Socio-cultural institutions - one of the key concepts of socio-cultural activities (SKD). In the broadest sense, it extends to the spheres of social and socio-cultural practice, and also applies to any of the many subjects interacting with each other in the socio-cultural sphere.

Socio-cultural institutions are characterized by a certain direction of their social practice and social relations, a characteristic mutually agreed system of expediently oriented standards of activity, communication and behavior. Their emergence and grouping into a system depend on the content of the tasks solved by each individual socio-cultural institution.

Among economic, political, domestic and other social institutions differing from each other in the content of activity and functional qualities, the category of socio-cultural institutions has a number of specific features.

From the point of view of the functional-target orientation, Kiseleva and Krasilnikov single out two levels of understanding of the essence of socio-cultural institutions. Accordingly, we are dealing with two of their major varieties.

The first level is normative. In this case, the socio-cultural institution is considered as a normative phenomenon, as a set of certain cultural, moral, ethical, aesthetic, leisure and other norms, customs, traditions that have historically developed in society, uniting around some main, main goal, value, need.

It is legitimate to refer to socio-cultural institutions of the normative type, first of all, the institution of the family, language, religion, education, folklore, science, literature, art and other institutions that are not limited to the development and subsequent reproduction of cultural and social values ​​or the inclusion of a person in a certain subculture . In relation to the individual and individual communities, they perform a number of extremely significant functions: socializing (socialization of a child, adolescent, adult), orienting (assertion of imperative universal values ​​through special codes and ethics of behavior), sanctioning (social regulation of behavior and protection of certain norms and values ​​based on legal and administrative acts, rules and regulations), ceremonial and situational (regulation of the order and methods of mutual behavior, transmission and exchange of information, greetings, appeals, regulation of meetings, meetings, conferences, activities of associations, etc.).

The second level is institutional. Socio-cultural institutions of an institutional type include a numerous network of services, departmental structures and organizations directly or indirectly involved in the socio-cultural sphere and having a specific administrative, social status and a certain public purpose in their industry. This group includes cultural and educational institutions directly , arts, leisure, sports (socio-cultural, leisure services for the population); industrial and economic enterprises and organizations (material and technical support of the socio-cultural sphere); administrative and management bodies and structures in the field of culture, including legislative and executive authorities; research and scientific-methodical institutions of the industry.

In a broad sense, a socio-cultural institution is an actively operating subject of a normative or institutional type, which has certain formal or informal powers, specific resources and means (financial, material, human, etc.) and performs an appropriate socio-cultural function in society.

Any socio-cultural institution should be considered from two sides - external (status) and internal (substantive). From an external (status) point of view, each such institution is characterized as a subject of socio-cultural activity, possessing a set of legal, human, financial, and material resources necessary to perform the functions assigned to it by society. From an internal (substantive) point of view, a socio-cultural institution is a set of expediently oriented standard patterns of activity, communication and behavior of specific individuals in specific socio-cultural situations.

Each socio-cultural institution performs its own characteristic socio-cultural function. The function (from Latin - execution, implementation) of a socio-cultural institution is the benefit that it brings to society, i.e. it is a set of tasks to be solved, goals to be achieved, services to be rendered. These features are very versatile.

There are several main functions of socio-cultural institutions.

The first and most important function of socio-cultural institutions is to satisfy the most important vital needs of society, i.e. without which society cannot exist as such. It cannot exist if it is not constantly replenished by new generations of people, acquire means of subsistence, live in peace and order, acquire new knowledge and pass it on to the next generations, deal with spiritual issues.

No less important is the function of socialization of people, carried out by almost all social institutions (the assimilation of cultural norms and the development of social roles). It can be called universal. Also, the universal functions of institutions are: consolidation and reproduction of social relations; regulatory; integrative; broadcasting; communicative.

Along with the universal, there are other functions - specific. These are functions that are inherent in some institutions and are not characteristic of others. For example: establishing, restoring and maintaining order in society (the state); discovery and transfer of new knowledge (science and education); obtaining means of subsistence (production); reproduction of a new generation (the institution of the family); conducting various rituals and worship (religion), etc.

Some institutions perform the function of stabilizing the social order, while others support and develop the culture of society. All universal and specific functions can be represented in the following combination of functions:

• 1) Reproduction - Reproduction of members of society. The main institution that performs this function is the family, but other socio-cultural institutions are also involved in it, such as the state, education, and culture.
• 2) Production and distribution. Provided by economic - socio-cultural institutions of management and control - authorities.
• 3) Socialization - the transfer to individuals of the patterns of behavior and methods of activity established in a given society - the institutions of the family, education, religion, etc.
• 4) The functions of management and control are carried out through a system of social norms and regulations that implement the appropriate types of behavior: moral and legal norms, customs, administrative decisions, etc. Socio-cultural institutions govern the individual's behavior through a system of rewards and sanctions.
• 5) Regulation of the use of power and access to it - political institutions
• 6) Communication between members of society - cultural, educational.
• 7) Protection of members of society from physical danger - military, legal, medical institutions.

Each institution can perform several functions at the same time, or several socio-cultural institutions specialize in the performance of one function. For example: the function of raising children is performed by such institutions as the family, the state, the school, etc. At the same time, the institution of the family performs several functions at once, as noted earlier.

Functions performed by one institution change over time and can be transferred to other institutions or distributed among several. So, for example, the function of education, together with the family, was previously carried out by the church, and now schools, the state and other socio-cultural institutions. In addition, in the days of gatherers and hunters, the family was still engaged in the function of obtaining means of subsistence, but at present this function is performed by the institution of production and industry.

The role of social institutions in culture. Social institutions of culture - a set of social structures and public institutions within which culture develops. The concept of a social institution was borrowed by cultural studies from sociology and jurisprudence and largely retains the semantic coloring associated with the norms of the regulatory activity of a person and society, however, it has acquired a much broader interpretation, allowing one to approach cultural phenomena from the side of their social establishment.

In the broadest sense of the word, social institutions should be understood as specific socio-cultural formations, historically determined ways of organizing, regulating and projecting various forms of social, including cultural, activity. From the point of view of sociology, the most fundamental social institutions present in most sociocultural formations include property, state, family, production cells of society, science, system of communication means(acting both inside and outside society), upbringing and education, law, etc.

The formation of an appropriate social institution of culture depends on the epoch and the nature of the culture. Before a socio-cultural institution emerges as an independent structure, the culture must be well aware of the need for this kind of cultural activity. Far from always people went to exhibitions, theaters, spent their leisure time at stadiums and discos. There were no institutions corresponding to these needs. For entire epochs there were no archives, no concert halls, no museums, no universities. Some needs in the process of development arose, took shape as socially significant, while others, on the contrary, died off. If today for the majority of Russians the lack of desire to visit the temple on a weekly basis is understandable, then a century and a half ago such a thing was unthinkable. In the process of the emergence of needs, it is necessary that goals are formulated in one way or another. For example, why is it necessary to go to museums, restaurants, stadiums, theaters, visit thermae? The goals must also become socially significant.

