The term "social institutions of culture" is usually used in two senses: direct and broad. In the direct sense, this is a certain specific organization or institution that performs the functions of creating, storing and distributing cultural values. In a broad sense, a social institution includes the procedures themselves, the order (norm) of promoting, broadcasting and performing cultural activities in all spheres of society (rituals, customs, traditions, holidays, worship, guardianship, literary criticism, etc.)

The main task of cultural institutions is the implementation of the state policy on planning, functioning, and ensuring the cultural life of society.

The creation of any classification of cultural institutions is a rather difficult task, because the number of functions they implement is practically incalculable. The typology of cultural institutions is also complicated by the fact that the performance of some functions is provided in parts by different institutions, and some cultural institutions In connection with the multifunctionality of culture, they perform many different functions at once. So, for example, a museum is both a cultural and educational institution, and a theater is both a creative and entertainment institution.

On a functional basis, cultural institutions can be grouped into several subsystems:

Creative institutions for the implementation of spiritual production (theaters, studios, film studios, book publishing complexes, creative unions and amateur creative associations, architectural and art-production workshops, orchestras, ensembles);

Institutes for the dissemination of culture, for direct socio-cultural work with the population, including: a) educational institutions (libraries, museums, exhibitions, memorial buildings and complexes, lecture halls, etc.); b) institutions of aesthetic education (cinemas, art museums and exhibitions, concert organizations, structures for holding various artistic and entertainment events, etc.); c) cultural and leisure institutions (clubs, palaces of culture, children's leisure institutions, structures of amateur art, arts and crafts and other creativity, etc.);

Cultural protection institutions (bodies for the registration, protection and use of monuments of cultural and historical heritage, restoration workshops, etc.);

Institutions organizing and planning cultural activities, managing cultural processes: government organizations, creative unions, research institutions. This also adjoins the social institution of scientific and artistic criticism, which influences people who carry out spiritual production and consume spiritual values.

There is an opinion that culture is less manageable than other spheres, does not fit into the framework of regulation. In the development of culture, contradictions often arise between the tendency towards the centralization of cultural activity by the state and its democratization. State intervention is fraught with the dependence of cultural activities on the authorities, and without government support, art and science cannot survive and are doomed to decline. The new situation in culture is characterized by a trend towards decentralization, the transition from administrative methods of management to market mechanisms (funds, sponsorship, patronage, awards), thereby giving rise to a new dependence of cultural figures.

Each country has its own administrative structures for managing culture. A broad understanding of culture includes education, media work, tourism, youth education. These areas are managed by various departments, and parliamentary commissions and committees are created to coordinate them. Along with national institutions, a significant place in cultural life is occupied by non-governmental organizations: writers and journalistic organizations, associations, private publishing houses, various communities, religious structures, trade unions, interest clubs and circles, etc.

The effectiveness of the cultural policy of the state largely depends on the level of coordination of the work of various administrative structures.

The ratio of social institutions of culture throughout history has changed depending on the degree of differentiation of social life and the transition from pre-industrial to industrial and post-industrial society. However, in any society, "social institutions organize and coordinate the activities of people in the field of culture, without which it would become fragmented, inconsistent and unstable."

The role of social institutions in culture.Social institutions 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.

AT general plan it is customary to single out some basic 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. this species cultural activities. 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 the 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 individual activity 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 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, 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 questions of a value nature, here special role play economic and legal components. 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 development of the statehood of specific countries, the interaction between culture and power evolved 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 overall planning social development or associated with educational planning and mass communication. A serious obstacle in its organization is the lack of substantiated indicators of cultural development and the incompleteness of statistical data. Cultural statistics are usually limited to only a few indicators (number of libraries, museums, newspapers, etc.), information on cultural needs and demands is missing different groups population, analysis various kinds cultural activities, cultural spending and budgets.

Volume funding for culture in selected countries may differ. Rich countries can afford to spend heavily on formally subsidized education, networking cultural centers etc. 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 (art canvas, novel, 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, not recognized 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.

