International cultural exchange. From the history of cultural exchange. UNESCO's cultural activities aim to promote the cultural aspects of development; promotion of creation and creativity; preservation of cultural identity and oral traditions; propagandist

20.06.2020

Introduction

cultural exchange massification

The cultural exchange between countries, which has received great development in modern society, makes it possible to present a unique characteristic of the country within the framework of the development of world culture, since it reveals, on the one hand, the versatility of national culture, its integration into the global cultural process, on the other hand, it makes it possible to get acquainted with the achievements of the cultural wealth of others mill. Article 27 of the Universal Declaration of Human Rights states that everyone has the right freely to participate in the cultural life of the community, to enjoy the arts, to participate in scientific progress and to enjoy its benefits.

The International Covenant on Economic, Social and Cultural Rights, in Article 15, recognizes the right of everyone to take part in cultural life. The States Parties to the present Pact recognize the benefit of encouraging and developing international contacts and cooperation in the scientific and cultural fields. The preamble of the UNESCO Constitution emphasizes that the maintenance of human dignity requires the widespread dissemination of culture and education among all people on the basis of justice, freedom and peace.

The Declaration of Principles on International Cooperation, adopted by the fourteenth session of the General Conference of UNESCO on November 4, 1966, in particular, in Articles 1 and emphasizes that “every culture has dignity and value” and one of the goals of international cultural cooperation is “to ensure that every person has access to knowledge and the opportunity to enjoy the arts to contribute to the enrichment of cultural life”. Similar human rights were enshrined in the final act of the Conference on Security and Cooperation in Europe, in the Agreement on cooperation in the field of culture of May 15, 1992, in the agreement on the establishment of the Council for Cultural Cooperation of the Member States of the Commonwealth of Independent States of May 26

Article 44, paragraph 2 of the Constitution of the Russian Federation states: "Everyone has the right to participate in cultural life and use cultural institutions for access to cultural property." This principle of the Constitution of the Russian Federation must be understood as the right of a citizen to use the achievements of world culture, since cultural policy and culture itself are considered in the broader context of the general policy of states, representing a social phenomenon, the result of the joint action of people in the international plan and the impact that they have on each other. on a friend.

To ensure this right, cultural dialogue is necessary, cooperation between states in the field of culture, cultural exchange, which leads to an increase in mutual understanding between peoples, which, in turn, cannot but contribute to the stability of international relations. There are various ways of international cultural cooperation - this is the protection of cultural property in peacetime and wartime, the joint creation, reconstruction and restoration of cultural property, various types of research activities, the joint production of archaeological excavations, the creation of international attribution councils, holding exhibitions, competitions and, finally, cultural exchange, as the most significant area of cultural cooperation, due to the intensity of the development of cultural contacts, the growing interest in the world's cultural heritage.

The relevance of the thesis is determined by the need for legal regulation of international and cultural exchange.

Legal regulation of cultural exchange at the international and national levels can be carried out through the conclusion of international treaties, decisions, conventions, recommendations, and so on. Moreover, the states engaged in cultural cooperation are guided not only by special principles, but also by the basic norms of international law, which are reflected in the Declaration of Principles of International Law, approved by the UN General Association in 1970.

The special principles of cultural cooperation are defined in the Declaration of Principles for International Cultural Cooperation, approved by the UNESCO General Conference on November 4, 1966.

A special place is occupied by agreements on a specific area of cultural cooperation, which stipulate the mutual obligations of states in this area.

As a rule, in accordance with these agreements, Programs are developed that regulate the main forms and directions of contacts. UNESCO, which deals with cultural issues in almost all forms, is of the greatest importance in the cultural cooperation of states. UNESCO adopts resolutions, directives on certain issues in the field of culture.

Cultural exchange is a priority area of cultural cooperation. The openness of cultural policy leads to an increase in interest in all types of cultural exchange. But here the culture of society cannot do without a basis for legal policy both at the international and national levels.

However, an analysis of the events of cultural exchange shows that the organizations that carry it out, as a rule, do not know either the legislation or their capabilities, rights and obligations.

Information about legal acts is superficial and eclectic; different forms and directions of cultural exchange are not differentiated. Formally, cultural exchange is legitimized, but the excessive scope of the legislation, on the one hand, and the many general provisions, on the other, create legal difficulties in its implementation.