In general, it is customary to single out some main types of social institutions to support spiritual production, as well as artistic culture, existing in different eras:

• 1) state, subordinate to the centralized apparatus of power;
• 2) ecclesiastical, based on the support of a religious institution;
• 3) patronage, or patronage, in which the nobility and the rich supported and gave gifts to poets, writers, musicians and architects;
• 4) handicraft, when an object of applied or monumental art is made for the local market or to order;
• 5) commercial, which arose already in pre-industrial society and is associated with market relations;
• 6) self-sufficiency of culture through independent institutions (church, education, creative organizations, cultural industry).

The process of institutionalization is inseparable from the emergence of special norms and rules, which at first can be spontaneous, chaotic, bringing not so much benefit as harm to this type of cultural activity. As a result of such “unorganized” cultural interaction, special procedures, norms, regulations, rules, etc. gradually appear. They are fixed in the form of a social cultural institution, designed to fix the most optimal ways of organizing this form of cultural activity.

The formation of a social institution ends with the creation of a system of statuses and roles, the development of standards covering all aspects of cultural activity without exception. The end of the institutionalization process can be considered the creation, in accordance with the norms and rules, of a fairly clear status-role structure, socially approved by the majority or at least politically supported by the authorities. without institutionalization, no modern culture can exist without social institutions.

Social institutions of culture carry out a number of functions. Among the most important are the following:

• 1. Regulation of the activities of members of society within the prescribed social relations. Cultural activity is regulated, and it is thanks to social institutions that the relevant regulatory regulations are “developed”. Each institution has a system of rules and norms that consolidate and standardize cultural interaction, making it both predictable and communicatively possible; appropriate socio-cultural control provides the order and framework in which the cultural activity of each individual individual takes place.
• 2. Creation of opportunities for cultural activities of one kind or another. In order for specific cultural projects to be implemented within the community, it is necessary that the appropriate conditions be created - this is directly involved in social institutions.
• 3. Enculturation and socialization individuals. Social institutions are designed to provide an opportunity to enter a culture, to become familiar with its values, norms and rules, to teach common cultural behavioral models, and also to introduce a person to a symbolic order. ** This will be discussed in chapter 12.
• 4. Ensuring cultural integration, sustainability of the entire socio-cultural organism. This function ensures the process of interaction, interdependence and mutual responsibility of members of the social group, occurring under the influence of institutional regulations. Integrity, carried out through institutions, is necessary for coordinating activities inside and outside the socio-cultural ensemble; it is one of the conditions for its survival.
• 5. Providing and establishing communications. The communication capabilities of social institutions of culture are not the same: some are specifically designed to transmit information (for example, modern mass media), others have very limited capabilities, for this or are primarily called upon to perform other functions (for example, archives, political organizations, educational institutions ); -- conservation of culturally significant regulations, phenomena, forms of cultural activity, their preservation and reproduction. Culture could not develop if it did not have the ability to store and transmit the accumulated experience - thereby ensuring continuity in the development of cultural traditions.

From birth to the end of his life, a person is not only immersed in culture, but is also “supervised” by it through appropriate more or less institutionalized cultural forms of influence. Culture is, among other things, an extensive system of mechanisms by which control over a person is carried out, his discipline. This control can be harsh and punitive, aimed at suppressing any unrewarded spontaneity. It can also act as "soft" recommendations, allowing a fairly wide range of unregulated manifestations of the individual. However, a person never remains completely “uncontrolled”: one or another cultural institution “supervises” him. Even alone with ourselves, in the absence of a seemingly direct threat of coercion, we carry within ourselves, on a subconscious or mechanical level, directive indications of cultural instances.

State and culture. Consider such a social institution as the state. The state also plays an important role for culture. Already by virtue of the provision of general social functions by the state (maintaining order, protecting the population), it is the most important prerequisite for culture, without which society is at the mercy of local forces and local interests. The state also acts as an important "customer" and "sponsor", supporting cultural activities financially or through the granting of privileges. On the other hand, neither the essence, nor the dynamics of culture, nor the fate of the state coincide directly with the dynamics of culture, frictions and conflicts are common between them, in which the state may temporarily gain the upper hand, but, having its own potentialities, culture is for the most part more durable.

Regarding the question of the management of culture by the state, there is an opinion that culture is less amenable to institutional ordering than other areas. Due to the special role of creativity in culture, it is associated with the individual activity of artists and thinkers, which does not fit into attempts to regulate it. Can culture be controlled? There are long and sometimes irreconcilable disputes between the two sides on this issue. Thus, cultural figures mainly reject state intervention in such a “creative and subtle” matter as cultural creation. Nevertheless, the intervention of government organizations in the work of cultural organizations and groups is often simply necessary, since without government support they may not be able to withstand difficulties of various kinds (not only financial, but also legal, political, etc.) and cease to exist. At the same time, state intervention is fraught with dependence on the authorities, the ruling circles and the deformation of cultural life as a whole.

If you go back centuries, you can find a lot of evidence of when the state or the church, on the one hand, were the main institutions that supported art, literature and science, and on the other hand, they also banned those areas or denied patronage to those artists, thinkers and inventors who either contradicted social norms or harmed the state or the church. Later, these functions of regulation were increasingly intercepted by the market, although legal principles invariably corrected the market element. And in addition to them, various bodies, institutions and forms of regulation of cultural life and activities (foundations, sponsorship, patronage, academies, titles, etc.) have been formed.

State cultural policy. Cultural policy is a product of state power. It is she who formulates it and ultimately implements it. The diversity of relations between the state and culture once again emphasizes that culture is a special phenomenon, and therefore its management is distinguished by the complexity and variety of forms that are in constant dynamics. It can be said that the culture management system is open and dynamic in nature, just like culture itself. Along with content-conceptual issues of a value nature, economic and legal components play a special role here. They are the main mechanism for the implementation of cultural policy.

The state is the main external institution that regulates cultural activities in modern society. However, the involvement of the state in cultural policy in developed and developing countries is not the same. In the first place, it is more moderate due to the well-established system of regulation of cultural activities on the part of business and public organizations. There the state have the following cultural policy objectives:

• - support for creativity and creation of conditions for creative freedom;
• - protection of national culture and language in the world of expanding international communications and contacts;
• - creating opportunities for involving various segments of the population, especially children and youth, in a creatively active life, depending on their abilities and inclinations;
• - confronting the negative impact of commercialization in the field of culture;
• - promoting the development of regional cultures and local centers;
• - ensuring the preservation of the culture of the past;
• - promoting innovation and cultural renewal;
• - facilitating the establishment of interaction and mutual understanding between various cultural groups within the country and interstate interaction.

