a tournament was organized between V.-A. Mozart and pianist A. Clementi, where both musicians masterfully performed improvisations on the theme of their own compositions, thus representing the Viennese and Italian schools of piano playing. According to contemporaries, the motives performed by A. Clementi were somewhat dry, but Mozart, as a sign of respect for his defeated rival, used them as the basis for the overture to the opera “The Magic Flute”. However, these competitions did not have a regular basis and were unsystematic and spontaneous.
However, music competitions truly acquired an international mass character precisely at the beginning of the 19th century. It is believed that the very first international music competition took place in 1803 in Paris for the Prize of Rome. In 1844, the first international violin competition was held in Leipzig, in which musicians from Germany, Italy and England took part. Since the 80s, international competitions for young violinists began to be organized in Berlin. Mendelssohn.
Since 1860, national music competitions have been held in Russia. They were organized by the Russian Musical Society together with the St. Petersburg Chamber Music Society, mainly through private donations. Since the 80–90s in Russia, international competitions for young performers began to be held. The first such competition of young pianists was organized in St. Petersburg by Anton Rubinstein in 1890 with his own money. It was a competition of pianists and composers, which was held until 1910 at intervals of 5 years in different European capitals.
The tradition of holding international competitions has been preserved and increased in the 20th century. In addition, if in the 18th – 19th centuries international music competitions were an isolated phenomenon, then it was in the 20th century that they began to become regular. Nowadays, international competitions occupy an important place in the international musical world and are one of the active forms of international cultural exchange. Today, a large number of different competitions in the field of classical, pop, and folk music are held in the world.
Turning to the history of international music competitions, we can highlight three main stages formation of a modern system of international music competitions:
Stage I: 20–40s of the XX century – the time of the appearance of the first international music competitions;
Stage II: The 50–60s of the 20th century are the time of the creation of the main international music competitions of our time.
Stage III: since the 90s. XX century, the number and geography of international music competitions increased significantly.
The following definition of an international competition can be proposed. international competition- this is a specific event in one of the cultural sectors, held with the aim of identifying the best achievements in the declared field, with a clearly defined program, international composition of participants and timing.
There is a certain typology of international music competitions.
Types of international music competitions:
– monographic, i.e., dedicated to the performance of works by one composer (for example, the F. Chopin Competition in Warsaw, the W.-A. Mozart Competition in Salzburg, the L.-W. Beethoven Competition in Vienna). Sometimes the competition may be dedicated to the work of two or three composers.
– competitions named after the composer, whose work is given special attention in this competition, i.e. the works of this composer are included in the mandatory program of the competition. Moreover, the program of this competition is not limited to the works of only this composer, but includes musical works by other authors (for example, the P. I. Tchaikovsky competition in Moscow, the N. Paganini competition in Genoa).
– thematic competitions, such as contemporary music competitions (for example, Eurovision), folk music competitions.
– competitions with a mixed program, which include works by various composers, different genres, the program includes competitions in various nominations (for example, the S. Prokofiev competition in St. Petersburg).
Types of international music competitions are very different: competitions between individual performers, choirs, musical groups, conductors, competitions in mastery of one or another type of musical instrument, etc.
Structure of international music competitions usually agreed upon in advance. Traditionally, competitions consist of three to four rounds. The number and size of awards varies. Places are usually calculated on a 25 point system.
Venue of international music competitions - mostly competitions are held in capitals(for example, the P. I. Tchaikovsky Competition in Moscow, the Queen Elizabeth Competition in Brussels, the F. Chopin Competition in Warsaw).
– among other competition centers we can note large cities - cultural centers: Toulouse, Barcelona, Geneva, Liverpool, Poznan.
– often chosen as the venue for the competition the birthplace of the great composer(J.-S. Bach Competition in Leipzig, R. Schumann Competition in Zwickau, N. Paganini Competition in Genoa).
– sometimes the choice of venue for a music competition is international resort or tourist center, where the infrastructure is developed, there are large tourist flows (for example, a folk music competition in the Finnish city of Savonlinna).
- there are also so-called "nomadic" competitions, the location of which is not exactly fixed: they are usually held in different cities and do not have a permanent address (for example, such competitions are organized and conducted by the Federation of Accordion and Bayan, the International Association of Musical Youth, the P. Casals competition belongs to the same group. From the region modern music can be cited as an example of the Eurovision Song Contest, which each time takes place in a new place - in the country that won the previous competition).
Time and timing of international music competitions are different, but usually in such cases the most suitable months for a given climate are selected. It is customary for the same competition to be held at approximately the same time. The duration of international music competitions is from three to four days to two weeks.
Organizers and founders of international music competitions - also very different. These may include institutions, societies, firms, government bodies, and individual musicians. For example, in 1848, the Philips company organized a famous competition in Schevening (Netherlands) as a means of advertising its products.