The purpose of this work is as follows:

Determine the place of cultural exchange in the modern world.

To identify the main forms and directions of cultural exchange in Russia.
To identify the main Russian and international legal acts regulating cultural exchange.
The task of the work is to identify the main international and national legal documents that regulate cultural exchange.
The paper analyzes the state modeling of cultural exchange on the example of the USA and Canada.
The practical significance of the work is to ensure the collection of sufficient legal information, on the basis of which a legitimate cultural exchange is possible.
Cultural exchange and its role in the modern world. The impact of the globalization process on cultural exchange
Globalization is a process that leads to a worldwide interconnection of structures, cultures and institutions. In the field of economic sciences, globalization is associated, first of all, with the idea of a free world market, global mass culture and the world information community. The growing role of informatization in the life of society gives scientists reason to talk about the "information space", which is the sphere of production. transmission, assimilation and use of information. The information space is a physical space in which information flows circulate - moving in time (information transmission) and space (information storage).
The globalization of culture is associated with two phenomena. The first is the spread of Western individualistic values to an ever-increasing portion of the world's population. These values are propagated by social institutions that recognize individual human rights and attempts to protect human rights at the international level. The second trend can be called the borrowing of Western "rules of the game" throughout the world. Bureaucratic organization and rationalism, materialistic views, the values of economic efficiency and political democracy have been spreading in the world since the European Enlightenment. At the same time, the special role of cultural consensus in the world should be recognized. Although the world system has always been and is multicultural, we cannot close our eyes to the growing influence of Western values - rationality, individualism, equality, efficiency - in other parts of the world. One of the consequences of cultural globalization as Americanization is the severe suppression and emasculation of national cultures, which, no doubt, leads to the impoverishment of world civilization. In the future, such a situation can lead to the establishment of spiritual totalitarianism, where people deprived of the values of national cultural and religious identity live in a one-dimensional unified world. These trends may also provoke a violent reaction from non-Western nations and give rise to a clash of civilizations.
But if globalization is objective and inevitable, then how can humanity overcome these threats? The answer, in our opinion, should be sought in the plane of changing the nature of globalization. Thus, A. Dugin singled out two variants of globalization. According to the first one, which he called the “cathedral model” of globalization, “projects and theses summarizing the historical, cultural, economic, social, political, national, religious experience of various peoples and states are brought into the common treasury of mankind.”
The second option, called by Dugin "particular" or "unipolar" globalization, assumes that "the whole of humanity chooses (voluntarily or not quite voluntarily, under pressure) as a universal scheme of development some one civilizational model, which becomes a universally binding standard in politics, social structure, economy, culture. Some part of humanity, a certain people or state develop a civilizational scheme and offer it as a universal one to everyone else.
However, the implementation of the first variant of globalization requires serious efforts from the world community, including from Russia, aimed at consolidating national cultures, building a polycentric world order based on a dialogic way of thinking. The global trend is attention to national cultures. National culture as a defense against the expansion of mass culture. In many regions of Europe, a movement has arisen in defense of regional values, including ethnic and national cultural traditions and values that will help a person to preserve his unique identity in the face of the threat of the depersonalizing impact of international mass culture, urbanization, globalization and technological progress. The unification of culture is a consequence of globalization. Equal cultural exchange is needed instead of cultural globalization. Cultural exchange as a deeply dialectical process in which the difference between national cultures is not mutually excluded, but is perceived as an inseparable unity.
Anthropological component of the information process
The crisis of the industrial society lies in the fact that the existing technologies for ensuring human life can inevitably lead to the destruction of the living conditions of a person and the person himself. This crisis cannot be overcome in a short time without a qualitative increase in human intelligence. Reasonableness to the level at which he will be able to resolve the most complex global problems that have arisen within an acceptable time frame. This requires a significant increase in the intellectual capabilities of a person and the unification of the intellects of individuals into a “single collective mind of mankind, which is impossible without the presence of a proper information space. In the process of informatization, the information space of a person is growing rapidly. At the same time, the information space of the individual reaches the size of the information space of society, and the latter becomes a single information space with a powerful highly developed information infrastructure and a single information fund.