In various historical periods of the development of the statehood of specific countries, the interaction between culture and power developed in different ways. The tasks of cultural policy in a democratic society have been discussed above. Totalitarian power encourages an egalitarian, one-dimensional, conformist culture. The values ​​declared by the dominant ideology acquire the phenomenon of an “icon” that requires unconditional reverence. Active rejection of these values ​​is manifested in various forms of dissent, persecuted by the authorities.

For cultural management each country has administrative structures designed to promote cultural development. In the 1960s - 1970s. in many countries ministries of culture appeared, the scope of which was mostly limited to only a few areas.

The broad understanding of culture adopted by many governments includes education, mass communication, social services, youth education. Obviously, the management of such diverse and wide areas is carried out by different departments. Therefore, to coordinate their activities, committees for communication between government departments or parliamentary commissions are created.

A significant place in cultural life is occupied by non-governmental organizations - national and international - associations, writers' and journalistic organizations, various creative teams, private publishing houses, film studios, museums, etc. All of them create a wide network that ensures the cultural activities of the country.

Culture is managed through planning and funding. cultural planning usually included in general social development planning or linked to education and media planning. A serious obstacle in its organization is the lack of substantiated indicators of cultural development and the incompleteness of statistical data. Statistics in the field of culture are usually limited to only a few indicators (number of libraries, museums, newspapers, etc.), there is no information on cultural needs and requests of different population groups, analysis of various types of cultural activities, cultural expenditures and budgets.

Volume Funding for culture in individual countries may vary. Rich countries can afford to spend heavily on formally subsidized education, networking of cultural centers, and so on. Countries that are deprived of large incomes rely more often on the participation of public organizations, foreign aid, the assistance of cultural agencies and various missions from other countries. However, these sources are clearly not enough.

I. Weber's statement is known that "the most difficult art is the art of managing", and it is especially difficult to manage culture and art.

Difficulties in the cultural policy of Russia at the turn of the millennium are not only financial and legal, but also conceptual. At the beginning of the reforms, we announced that Russia was integrating into the global cultural space, and, consequently, recognized the priority of universal human spiritual values, which are actualized through the national mentality. This concept turned out to be an unbearable burden for politicians, as well as for some members of society. The idea that our salvation lies in a national idea has begun to be quite actively put forward. Many, in particular, D.S. Likhachev, reacted sharply to such a formulation of the question: “The nationwide idea as a panacea for all ills is not just stupidity, it is extremely dangerous stupidity ... Life according to the national idea will inevitably lead first to restrictions , and then there will be intolerance... Intolerance will surely lead to terror. Unanimity is an artificiality. Naturally - many-thinking, many-ideas. And further: "Our future is in openness to the world and enlightenment."

Our difficulties with cultural policy are obvious. Conceptually, the priority of the spirit and the freedom of the individual are declared, but practically not implemented, since the legal and economic aspects are not provided.

Culture and market. Another important institution that has a significant impact on culture in developed countries is business.. With significant funds and a functional interest in the field of culture, he turns out to be the most important "cultural politician" and "cultural organizer".

In commercial societies, cultural works become more or less tradable, and the very existence of the artist or thinker is in one way or another connected with commercial factors. Producing for the market means that an art object becomes a commodity, whether it has a unique meaning or exists in multiple copies. Accordingly, the success of the artist is determined by the demand for his products in the market. Under capitalism, the market becomes the main form of material support for cultural activities, although the market existed before, and remains to some extent under socialism. The artist and writer must create a picture, a book that meets the needs of other people and can be bought by them. Naturally, the wealthy part of the population is able to order and buy works of art, thereby exerting commercial pressure on the artist, who is forced to earn his living. Under these conditions, a difficult dilemma arose between creative freedom and the artist's dependence on commercial success.

The market price of a work of art and any substantive embodiment of spiritual culture (an artistic canvas, a novel, a scientific discovery) is not directly related to its spiritual value. From the life history of such major writers of the 19th century as Balzac, Pushkin, Dostoevsky, it is known how unstable their financial situation turned out to be. Disputes between the artist and the seller continue to this day, and few cultural figures could achieve material success or even relative prosperity if they relied only on the market. It is also well known that the creators of products that are far from the best, which appealed to the general public, may turn out to be successful in the market. So, the great Dutch painter Vincent van Gogh died in poverty, unrecognized by anyone, and later his paintings broke all records on the market and were sold for millions of dollars.

In the conditions of transition to the market, domestic culture has experienced very difficult trials. But, despite all the difficulties, the cultural processes proceed, of course, with varying degrees of intensity - sometimes with positive, and sometimes with negative results.

The main result is the existence of still few market forms of existence of culture. Today it is no longer a state monopoly. Cultural institutions are not only his prerogative. Culture has acquired new forms of ownership, including private and joint stock.

Domestic show business is actively working in market conditions. This is primarily due to the breadth of the market segment, its scale, special demand, and as a result - getting their own tangible finances plus attracting sponsorship funds. The concert and philharmonic market is also reviving today. There are examples here, not only related to the actions of the capital, but also regional ones. Thus, in particular, one can note the activities of the cultural and organizational structure "Premier" in Krasnodar. Several interesting projects have recently been implemented in this city. The world famous choreographer Y. Grigorovich staged the ballets Raymonda, Don Quixote, Spartacus in a city that never had a ballet troupe, a jazz band was created under the patronage of the famous musician G. Garanyan, a chamber and large symphony orchestras, which was not previously, although the city has an excellent music school named after. Rimsky-Korsakov, Krasnodar State University of Culture and Arts, a newly created choreographic school. These processes are very symptomatic and require theoretical understanding, on the one hand, and their real support, on the other.

The market, with its freedom, provides a certain kind of advantage. But are these actions possible without the organizational-coordinating, managerial principle, the intermediary function of a talented manager? Of course not.

The advantages of the market can also turn into a shadow side. In the absence of a strict legal framework, when intellectual property rights are not yet fully protected, there is an exploitation of the creator by a resourceful manager. There is a well-known scandal with the touring version of The Maids directed by R. Viktyuk, an endlessly lasting conflict between the TAMP production group and the creative team of the film directed by V. Karra over the rights to the film The Master and Margarita ... In this regard, the words become especially relevant T. Jefferson: "The whole art of management consists in the art of being honest."

This is one aspect. The other has to do with the attempt to maximize profits from the exploitation of a cultural good or service. Freeing the artist from the dictatorship of the state or church, the market at the same time makes him highly dependent on commercial demand. There is often a contradiction between commercial benefit and quality. In this regard, our domestic television, both state and non-state, can serve as a vivid example. Violent competition forces channels to satisfy the interests of the audience, as a rule, focusing on a large part of them. It is no coincidence that the airwaves today are divided mainly between information programs, games of all stripes, variety and entertainment products and the demonstration of films of a certain genre orientation: detective, thriller, action movie or soap opera. The share of intellectual, educational programs has been reduced to a minimum, with the exception of the Culture channel. The lion's share of airtime is taken by advertising, since it is it that gives an impressive part of the profit. And the rest of the airtime is divided in accordance with the rating of viewer preferences. We can observe similar phenomena in show business. For example, the unfortunate impresario organizes tours of doubles of famous pop-star groups, fortunately, that the expanses of our country are so vast that it is difficult to identify false stars before they fail on stage. Accompanying this process is the fact that some performers very often use a phonogram. It is no secret that commercial viability today often comes into conflict with the quality of cultural products. But this does not mean that there can be no harmonic unity between them. We are seeing growing pains caused by the commercialization of art and culture.