Actively working in market conditions domestic show business. 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 "Premiere" 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, chamber and large symphony orchestras was not previously, although the city has an excellent music school named after. Rimsky-Korsakov, Krasnodar State University culture and arts, the 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 beginning, 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 legislative 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 European countries where the cultural sector has traditionally played 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 back in ancient history 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 a 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 the future individual life person, determined possible directions its cultural activity, but also lays the foundation of 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 spiritual life of society.

The state of education more directly than other spheres of culture depends on the social political system given country, from the policy of the ruling class, from the correlation of class forces. Around the problems of school organization, such as the role of the state in the creation and financing educational institutions, compulsory education up to a certain age, the relationship between school and church, the training of teachers, etc., there was an almost constant struggle between representatives of different 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 going on 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 character 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. Studying proccess develops with the clear 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. Science at the end of the 20th century made sudden jump and radically changed, recognizing the plurality of truth, seeing the accident in the need, and the need in the accident. 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”. Ecological crisis and others global problems societies require non-standard solutions.

conclusions

• 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 activity 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 respects does not answer these tasks any more.

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? identify positive and negative sides 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?

The concept of a socio-cultural institution. Regulatory and institutional socio-cultural institutions. Socio-cultural institutions as a community and social organization. Grounds for the typology of socio-cultural institutions (functions, form of ownership, contingent served, economic status, scale-level of action).

ANSWER

Socio-cultural institutions- one of the key concepts of socio-cultural activities (SKD). 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.

Social institutions are historically established stable forms of organizing joint activities of people, designed to ensure reliability, regularity in meeting the needs of the individual, various social groups, and society as a whole. Education, upbringing, enlightenment, artistic life, scientific practice and many other cultural processes are activities and cultural forms with their corresponding social economic and other mechanisms, institutions, organizations.

From the point of view of the functional-target orientation, two levels of understanding the essence of socio-cultural institutions are distinguished.

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

Socio-cultural institutions of the normative type include the institution of the family, language, religion, education, folklore, science, literature, art and other institutions.

Their 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 ​​on the basis of legal and administrative acts, rules and regulations),

ceremonial-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.).

Second level - 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.

So, state and municipal (local), regional authorities occupy one of the leading places in the structure of socio-cultural institutions. They act as authorized subjects for the development and implementation of national and regional socio-cultural policies, effective programs for the socio-cultural development of individual republics, territories and regions.

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.

Socio-cultural institutions have various forms of internal gradation.

Some of them are officially established and institutionalized (for example, the system general education, special system, vocational education, a network of clubs, libraries and other cultural and leisure institutions), are of public importance and perform their functions on a society-wide scale, in a broad socio-cultural context.

Others are not specially established, but are formed gradually in the process of long-term joint socio-cultural activity, often constituting a whole historical epoch. These include, for example, numerous informal associations and leisure communities, traditional holidays, ceremonies, rituals and other unique socio-cultural stereotypical forms. They are voluntarily elected by certain socio-cultural groups: children, adolescents, youth, residents of the microdistrict, students, military, etc.

In the theory and practice of SKD, many bases for the typology of socio-cultural institutions are often used:

1. by population served:

a. mass consumer (publicly available);

b. separate social groups (specialized);

c. children, youth (children and youth);

2. by type of ownership:

a. state;

b. public;

c. joint-stock;

d. private;

3. by economic status:

a. non-commercial;

b. semi-commercial;

c. commercial;

4. in terms of scope and audience coverage:

a. international;

b. national (federal);

c. regional;

d. local (local).

Introduction

1 The concept of "socio-cultural institution".

2 Museum as a socio-cultural institution

3 Types of museums, tasks, content of activities.

4 The Russian Museum and the Internet

5 Park as a socio-cultural institution.

6 The history of the emergence and development of parks.

7

8 Audience socio-cultural environment

9 The history of the formation of libraries. Current state, tasks, content of activity.

10 Socio-cultural complexes and Leisure centers.

Conclusion

List of used literature

Socio-cultural Institute.

Philosophy understands an institution as an element of social structure, historical forms of organization and regulation of social life. Socio-cultural institutions include numerous institutions and organizations through which the accumulation and transfer of cultural experience, the development of cultural forms of social life, and the acquisition of cultural knowledge are carried out.