Conditions for holding international music competitions are very democratic and are established by the organizers. The most common restriction is age: for performers - 35 years, for conductors - 40 years.
International music competitions are held in almost every major country. Hosting an international music competition is considered a prestigious matter. This contributes to the development of tourism and cultural ties, raises the country’s authority, and has a positive effect on its image. Let's look at the most famous international music competitions, grouping them according to regional principles.
Austria- Home of the oldest music competitions in Europe. One of the most famous and large international music competitions held in this country is the V.-A. Vocal Competition. Mozart in Salzburg, organized by the Vienna Academy of Music. This competition was first held in 1956 and annually attracts 64 participants. Competitions are held in three specialties: violin, piano, solo singing. The program includes works by Mozart. The organ competition, held annually in Graz since 1960, is also widely known. No less famous is the competition named after L.V. Beethoven in Vienna.
England. Here you can note the violin competition named after Carl Flesch, the famous English violinist who organized this competition in 1945. This competition is held annually in November for three days. Only performers under 30 years of age can take part in it. As part of the program of this competition, one piece by J.-S. is performed. Bach and other composers. The usual number of participants in the competition is 20–30 people. For a long time, the renowned conductor Yehudi Menuhin was a member of the competition’s organizing committee.
The competition for performing musicians in Liverpool, first held in 1948, is also of interest. The organizers of this competition include the British Council and the BBC. The competition is held in three specialties: piano, conducting and solo singing. The program specifies a strictly defined circle of composers whose musical works are required for performance: I.-S. Bach, J. Haydn, B. Dvorak, W.-A. Mozart, M. Ravel, P. I. Tchaikovsky.
Belgium. The famous competition named after the Belgian Queen Elizabeth, the founder of this competition, has been held here since 1950. The venue is Brussels. The competition is held in three specialties: violin, piano and composition, alternately once a year. The themes of the works performed vary. Among the winners of the Queen Elizabeth Competition are such famous Russian musicians as pianist E. Gilels, violinists D. Oistrakh, Y. Flier, L. Kogan. Also in the Belgian city of Bruges, in the Saint-Souver Cathedral, an international organ competition has been held annually since 1964 as part of the Flemish Music Festival.
Hungary. Many different international music competitions are held here. First of all, let's name the F. Liszt Piano Competition (1933), the B. Bartok Chamber Music Competition, in which pianists and violinists participate (1948), and the Haydn String Quartet Competition (1959). All these competitions take place in Budapest and are among the oldest European music competitions.
Israel. The only international harp competition of its kind has been held in Tel Aviv since 1959. It is held once every three years and has a very large bonus fund.
Italy– a country with rich competitive traditions in the field of music. Since 1959, a violin competition named after N. Paganini has been held annually in Genoa. The Bolzano Piano Competition, named after the famous Italian conductor and composer Ferruccio Buzzoni, is very popular. This competition was first held in 1949 and now annually in August-September it attracts a huge number of classical music fans. The principle of selecting the competition program, which includes F. Buzzoni’s favorite musical works, is also interesting. Let us also note the famous opera festival held in the Arena di Verona amphitheater.
Netherlands. The already mentioned competition of musicians-performers in Schevening, organized in 1948 by Philips, and since 1963 - the competition of contemporary music performers in Utrecht are held here.
Poland. It was here, in Warsaw, that the very first international music competition named after F. Chopin was organized and held in 1927. The initiator of this prestigious competition was Jerzy Zhurawlev, a professor at the Higher School of Music in Warsaw. The number of participants in this competition is 500 people. The program includes the obligatory performance of Chopin's polonaises and mazurkas. In the 60s, D. Kabalevsky was a member of the Organizing Committee of this competition. Also in Poznań there is a competition of composers named after. G. Wieniawski.
Russia. The Tchaikovsky Competition, held in Moscow since 1958, is the most famous in the international musical world. Initially it included only competitions for violinists and pianists. Since 1962, cellist competitions have also been organized, and since 1966, solo singing has been included in the competition program. The range of works performed is wide - Russian and foreign classics.
USA Once every four years they host the Van Cliburn Piano Competition, which takes place in Fort Worth. The competition program includes classical and contemporary music. The prize fund for this competition is high; The average premium is $10,000. Also in the USA, in the city of Kalamazoo, there is a competition for young keyboard performers named after the famous musician and guitarist David Gilmour.
France. One of the most prestigious competitions in the modern musical world is a competition named after famous French performers: pianist Marguerite Long and violinist Jacques Thibault. This competition was first held in 1943, in occupied Paris. The program includes competitions for violinists and pianists. As part of the competition, works by I.-S. Bach, F. Chopin, R. Schumann, as well as works by French composers. The laureates of the competition named after M. Long and J. Thibault are Russian musicians D. Oistrakh, E. Gilels, L. Kogan and others. Since 1954, a vocal competition has been held in Toulouse, and since 1957, a competition for performers of French vocal music in Paris, the program of which includes vocal works by French composers from various eras. Since 1959, French Radio and Television has held a guitar competition.