But let us turn to the practice of one of the European countries, where the cultural sector traditionally plays a significant role. Great Britain can rightly be considered such a country. Promotion of culture by the private sector in England is a tradition encouraged by the state (Department of National Heritage, renamed in 1997 to the Department of Culture, Sports and Media). By the end of the 70s. major cultural institutions such as the Arts Council have introduced some financial research mechanisms and programs. In this mature market, partners work together in perfect harmony, with the expectation that this best practice will soon be adopted by the rest of Europe.

More than half of large commercial companies help culture.

Of the 100 most significant British companies, 60% are somehow involved in the development of culture. Small and medium-sized companies, the number of which is increasing every year, are beginning to realize their benefits from this kind of activity.

A special place in the development of various types of artistic culture is occupied by patrons who have their predecessors in the ancient history of many countries. In our country, the names of such patrons of the arts as P. Tretyakov and S. Morozov are well known.

There are certain contradictions between the participants of the state and big business in maintaining culture, arising from the fact that the state still reflects broader public interests than individual strata and business groups, and therefore can act to the detriment of individual strata and groups. However, there are also positive examples. So the English opera receives about 11% of the total sponsorship; basically these funds go to technical (functional) expenses, rather than to support creative activity. As far as ballet and dance are concerned, they are the main beneficiaries... (15% of the total), etc. Of the total amount of the commercial sector, 54% is actually sponsorship, and only 6.3% is gratuitous corporate donations. Special mention should be made of the National Lottery, which provides financial support to cultural projects in the country.

The income of the National Lottery is 1 billion pounds. Art. annually; part of this income goes to the culture and heritage sectors. The lottery is privately owned. Lottery operators, the consortium have 72% of the income for administrative expenses and prizes; 28% are intended to support culture, sports, charitable and other social needs. Between March 1995 and February 1998, the National Lottery supported 38,518 projects worth £4.7 billion. Art. (of which 8737 cultural projects worth £1.1 billion).

The lottery never fully finances the project, so project managers are required to find the missing amounts: from the state, local city committees and sponsors (donors). One of the conditions under which the Arts Committee allocates funds to cultural organizations is the availability of 10 to 15% of funds received from the private sector.

Family as a social institution of culture. The social institutions of culture regulate cultural activity, and as we know, it includes a complex process of symbolization, which involves not mechanically following established behavioral regulations, but giving them meaning; ensuring the entry of the individual into the symbolic order of culture and the possibility of being in it. In principle, a disciplinary space is any form of social institutionalization - religious, political, professional, economic, etc. Such spaces are most often not separated by an impenetrable line, but are intertwined, overlap each other, interact.

On the one hand, the boundaries and conditions of competence of the disciplinary-symbolic spaces of culture are not always strictly regulated: they have a clear list of variations “for all occasions”, allowing for greater freedom of the individual. In the theatre, in a museum, at a party, in private life, we feel less embarrassed than at work and in court. On the other hand, due to the fact that the symbolic order is not limited by working time and official duties, they are persistent, effective even in situations where we are apparently spared direct control from the corresponding cultural institution. In the theater we behave appropriately, at the station - in a different way, at home we show third qualities. At the same time, in all cases, we are forced to obey both the overt and unspoken rules of the cultural community, to be guided by a symbolic value-semantic scale. Even without realizing it, we know how we should be located in this particular cultural space, what is allowed for us, and what, on the contrary, is forbidden to desire and manifest. Such "intuitive knowledge" is the result of previous experience, experience inculturation and socialization, the acquisition of which does not stop for a minute throughout a person's life.

Speaking about the social institutions of culture, one should first of all point to such a disciplinary-symbolic space as family. It has always performed a number of functions in society. From the point of view of cultural studies, the most important function should be recognized as the translation of cultural stereotypes - values ​​and norms of the broadest nature. It is in the family that a person receives the first experience of inculturation and socialization. Thanks to direct contact with parents, as a result of imitating the habits of household members, intonation of speech, gestures and actions, the reactions of others to a particular phenomenon of reality, and finally, due to the purposeful influence on the part of others on his own actions, words, actions, efforts and efforts, a person learns culture. Sometimes we may not even be aware of how this directly happens. They do not necessarily explain to us why we should act in this way and not in another way, we are forced to do something or persuaded. It enters us through the impulsive rhythm of everyday life, predetermining the character of many, if not most, of our own words and deeds in later life.

None of the cultures, both in the past and in the present, left the institution of the family unattended. Depending on what type of personality was most in demand for a particular period of time, the corresponding norms of family and marriage relations were also built. The family, therefore, is both a mechanism for transmitting tradition from generation to generation, and a way to implement current cultural innovation programs, and a tool for maintaining the regulations of a symbolic order. The family not only forms the basis of a person's future individual life, determines the possible directions of his cultural activity, but also lays the foundation for the whole culture.

Education and culture. No matter how great the impact of the home and family on a person, it is still not enough for successful socialization, because the family is at best a “cell of society”, an adequate model for it. The family and the school collectively perform an educational function.

Education can be defined as a process that ensures the assimilation of knowledge, orientations and experience accumulated in society. The education system, being one of the subsystems of society, reflects both its specific features and problems. Of course, the content and state of education largely depend on the socio-economic state of society. However, socio-cultural factors also constitute its most important dominant. That is why education is able to involve directly or indirectly all classes and social groups into its orbit, to have a significant impact on all aspects of spiritual life. Mainly through the education system, scientific theories and artistic values ​​penetrate the consciousness of the masses. On the other hand, the impact of mass consciousness on high culture is the more effective, the more enlightened the masses, the more elements of the scientific worldview entered into their everyday consciousness. Thus, educational institutions (school, home education, university, vocational education, etc.) form a channel for the transmission of social experience and knowledge, and also represent the main link between different levels of the spiritual life of society.

The state of education more directly than other spheres of culture depends on the socio-political system of a given country, on the policy of the ruling class, on the balance of class forces. Around the problems of organizing school affairs, such as the role of the state in the creation and financing of educational institutions, the compulsory education up to a certain age, the relationship between the school and the church, the training of teachers, etc., there was an almost constant struggle between representatives of various classes and parties. It clearly outlined the various ideological positions - both of the extremely conservative, liberal and radical sections of the bourgeoisie, and of the workers' fund. An even sharper struggle was waged over the content of education, its ideological orientation, the range of knowledge that should be mastered by students, and the very methodology of teaching.