The term "socio-cultural institution" refers to:

State and municipal structures

Production associations and enterprises

Non-governmental public organizations

Public education systems

Mass media

Special institutions of socio-cultural profile:

theaters, museums, libraries, etc.

A socio-cultural institute brings together people for joint activities to meet the socio-cultural needs of a person or solve specific socio-cultural problems.

Museum as a socio-cultural institution.

A museum is a scientific research or scientific and educational institution that stores, acquires, studies and popularizes monuments of natural history, material and spiritual culture.

In many cases, the reasons for the emergence of museums are similar to those for which, several centuries before, nation-states arose. Museums, first of all, were called upon to carry out the state ideology, as well as to be collectors, accumulators and distributors of information formed by this ideology. They were supposed to serve the state policy and carry it out on the ground. In response to this, the state sent a part of its financial and other material resources to cultural institutions. In particular, museums were required to collect and store everything related to the culture, social and natural history of a given country or territory.

The museum fund is a set of monuments of natural history, material and spiritual culture, which are under the jurisdiction of museums, permanent exhibitions, scientific institutions and educational institutions. The museum fund also includes collections and individual items collected by various expeditions and having a museum value.

Types of museums, tasks, content of activities.

Types of museums - scientific and educational, research, educational.

The profiles of museums are historical, technical, agricultural, natural sciences, art history, literature, memorial, complex, local history, etc.

Museums are historical (expositions are dedicated to historical events), local lore (a story about the native land and the people inhabiting it - the Zeya Museum of Local Lore), zoological (the exposition includes stuffed animals, etc.), museums of enterprises (Museum of the Zeya Hydroelectric Power Plant), museums dedicated to certain activities (Museum of Gold Mining in Zee), at present, even in many schools, “Rooms of Glory” are open - small museums with an exposition of the most outstanding graduates. Museums of painting (the Tretyakov Gallery, the Hermitage, the Museum fine arts”), as well as museums dedicated to historical figures (“Pushkin Museum”, “Lenin Museum”, “Tolstoy Estate Museum”, etc.)

Very popular in our time are the so-called "Kunstkammers" - museums of wax figures, the expositions of which try to most reliably reproduce famous personalities or other people (the exhibition "Courtyard of Empress Catherine", "Anomalies human body", etc.) The museum can be dedicated to any one event ("Little Land", a panorama museum in Novorossiysk). Museum expositions can be located in their historical place ("Kursk Bulge" - an open-air museum).

Russian Museum and the Internet

Museums turned out to be completely unprepared for the market, especially since the emerging market economy in Russia was also not up to them. The only way to survive seemed to be knocking money out of the authorities, foreign philanthropists or patronage.

But gradually, culture turned out to be in demand, moreover, fashionable and prestigious, it turned out that people are ready to pay for "cultural leisure", and pay a lot. And, of course, children: it turned out that parents are not satisfied with the fact that their children play computer games and watch action films, they should be introduced to art. The fundamental function of the museum business coincided - cultural enlightenment and the interests of the museum business, which require openness, fascination, cognition, that is, the same cultural enlightenment. This is how virtual museums appeared (website www.muzeum.ru).

The Internet enables access to museum exhibits to potentially the widest range of network users, allows the museum to express itself and provides opportunities that a real museum does not have, thereby expanding the circle of visitors.

The use of modern technologies for the convenience of museum visitors: guides on cassettes, electronic catalogs, etc. - greatly diversified visits to museums.

The history of the emergence and development of parks.

The park as a socio-cultural institution.

In 1928, the TsPKiO was founded in Moscow, thus, the foundation was laid for the creation of new cultural institutions - parks of Culture and Recreation. After the Second World War, PKiO, like other cultural institutions, significantly expanded the scope of their activities, increasingly being involved in holding mass holidays.

A park as a cultural institution is a piece of land with natural or planted vegetation, alleys, ponds, etc., intended for walking, entertainment, public holidays for the population, as well as the operation of various attractions. PKiO is a seasonal institution, operating only in the warm season - from late spring to early autumn.