One should take into account the impact that information technology has on the very process of human thinking. The harmony of the rational and emotional that has developed in the process of human evolution is gradually lost as work is informatized, when the left hemisphere is mainly loaded. This leads to a technocracy of thinking, which in spiritual values is brought to the fore by the criteria of rationality, efficiency, expediency to the detriment of the ideals of goodness and beauty. The contemplativeness of the refined natural-science approach is replaced by an artificial-technical, informational approach. In this case, first of all, not material and energy characteristics that are familiar to him, but information given in the form of symbols, and the person communicates with the machine (and it acts as an objective reality) in an artificial language, first of all fall into the field of human attention. A person symbolizes himself in information technology, a computer acts as a system symbolically isomorphic to a person. A person becomes more and more pragmatic and less and less emotional, he is oriented in pursuit of information, material values. This creates a state of mental discomfort, loss of individuality and a decrease in the general cultural level of the individual, moreover - to the dehumanization of labor and manipulation of people, entails many negative forms of human behavior - anger, aggressiveness, conflict, etc. There is a problem of humanization as a return of a person to his natural state and harmonious development.
Passive consumption of information on a computer, television, audio, radio, telephone is increasingly crowding out active forms of leisure, creativity, knowledge, forms a rigidity of thinking, deprives people of direct communication with each other. "The narrowing of personal space, alienation from wildlife causes an involuntary desire to simplify the picture of the world, fear of decision-making, fear of responsibility."
Contradictory processes are taking place in the cultural sector of society. They begin to find themselves in increasingly tense relations with the economy, which is subject to the action of technocratically regulated social structures. Culture itself becomes hostile to the existing social institutions and laws, it is directed against the omnipotence and standardization of political and technical and economic tendencies of social development. Adhering to the negative impact of technology on culture, J. Ortega y Gasset notes that “technology itself, being a person, on the one hand, as a kind of, in principle, unlimited ability, on the other hand, leads to an unprecedented devastation of human life, forcing everyone to live solely by faith in technology, and only in it ... That is why our time - technical as never before - turned out to be extremely empty and empty.
The problem of the preservation and development of the human personality as a biosocial structure is the most important problem of the formation of the information society. This problem is sometimes referred to as the modern anthropological crisis. Man, complicating his world, more and more often brings to life such forces that he no longer controls and which become alien to his nature. The more it transforms the world, the more it generates unforeseen social factors that begin to form structures that radically change human life and often worsen it. Back in the sixties, G. Marcuse stated that one of the significant consequences of modern technogenic development was the emergence of a “one-dimensional person” as a product of mass culture. Modern culture, indeed, creates ample opportunities for the manipulation of consciousness. With such manipulation, a person loses the ability to rationally comprehend being. Moreover, both "the manipulated and the manipulators themselves become hostages of mass culture."
Technical means of cultural exchange
In modern society, cultural exchange is greatly facilitated by modern means of communication, the Internet. The impact of modern information technology on art goes in two directions. On the one hand, this technology is used in the creative work of artists and sculptors, artists and composers. On the other hand, modern information means make high culture accessible to all.
A much greater role is played by information technology in the process of familiarizing people with works of art, thanks to which high culture becomes generally accessible. It was she who made the unique achievements of world culture a mass property. To see the Sistine Madonna, you no longer need to visit the Dresden Art Gallery, you can admire the paintings of Rubens and Kramskoy, the operas of the Bolshoi Theater at home through the TV. You can visit the Louvre or the Hermitage, go to the theater or watch a ballet, listen to Beethoven's symphonies, Bach's fugues or the world's best vocalists by turning on a video player or multimedia computer via the Internet. A new popular culture is emerging. At the same time, the individual information system becomes the basis for the demassification of culture, its individualization. Massification and demassification are two real trends in the development of modern culture.
There is a growing awareness of the need to strengthen dialogue among different civilizations in the current international situation. Human civilizations are diverse, it is necessary to respect the civilizations of other nationalities and strengthen mutual understanding through dialogue. In this situation, the role of cultural exchange can hardly be overestimated. In the era of globalization, cultural exchange is extremely important. The era of globalization contributes to the spread of mass culture in its American version. Cultural exchange between countries prevents the unification of culture, saturating the information space with various ethno-cultural components.
Cultural exchange in modern Russia