With all the distinctive features of the education system in different countries, it has both common roots and common problems. Modern education is a product of the Enlightenment and grew out of the outstanding discoveries of the first phase of the scientific revolution. The sharply increased division of labor led to the differentiation of both activities and knowledge, which in the education system is reflected in the training of a predominantly narrow specialist. Education is no longer understood as "cultivation", that is, the "doing" of a person in terms of culture, and is increasingly interpreted only as "pumping information". The basis of the educational system in our country was the principle of polytechnic education, the essence of which is to train personnel for production. In this system of education, the student is considered as an object of pedagogical influence, a kind of “tabula rasa” (from Latin - a blank slate). Thus, we can talk about the monologue nature of the pedagogical process. At the same time, the concept of "educated person" is perceived as "informed person", and this, as you know, does not guarantee that he has the ability to reproduce culture, and even more so - to generate cultural innovations.

The scientism inherent in the culture of modern times determined the entire structure of education. The educational process develops with the obvious dominance of a number of disciplines of the natural science cycle and the displacement of other areas of knowledge to the periphery. The orientation of the education system towards solving utilitarian problems leads to the separation of the learning process from education, displacing the latter into extracurricular time. The system of education that took shape in modern times met the needs of society and was highly effective, as evidenced by the scientific and technological progress of society. culturology culture social institution

In the context of a change in the cultural paradigm, it begins to reveal its weaknesses. By the end of the 20th century, science made a sharp leap and radically changed, recognizing the plurality of truth, seeing chance in necessity, and necessity in chance. Having abandoned universal claims, science has now turned to moral quests, and the system of "school" disciplines cannot yet get out of the blinkers. pictures of the world XIX century.

On the other hand, the sharply reduced period of technological renewal excludes the possibility of obtaining knowledge and a profession “for life”. The ecological crisis and other global problems of society require non-standard solutions.

findings

• 1. Social institutions of culture- specific socio-cultural formations that have a fairly clear status-role structure, to maintain spiritual production, as well as artistic culture,
• 2. Social institutions ensure the functioning of the social mechanism, carry out processes inculturation and socialization individuals, ensure the continuity of generations, transfer skills, values ​​and norms of social behavior.
• 3. The effectiveness of the activities of social institutions depends on how close the hierarchy of values ​​accepted in society is to the general cultural one. The state cultural policy contains conceptual issues of a value nature, as well as economic and legal components. Culture is managed through planning and funding; its tasks may differ in countries with different political regimes.
• 4. In modern society, the market is becoming increasingly important in maintaining culture. His role is ambiguous. The market, with its freedom, provides a certain kind of advantage. Entrepreneurship and sponsorship expands the scope and geography of culture. However, the market places culture in the strongest dependence on commercial demand.
• 5. The family is the most important mechanism for transmitting tradition from generation to generation, a way to implement current cultural innovation programs, a tool for maintaining symbolic space. It forms the basis of the future individual life of a person, determines the possible directions of his cultural activity, and lays the foundation for all culture.
• 6. The family and the school together, mutually complementing each other, perform an educational function. The education system (like the family) is a channel for the transmission of social experience and knowledge, as well as the main link between the various levels of the spiritual life of society. However, modern education in many ways no longer meets these challenges.

Review questions

• 1. What is the role of social institutions in the development of culture? What types of social institutions do you know?
• 2. What determines the formation and nature of various social institutions of culture? What functions do social institutions of culture perform in society?
• 3. What is cultural policy? What are the contradictions of state regulation of the sphere of culture?
• 4. Name the most important tasks of the state cultural policy.
• 5. What cultural management methods do you know? What are the difficulties in the cultural policy of Russia at the present stage?
• 6. How do market relations affect the management system in culture? Determine the positive and negative aspects of the influence of the market on culture.
• 7. What is the peculiarity of the influence of the family institution in culture? What functions does it perform?
• 8. What role does the education system play in culture? Why education depends on the political system of the country?

Determining the essence of socio-cultural institutions is impossible without analyzing their functions that ensure the achievement of the goal. Society is a complex social entity, and the forces at work within it are closely linked, so it can be difficult to foresee the results of any single action. In this regard, a certain institution performs its own specific functions. Their totality constitutes the general social functions of institutions as elements, types of certain systems.

An important role in defining the tasks of socio-cultural institutions was played by the scientific works of M. Weber, E. Kasirer, J. Huizinga. They and other culturologists distinguish regulatory, integrative and communicative functions in the structure of spiritual production. In any society, complicated multi-level systems are created, specially oriented towards the development of certain knowledge, ideas about life and the person himself, as well as plans and goals not only daily, but also calculated for further behaviour.

Therefore, a socio-cultural institution must have a system of rules and norms of behavior that, within the framework of spiritual culture, consolidate, standardize the behavior of its members and make them predictable. When analyzing the components of cultural regulation, it should be taken into account that the implementation of the standards of human values ​​is carried out through their integration with social roles and norms of behavior, the assimilation of positive motivations and values ​​accepted in society. Socialization is supported by personal institutions (in the family, school, labor collective, etc.), as well as institutions, organizations, enterprises of culture and art.
The study of trends in the development of the process of socialization shows that with the complication of the socio-cultural field, the mechanism of socialization and its direct cultural application also become more complex.

A specific function of socio-cultural institutions is integration, which is distinguished by S. Frolov, A. Kargin, G. V. Drach and other researchers. In the social sphere, there is a spread of a complex of views, beliefs, values, ideals that are characteristic of a particular culture, they determine the consciousness and behavioral factors of people. Cultural institutions are focused on ensuring and preserving the heritage of culture, folk traditions, historical knowledge, which helps to strengthen the connection between generations and unite the nation.
There are different cultures in the world community. Cultural differences hinder communication between people, sometimes hinder their mutual understanding. These differences often become barriers between social groups and associations. Socio-cultural institutions strive to overcome cultural differences with the tools of culture and art, strengthen the ties of cultures, activate their relationships and thereby unite people both within the same culture and beyond its borders.

Traditions are social attitudes, determined by norms of behavior, moral and ethical values, ideas, customs, rituals, etc. Therefore, the most important tasks of socio-cultural organizations are the preservation, transfer and improvement of socio-cultural heritage.

The development of forms and methods of communication is the most important aspect of the activities of various cultural institutions. Scientists consider the development of socio-cultural activities in the course of the interaction of societies, when people enter into relationships with each other. Culture can be created jointly, precisely through joint actions. T. Parsans emphasized that without communication there are no forms of relations and activities. Without the presence of certain communication forms, it is impossible to educate the individual, coordinate actions, and maintain society as a whole. Therefore, a methodical, stable, diverse system of communications is needed that maintains the maximum degree of unity and differentiation of social life.