The main activities of the park:

Holding traditional (and national) holidays together with city cultural centers (including national ones).

Conducting music and song festivals.

Conducting creative meetings with artists.

Conducting performances and concerts with the participation of creative teams of the city.

Carrying out theatrical holidays, folk festivals, fairs (Maslenitsa, City Day, Neptune Day, etc. - with the involvement of creative, trade organizations).

Family holidays.

Conducting cognitive-game and music programs for children of primary and secondary school age and for teenagers, youth discos.

Holding events for people of middle and older age, taking into account their creative interests (amateur associations, evenings "For those who are over ...)

Provision of paid services to the population (attractions, costume rental, phonograms, services of a graphic designer.)

Audience socio-cultural environment

The audience of the socio-cultural environment covers the population of almost all age groups from babies to old people. At an early age, children become participants in their first game programs and children's matinees, visitors to the attractions in the park. Later, becoming younger schoolchildren, in addition to matinees and games, the child's life includes various hobbies - choreography, singing, sports, etc. The child begins to attend all kinds of circles, looking for something to his liking. Around the same age (7 - 9 years) children first begin to visit the library. In middle school age, children actively participate in competitions and concert programs. Teenagers prefer intellectual games ("Brain Ring", "Erudite"), talk shows, various contests and game programs like television programs. One of the forms of pastime of a teenager is a disco.

People of young and middle generations most often choose amateur associations for themselves, based on already established preferences - these are various circles and amateur adult concert groups (choir, pop vocal group, choreographic ensemble, orchestra, etc.), interest clubs (tourist, search, etc.), literary drawing rooms and other forms of pastime. A lot of work is being done with veterans (clubs of front-line friends, choirs of veterans, organization of meetings with veterans of labor and the Second World War).

With the introduction of market relations in the sphere of culture, its infrastructure turned out to be destroyed, the circle of cultural images narrowed, cultural life turned out to be curtailed in the provinces and in the countryside, where the arrival of a film mover can be compared to an epoch-making event, not to mention an on-site performance or concert of artists of the regional philharmonic society, which irrevocably gone to the past. That is why today the number of amateur creative groups is growing - their members, "people from the people", replace the formed niche of former tours of visiting celebrities and themselves become artists of urban and rural concert venues.

The history of the formation of libraries. Current state, tasks, content of activity.

A library is a cultural institution that organizes the collection, storage and public use of printed matter. The history of the libraries of Russia dates back to the 11th - 12th centuries from Kievan Rus. By the 14th-15th centuries, the number of books being copied increased in Moscow, Tver, Nizhny Novgorod and other cities. This process was accelerated by the advent of paper in the 14th century, replacing the ancient parchments. In the second half of the 15th century, there was already a book trade in Moscow. The main stimulus for the development of literacy was the book printing introduced in Russia by decree of Ivan the Terrible and Metropolitan Macarius. In 1564, the first printed book, The Apostle, was published by a printing house built in Moscow with state money. The number of books written by Russian authors has increased. A tradition of “instructive literature” was born (the first textbooks raised issues of education, morality, family relationships, etc.) The texts of all kinds of “Words” and “Teachings” were placed in collections called “Izmaragd”, “Golden Chain”, etc. to the clergy (as an auxiliary material for sermons) and to the laity. In the middle of the 16th century, Domostroy was published - a set of rules and tips for housekeeping. In the 17th century, translations of Latin and German books were made in Moscow, and the first libraries with collections of foreign works appeared.

The creation in Russia, in accordance with the imperial decree of 1783, of free printing houses contributed to an increase in the number of books and the development of periodicals, and an increase in the interest of educated nobles in reading. In the 18th century, the first secular libraries were opened at the Academy of Sciences and Moscow University. The first major public library was opened in St. Petersburg in 1814.

After the October Revolution, all libraries became open, their number increased dramatically (this was due to the trend of enlightenment of the working class). The number of libraries in rural areas also increased. The pace of book publishing (including educational literature) grew. There were mobile libraries that traveled to remote settlements and peasant farms. In 1930, the Moscow Library Institute was opened, and library workers also received qualifications in library technical schools and library departments in teacher training schools.