Czech Republic. The Prague Spring competition, which was first held in 1947 and is now one of the most prestigious international music competitions, is widely known. Its program includes competitions for violinists, pianists, cellists, vocalists, string quartets, as well as performers on wooden and brass instruments. M. Rostropovich has repeatedly become a laureate of the Prague Spring competition.
Now there are more than 30 international music competitions in the world (according to some sources - more than 150), they are held in most European countries, as well as in Canada (Montreal), Uruguay (Montevideo), Brazil (Rio de Janeiro), Japan (Tokyo ), Israel (Tel Aviv), USA (New York).
In addition to numerous international musical competitions in the field of classical music, there are international music competitions in the field of pop and pop music. The most striking example is International music competition Eurovision. Currently, Eurovision is a TV broadcast network managed by the European Broadcasting Union (EBU), which broadcasts news, sports programs, etc.
In 1955, the European Broadcasting Union in Monaco established a special committee under the leadership of Marcel Besançon (Beson), director general of Swiss television, to create a popular song competition. The purpose of this competition is to unite European countries around popular music and promote the cultural unification of Europe in the post-war period. The idea was approved at the EBU assembly in Rome on October 19, 1955. The Italian song competition in San Remo was taken as a model. The competition takes place between countries that are members of the EBU, so among the competitors there are countries that are not part of Europe, for example, Israel.
The first competition took place in the spring 1956 in Lugano (Switzerland)). At that time, 7 countries took part in the competition, among the participants were Belgium, France, Luxembourg, Italy, the Netherlands, Switzerland, and West Germany. The first winner was Lis Eisha from Switzerland.
According to the rules, no more than 2 songs could be submitted to the competition, which were selected at the national final with the participation of the public. Since there are quite a lot of EBU member countries, in order to reduce the number of participants, a national qualifying tournament is initially held. Often representatives of other countries competed for the country, for example, in 1988, Canadian Celine Dion competed for Switzerland (she also won), and Belgian Lara Fabian competed for Luxembourg.
Initially, the fate of the winner was decided by a jury, which included 2 representatives from each country. No financial reward was provided to the winner. Currently, the winner of the competition is determined only by audience voting, and you cannot vote for an artist from your own country. Currently, participants over 16 years of age are allowed to participate in the competition.
Financing consisted of contributions from competition participants, as well as expenses of the organizing country. For example, Latvia's expenses in 2003 amounted to $11 million, to which should be added the costs of preparing Riga to receive guests. Now the competition has a pronounced commercial specificity: broadcast on TV, on the Internet, and release of a CD. In 2001, the rules of the competition changed. Only countries that took 1st to 15th places, as well as the “big four”: France, Great Britain, Germany, Spain, who earned the right to “lifetime” participation in the competition, regardless of the results achieved, were allowed to participate.
For many performers, the Eurovision Song Contest was the beginning of their popularity; for example, in 1974, the ABBA ensemble won with the song Waterloo, whose popularity then increased sharply.
Representatives Russia began to participate in the competition in 1994 (Maria Katz under the name Judith - 9th place), then F. Kirkorov (1995, 17th place, Russia’s worst result at the competition), A. Pugacheva (1997, 15th place) participated 1st place), groups Mumiy Troll (2001, 12th place), Prime Minister (2002, 10th place), Tatu (2003, 3rd place), Yulia Savicheva (2004), Natalya Podolskaya (2005), Alsou (2000, 2nd place), Dima Bilan (2006, 2nd place), Serebro group (2007, 3rd place). Russia's real triumph at Eurovision was the victory of Dima Bilan in 2008, with whom the famous figure skater and Olympic champion Evgeni Plushenko performed.
Another example of music competitions is the famous music competition "Grammy" called the "musical Oscars". It does not have international status, but it has an international composition of participants and international fame.
The Grammy competition was established by the Recording Industry Association of the United States in 1958. The idea for the competition was born in 1957, when the centenary of the invention of the gramophone by Thomas Edison was celebrated. Hence the prize - a golden figurine depicting a gramophone. The very first competition was opened by Frank Sinatra. Today, the competition is organized annually by the National Academy of Recording Arts and Technology of the United States. The competition features a wide range of nominations for the highest achievements of the previous year. The award is given to musicians, arrangers, composers, producers, sound engineers, etc. There are a total of 108 categories (song of the year, record of the year, album of the year, best new singer, best female singer, etc.) and 30 musical genres (classical, jazz, pop, blues, rap, R&B, country, etc.).
Loading...