In our era, according to the Canadian culturologist M. McLuhan, the number of contacts of an individual with other people has significantly increased. But these relationships are often mediated and one-sided. Sociological research suggests that such one-sided relationships often only contribute to the development of feelings of loneliness. In this regard, socio-cultural institutions through the assimilation of cultural values ​​contribute to the development of real human forms of communication.
Thus, the communicative function of socio-cultural institutions is to streamline the processes of broadcasting socially important information, the integration of society and social groups, the internal differentiation of society and groups, the separation of society and different groups from each other in their communication.

Sociologists consider the sphere that allows people to take a break from everyday problems, in most cases as leisure, freed from specific participation in production. Leisure activities are much broader in content, because they can include the most diverse types of creativity. It is advisable to consider free time in the sense of realizing the interests of the individual associated with self-development, self-rehabilitation, communication, pleasure, health improvement, and creative activity. In this regard, one of the most important tasks of the socio-cultural institution is the transformation of leisure into the field of cultural activity, where the realization of the creative and spiritual potential of society is carried out.

An analysis of the factors in the formation of recreation for the population shows that libraries, clubs, theaters, philharmonic societies, museums, cinemas, parks and other similar institutions are the place for the implementation of cultural initiatives.

High level of development of culture - when the highest level of cultural mastery is achieved through development and self-development.

(http://tourlib.net/books_tourism/recreation3.htm)

The average level of development of culture- this is when a person develops his culture at the level of an amateur, or as a "hobby".

()

Low level of development of culture - this is when contact with high cultural values ​​is not important for a person.

(http://www.countries.ru/library/anthropology/orlova/task/htm)

SOCIO-CULTURAL INSTITUTIONS – one of the key concepts of sociocultural activity. In the broadest sense, it extends to the spheres of social and socio-cultural practice, and also refers to any of the many subjects interacting with each other in the socio-cultural sphere. (Lit.: A. Flier. Cultural Dictionary)

CLASSIFICATION OF SOCIO-CULTURAL INSTITUTIONS - depending on their role function in relation to consumers of cultural goods, values ​​and services in the face of thousands of children and adults audience of users: viewers, listeners, readers, as well as potential customers, producers, buyers of extensive socio-cultural products.

FAMILY - a cell of society and the most important source of social and economic development, a group of people related by marriage, kinship or adoption, living together and having common income and expenses. (Source: http://webotvet.ru/articles/opredelenie-semya.html)

Family - a social association whose members are connected by a common life, mutual moral responsibility and mutual assistance. In essence, the family is a system of relations between husband and wife, parents and children, based on marriage or consanguinity and having a historically defined organization. ( Lit.: Sociology / "under the editorship of prof. V.N. Lavrinenko. - M .: UNITI, 1998.[ c.281] )

FAMILY CLASSIFICATIONS:

Depending on the form of marriage:

• monogamous family - consisting of two partners
• polygamous family - one of the spouses has several marriage partners

Depending on the gender of the spouses:

• same-sex family - two men or two women who jointly raise foster children, artificially conceived or children from previous (heterosexual) contacts.
• heterosexual family

Depending on the number of children:

• childless, or infertile family;
• one-child family;
• small family;
• average family;
• the large family.

Depending on composition:

• simple or nuclear family - consists of one generation, represented by parents (parent) with or without children. The nuclear family in modern society has become the most widespread. She may be:
• elementary - a family of three members: husband, wife and child. Such a family can be, in turn:
• complete - includes both parents and at least one child
• incomplete - a family of only one parent with children, or a family consisting of only parents without children
• composite - a complete nuclear family in which several children are brought up. A composite nuclear family, where there are several children, should be considered as a conjunction of several elementary
• complex family or patriarchal family - a large family of several generations. It may include grandparents, brothers and their wives, sisters and their husbands, nephews and nieces.

Depending on the place of the person in the family:

• parental - this is the family in which a person is born
• reproductive - a family that a person creates himself

Depending on the residence of the family:

• matrilocal - a young family living with the wife's parents,
• patrilocal - a family living together with the husband's parents;
• neolocal - the family moves to a dwelling remote from the place of residence of the parents. (

8.3. Social institutions of culture

Continuity in culture, the preservation of the created, the creation and dissemination of new values, their functioning - all this is supported and regulated with the help of social institutions of culture. In this section, we will consider their essence, structure and functions.

Turning to the study of culture and the cultural life of society, it is impossible to ignore such a phenomenon as social institutions of culture (or cultural institutions). The term "cultural institution" is now more and more widely used in scientific circulation. It is widely used in various contexts by representatives of the social and human sciences. As a rule, it is used to refer to various and numerous cultural phenomena. However, domestic and foreign researchers of culture do not yet have a single interpretation of it, just as there is currently no developed holistic concept covering the essence, structure and functions of the social institution of culture, or a cultural institution.

The concepts of "institution", "institutionalization" (from lat. institution- establishment, establishment) are traditionally used in social, political, legal sciences. An institution in the context of the social sciences appears as a component of the social life of society, existing in the form of organizations, institutions, associations (for example, the institution of the church); in another, broader sense, the concept of "institution" is interpreted as a set of stable norms, principles and rules in some the sphere of social life (the institution of property, the institution of marriage, etc.). Thus, the social sciences associate the concept of "institution" with highly organized and systemic social formations that are distinguished by a stable structure.

The origins of the institutional understanding of culture go back to the works of a prominent American social anthropologist, culturologist B. Malinovsky. In the article "Culture" (1931), B. Malinovsky notes:

The real constituents of culture, which have a considerable degree of permanence, universality, and independence, are the organized systems of human activity called institutions. Each institution is built around one or another fundamental need, permanently unites a group of people on the basis of some common task and has its own special doctrine and special technique.

The institutional approach has found further development in modern domestic cultural studies. Currently, domestic cultural studies interprets the concept of "cultural institution" in two senses - direct and expansive.

A cultural institution in the literal sense most often correlates with various organizations and institutions that directly, directly carry out the functions of preserving, transmitting, developing, studying culture and culturally significant phenomena. These include, for example, libraries, museums, theaters, philharmonic societies, creative unions, societies for the protection of cultural heritage, etc.

Along with the concept of a cultural institution, various publications often use the traditional concept cultural institution, and in theoretical cultural studies - cultural form: a club as a cultural institution, a library, a museum as cultural forms.

Educational institutions such as schools, universities, we can also correlate with the concept of a cultural institution. Among them are educational institutions directly related to the sphere of culture: music and art schools, theater universities, conservatories, institutes of culture and arts.

The social institution of culture in a broad sense is a historically established and functioning order, a norm (institution) for the implementation of any cultural function, as a rule, generated spontaneously and not specially regulated with the help of some institution or organization. These include various rituals, cultural norms, philosophical schools and artistic styles, salons, circles and much more.