During the Second World War, libraries did not stop their work in the field and in a mobile mode, taking on part of the propaganda and explanatory work with the population. The book collections of libraries suffered during the war. In the country's public libraries alone, 100 million books were plundered and destroyed (there are known cases when books were used simply for kindling).

After the war, the library network, like other CDUs, was actively restored. By the beginning of the 60s, the emergence of public libraries and reading rooms dates back. In 1964, the library institutes were renamed into institutes of culture. By 1979 there were 350,000 libraries in the USSR.

Modern Libraries differ in direction:

Mass libraries - with a book fund of various contents, designed for a reader of any age and profession.

(city, district, regional libraries).

Scientific libraries (universal, branch and scientific and technical) - collecting printed publications according to the direction (Library of the Academy of Sciences, Library of Foreign Literature, Medical Library, etc.).

Modern librarianship studies the history of librarianship, library collections and catalogues, reader demand. There are specialized libraries for the disabled (Library for the Blind in Moscow).

A new round in the development of librarianship in Russia was the opening of virtual libraries on the Internet. On specialized sites (www.lib.ru, etc.), Internet users can find almost any book, including rare ones, and download it to their computer and read it.

Socio-cultural complexes and Leisure centers.

SCC and Leisure Centers are a state cultural institution, which include clubs and circles of various directions, amateur art groups, and methodological departments. The main tasks of the SKTs and TsD are:

creation of conditions for active recreation of the population

providing opportunities for creative self-realization

individual or group of artistic

amateur performances

provision of services to the population (including paid ones)

methodological assistance to organizers of KDD schools, clubs,

other organizations

gaming and concert activities

SKTS and Leisure Centers perform the following functions:

Entertaining - providing conditions for gaming activities (group, individual, mass games, slot machines)

Physical culture and health - organization of sports and entertainment events, creation of conditions for playing sports.

Educational - the organization of circles, interest clubs and amateur associations with the aim of teaching certain skills of any activity.

Stimulation of creative activity - holding theatrical performances, concerts, exhibitions, literary and artistic programs.

Leisure communication - holding morning performances for children and evenings of rest for adults of different ages.

Informational - providing methodological, scenario and organizational assistance in holding events to schools, kindergartens, clubs, enterprises and organizations.

As well as the SKC and the CD carry out the creation creative and technical workshops, rental of equipment and costumes, fulfillment of social and creative orders.

Carrying out their creative tasks, the SCC and the Central House set themselves the main goal in their work: the creation of a single concept that determines the qualitative side of the cultural and mass work of the city, the introduction of new progressive forms of work, the preservation, improvement and development of amateur groups. The main activities of the Social and Cultural Center are: the development of the cultural life of the city, the creation of a favorable cultural environment, the support of various forms of social and cultural activities of the city's population, the satisfaction of public needs in cultural and leisure activities, the development of folk art. The main task of the Leisure Centers is to provide paid services to the population and create conditions for active recreation.

SKTs and TsD have the charter, the director directs them, but representatives of all associations of SKTs and TsD take part in discussion of all projects. The Artistic Council supervises the director's work.

The following circles, associations and amateur art groups can operate on the basis of the SKTs and TsD:

Choirs and chapels

Choreographic groups

Song and dance ensembles

Amateur theater groups

vocal groups

variety studios

Fashion studios and theaters

Interest groups for adults and children (applied, creative, technical)

Circus troupes

The methodological department of the SKC and TsD is engaged in the development of scenarios and the preparation and organization of leisure, concert and other programs. The responsibilities of the logistics and administrative and economic departments include providing the KDD with the necessary materials. The SCC and the Central House require a graphic designer (development and production of scenery), head of musical design (recording of musical phonograms, selection of music for scripts, music. Design of concerts, performances, game programs, matinees, evenings of rest.

remains one of the most conservative socially-cultural institutions. She resists outside change. But... in. - L., 1982. 35. Family as the original socially-cultural institute// Kiseleva T., Krasilnikov Yu. Fundamentals of SKD. - M., 1995 ...