The concept of the institution of culture covers not only a group of people engaged in one or another type of cultural activity, but also process creation of cultural values ​​and procedures for the implementation of cultural norms (the institution of authorship in art, the institution of worship, the institution of initiation, the institution of funerals, etc.).

Obviously, regardless of the choice of the aspect of interpretation - direct or broad - the cultural institution is the most important tool for collective activity in the creation, preservation and transmission of cultural products, cultural values ​​and norms.

It is possible to find approaches to revealing the essence of the phenomenon of a cultural institution based on the system-functional and activity approach to culture proposed by M. S. Kagan.

Cultural institutions are stable (and at the same time historically changeable) formations, norms that have arisen as a result of human activities. As components of the morphological structure of human activity, M. S. Kagan identified the following: transformation, communication, cognition and value consciousness. Based on this model, we can identify the main areas of activity of cultural institutions:

? culture-generating, stimulating the process of production of cultural values;

? culturally preserving, organizing the process of preservation and accumulation of cultural values, social and cultural norms;

? culturally broadcasting, regulating processes of knowledge and education, transfer of cultural experience;

? cultural organizing, regulating and formalizing the processes of dissemination and consumption of cultural values.

Creating a typology and classification of cultural institutions is a difficult task. This is due, firstly, to the huge variety and number of cultural institutions themselves and, secondly, to the diversity of their functions.

One and the same social institution of culture can perform several functions. So, for example, the museum performs the function of preserving and broadcasting cultural heritage and is also a scientific and educational institution. At the same time, in terms of the broader understanding of institutionalization, the museum in modern culture is one of the most significant, inherently complex and multifunctional cultural institutions. If we consider the most important functions of the museum in culture, it can be represented by:

? as a communicative system (D. Cameron);

? as a "cultural form" (T. P. Kalugina);

? as a specific relationship of a person to reality, carried out by endowing objects of the real world with the quality of "museum quality" (Z. Stransky, A. Gregorova);

? as a research institution and an educational institution (J. Benes, I. Neuspupny);

? as a mechanism of cultural inheritance (M. S. Kagan, Z. A. Bonami, V. Yu. Dukelsky);

? as a recreational institution (D. A. Ravikovich, K. Hudson, J. Romeder).

The scatter of the proposed models is obvious - from narrowly institutional to raising the museum to the level of a factor that determines the development of culture, the preservation of cultural diversity. Moreover, among researchers there is no consensus on which of the functions of the museum should be considered the main one. Some, such as J. Benes, put forward the social significance of the museum, its role in the development of society, in the first place. In this regard, it is assumed that the main task of museums is to develop and educate visitors, and all other functions, for example, aesthetic, should be subordinated to it. Others, in particular I. Neuspupny, consider the museum, first of all, as a research institution, emphasizing the need for museum workers to conduct fundamental research. The functions of collecting, storing and popularizing collections are secondary and must be subject to the requirements of research work, which must use the full potential of scientific knowledge accumulated in this area, and not be limited to existing collections. One way or another, the museum is one of the most significant, multifunctional cultural institutions.

A number of functions within the framework of the activities of the cultural institute are of an indirect, applied nature, going beyond the main mission. Thus, many museums and museum-reserves carry out relaxation and hedonistic functions within the framework of tourism programs.

Various cultural institutions can solve a common problem in a complex way, for example, the educational function is carried out by the vast majority of them: museums, libraries, philharmonic societies, universities and many others.

Some functions are provided simultaneously by different institutions: museums, libraries, societies for the protection of monuments, international organizations (UNESCO) are engaged in the preservation of cultural heritage.

The main (leading) functions of cultural institutions ultimately determine their specificity in the overall system. Among these functions are the following:

? protection, restoration, accumulation and preservation, protection of cultural values;

? providing access for studying by specialists and for educating the general public to monuments of world and domestic cultural heritage: artifacts of historical and artistic value, books, archival documents, ethnographic and archaeological materials, as well as protected areas.

Such functions are performed by museums, libraries, archives, museum-reserves, societies for the protection of monuments, etc.

There are a number of functions of social institutions of culture:

? state and public support for the functioning and development of artistic life in the country;

? facilitating the creation, demonstration and sale of works of art, their purchases by museums and private collectors;

? holding competitions, festivals and specialized exhibitions;

? organization of professional art education, participation in programs of aesthetic education of children, development of art sciences, professional art criticism and journalism;

? publication of specialized, fundamental educational and periodical literature of an artistic profile;

? material assistance to artistic groups and associations, personal social security for artists, assistance in updating the funds and tools for artistic activity, etc.

The institutions dealing with the development of artistic activity include art schools and music schools, creative unions and associations, competitions, festivals, exhibitions and galleries, architectural, art and restoration workshops, film studios and film distribution institutions, theaters (dramatic and musical), concert structures , circuses, as well as book publishing and bookselling institutions, secondary and higher educational institutions of an artistic profile, etc.

Cultural institutions embody the persistence of cultural forms, but they exist in historical dynamics.

For example, the library as a cultural institution has existed for many centuries, changing and transforming externally and internally. Its main function was the preservation and dissemination of knowledge. To this were added various aspects of the existential content and differences in understanding the essence of the library in a particular period of the history and culture of society.

Today, there is an opinion that the traditional library is becoming obsolete, that it has partly lost its true purpose and no longer meets the requirements that modern society makes of it, and therefore it will soon be replaced by a “virtual library”. Modern researchers talk about the need to comprehend and evaluate the changes taking place with modern libraries. Libraries, while maintaining their status as a repository of intellectual values, are becoming more democratic, equipped with electronic information carriers, and connected to the World Wide Web. At the same time, dangerous consequences are already visible. Displaying information on monitors, access to the Internet will radically transform not only the library, but also the writer and reader. In modern information systems, the distinction between author and reader almost disappears. There remains the one who sends and the one who receives the information.

In addition, in the past, the library was predominantly a state institution and pursued the policy of the state in the spiritual life of society. The library as a cultural institution established certain cultural norms and rules, and in this sense it was a "disciplinary space". But at the same time, it was a kind of space of freedom precisely because personal choice (as well as personal libraries) made it possible to overcome something forbidden, regulated from above.

Cultural institutions can be divided into state, public and private. The interaction of cultural institutions and the state is an important problem.

Some cultural institutions are directly related to the system of state management of cultural life and the cultural policy of the state. This includes the Ministry of Culture, various state institutions, academies, organizations that issue awards - state awards, honorary titles in the field of culture and the arts.

The main bodies planning and making decisions on cultural policy issues are state authorities. In a democratic state, as a rule, experts and the general public are involved in decision-making. The bodies implementing the cultural policy of the state are cultural institutions. Patronized by the state, included in its cultural policy, they, in turn, are called upon to carry out the function of translating samples of social adequacy of people into samples of social prestige, i.e., propaganda of the norms of social adequacy as the most prestigious forms of social life, as ways to social status. For example, the assignment of state prizes, academic titles (“artist of the imperial theaters”, “academician of painting”, “people's artist”, etc.) and state awards.

The most important cultural institutions, as a rule, are in the sphere of the cultural policy of the state. For example, the state provides patronage to outstanding museums, theaters, symphony orchestras and protection of cultural monuments, etc. For example, in the UK there is a powerful system of state support for culture. In the Soviet Union, the state fully funded culture and passed its ideology through cultural institutions.

A certain role in the implementation of state policy in the field of culture is played by research and educational institutions of culture and arts.

Cultural institutions participate in the international activities of the state, for example, make mandatory contributions to the UNESCO fund.

At present, many cultural institutions are moving from the state department to the sphere of private enterprise and public organizations. Thus, the film distribution network in modern Russia has freed itself from the ideological and financial tutelage of the state. Private museums, theatrical enterprises, etc., appeared.

Public cultural institutions are various creative unions: the Union of Cultural Workers, the Union of Artists, the Union of Writers, the Society of Lovers of the Russian Manor, the Society for the Protection of Cultural Monuments, clubs, tourist organizations, etc.

Private cultural institutions are organized on the initiative of individuals. This includes, for example, literary circles, salons.

In the past, the characteristic feature of the salons, which distinguished them from other cultural institutions, such as, for example, male literary circles and clubs, was the dominance of women. Receptions in the salons (drawing rooms) gradually turned into a special kind of public gatherings, organized by the hostess of the house, who always led the intellectual discussions. At the same time, she created a fashion for guests (for the public), their ideas, their works (often literary and musical; in later salons, also scientific and political). The following key features of the salon as a cultural institution can be distinguished:

? the presence of a unifying factor (common interest);

? intimacy;

? game behavior of participants;

? "the spirit of romantic intimacy";

? improvisation;

? no random people.

Thus, with all the variety of cultural institutions, the main thing is that they are the most important instruments of collective, to some extent planned activities for the production, use, storage, broadcasting of cultural products, which radically distinguishes them from activities carried out individually. The variety of functions of cultural institutions can be conditionally represented as culture-generating (innovative), culture-organizational, culture-preserving and culture-transmitting (in diachronic and synchronous sections).

In the twentieth century there have been significant changes related to the role of social institutions of culture.

Thus, researchers talk about the crisis of self-identification of culture and cultural institutions, about the discrepancy between their traditional forms and the rapidly changing requirements of modern life, and about the changes that cultural institutions are undertaking for the sake of survival. And first of all, the state of crisis is typical for such traditional cultural institutions as museums, libraries, theaters. Supporters of this concept believe that in previous eras, culture served various purposes (religious, secular, educational, etc.) and organically combined with social life and the spirit of the times. Now, when the market economy does not involve the study of higher human values ​​and aspirations, it is not clear what the role of culture is and whether it can even find a place in this society. Proceeding from this, “cultural dilemmas” are formulated – a number of questions: about the relationship between culture and democracy, the difference between a cultural and sporting event, about cultural authorities, virtualization and globalization of culture, public and private financing of culture, and so on. The experience of the 20th century shows that in the post-war era of reconstruction, culture was used to restore the psyche of people after the horrors of World War II, and people's interest in culture was stimulated. In the 1970s and 1980s an era has come when people ceased to be passive recipients of culture, but began to participate in its creation, and the boundaries between high and low culture were erased and cultural processes themselves were brightly politicized. In the mid 1980s. there was a turn to the economy, and people turned into consumers of cultural products, which began to be perceived on an equal footing with other goods and services. In our time, there is a turn towards culture, as it begins to influence politics and economics: "in the field of economics, value is increasingly determined by symbolic factors and cultural context."

The authors distinguish five types of political reactions to the advent of the modern "age of culture": 1) a policy based on knowledge and employment (providing jobs for artists in various industries); 2) image policy (the use of cultural institutions to increase the rating of cities in the international arena); 3) organizational modernization policy (overcoming the financial crisis); 4) protective policy (preservation of cultural heritage); 5) using culture in broader contexts.

However, all this is an instrumental attitude towards culture, in these reactions there is no sympathy for the own goals of the artist, art or cultural institutions. An alarming atmosphere has now reigned in the world of culture, which is most clearly manifested in the funding crisis. The credibility of cultural institutions is currently shaken, as they cannot offer visible, easily measurable criteria for their success. And if earlier the ideas of the Enlightenment assumed that every cultural experience leads to the improvement of man, now, in a world where everything can be measured, it is not so easy for them to justify their existence. As a possible solution, it is suggested that quality should be measured. The problem is to translate qualitative indicators into quantitative ones. A large-scale discussion about the fact that cultural institutions are in danger, and culture is in a state of crisis, with the participation of authors and a number of other competent persons, took place with the support of the Getty Foundation in 1999.

These problems were formulated not only in Western countries, which faced them much earlier, but also by the mid-1990s. in Russia. The role of theaters, museums and libraries has changed under the influence of other cultural institutions of mass communication, such as television, radio and the Internet. To a large extent, the decline of these institutions is associated with a decrease in state funding, that is, with the transition to a market economy. Practice shows that in these conditions only an institution that develops additional functions, for example, information, consulting, recreational, hedonistic, and offers a high level of services can survive.

This is exactly what many Western and, more recently, Russian museums are doing. But this is where the problem of the commercialization of culture comes to light.

As for art, Susan Buck-Morse, professor of political philosophy and social theory at Cornell University, clearly formulates this problem in her works:

Over the past decade, museums have experienced a real renaissance… Museums have become axes of urban regeneration and centers of entertainment, combining food, music, shopping and socializing with the economic goals of urban regeneration. The success of a museum is measured by the number of visitors. The museum experience is important—more important than the aesthetic experience of the artists' work. It doesn't matter—it might even be encouraged that exhibitions turn out to be simple jokes, that fashion and art merge, that museum shops transform connoisseurs into consumers. Thus, it is not so much about culture itself, but about the forms of its presentation to people who, according to the rules of the market, should be considered exclusively as consumers. The principle of such an approach to the functions of a cultural institution is: commercialization of culture, democratization and blurring of boundaries.

In the XX-XXI centuries. along with the problems of commercialization, a number of other problems arise related to the development of new technologies, on the basis of which new types and forms of social institutions of culture appear. Such institutions used to be, for example, music libraries, now they are virtual museums.

Educational institutions in Russia teach the history of culture, educate the culture of behavior, prepare modern culturologists: theorists, museologists, librarians. Higher education institutions of culture train specialists in various fields of artistic creativity.

Organizations and institutions that are directly or indirectly related to the study of culture and its various phenomena are consistently developing.

As we can see, complex interactions take place in culture between the traditional and the new, between social and age strata of society, generations, etc.

In general, culture is a field of various interactions, communications, dialogues, which are extremely important for its existence and development.

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