The delayed social effect of cultural activities, the lack of often momentary results obliges the society to treat these truly strategic resources with special care, protecting the accumulated cultural potential as one of the country's highest values. At the same time, the wealth of Russian culture is truly enormous.
If we talk only about the system of the Ministry of Culture of the Russian Federation, then (01.01.99) in 1868 state museums there are 55 million items of storage. The stock of 49,000 libraries is approaching a billion books. Millions of historical and cultural documents are stored in 15 thousand archives of the country. About 85,000 immovable monuments of history and culture are under state protection, and, according to estimates, about the same number remain unaccounted for. More than 50 thousand clubs, over 500 theaters and about 250 concert organizations function in the system of the Ministry of Culture of Russia.
The new stage of Russian history turned out to be fraught with difficulties in the state budget, crisis phenomena in the banking system, and a steady downward trend in real incomes of the population. All this led to a not very favorable situation for the functioning of national culture. This situation predetermined the cultural policy of the period of radical transformations of Russian statehood: its main goal was to preserve the richest cultural heritage of the peoples of Russia, the previously established system of institutions of the country's cultural life. The federal target program "Preservation and Development of Culture and Art" (1993-1995), extended by a decree of the Government of the Russian Federation for 1996, was also aimed at achieving this goal. transferred from the tasks of preserving the cultural potential to its development.
In 1996, the Government of Russia adopted the federal target program "Development and Preservation of Culture and Art" (1997-1999). At the same time, the program itself was aimed at solving the following tasks:
-support and development of professional artistic creativity, creation of conditions for the development of professional art organizations and expansion of their audience, support for individual talents;
-preservation of cultural heritage, conservation, restoration and introduction into cultural circulation of immovable monuments of culture and history, unique historical, cultural and natural areas, preservation and effective use of museum and library funds;
implementation of the principles of federalism in cultural construction, preservation and development of national cultures of the peoples of Russia, support for interregional cultural exchange;
international cultural cooperation, integration of contemporary Russian art into the current world art process, support for the cultural activities of our compatriots abroad, development of international cultural cooperation in accordance with the general geopolitical priorities of Russia;
stimulation of folk art, revival and development of folk art crafts and their historical and natural habitat, support for new forms of cultural and leisure activities;
support for young talents and the development of a system of art and cultural education, improving the quality of training of specialists, organizational reorganization of the network of educational institutions and the principles of their functioning;
-formation of a sectoral system of social support for cultural workers;
-development of the material base and technical re-equipment of the industry, construction and reconstruction of cultural and art objects, introduction of new technologies in their activities;
-legal and information support of the sphere of culture;
-development of the science of culture in the field of economics, law and management.
The process of forming the legal framework for cultural activities, which began in 1992 with the adoption of the Fundamentals of Legislation on Culture in the Russian Federation, was continued both at the federal and regional levels. In 1996, the Federal Law “On the Museum Fund of the Russian Federation and Museums in the Russian Federation” was adopted, which, together with the previously adopted Law of the Russian Federation “On the Export and Import of Cultural Property” and the Fundamentals of the Legislation of the Russian Federation “On Archival Funds and Archives”, became part of the general legislation on the preservation of the cultural heritage of the peoples of Russia. In accordance with the laws adopted in 1998, the Government of the Russian Federation approved the “Regulations on the Museum Fund of the Russian Federation”, “Regulations on the State Catalog of the Russian Federation” and “Regulations on Licensing the Activities of Museums in the Russian Federation”, providing for real mechanisms of state regulation in this area .
At the same time, the laws adopted in recent years do not fully provide legal guarantees for the preservation and development of national culture and the reproduction of its strategic resources. This work continues. Laws on the protection and use of historical and cultural monuments, on museum reserves, on theater and theatrical activities, on creative unions and creative workers, a new version of the Fundamentals of Legislation on Culture and a number of other important legislative acts are at the preparation stage.
On the other hand, many Russian cultural figures are actively involved in world artistic life. Singers and ensembles perform on the world's largest music stages. Our films have penetrated Western markets. Painting is in demand. Directors, conductors, musicians. Representatives of the national musical culture living abroad became frequent guests in Russia.
Festivals, competitions, exhibitions have become forms of rallying workers of culture, cultural exchange. The patrons have arrived. Political and economic transformations in Russia are making cultural cooperation more and more visible - cultural exchange. This phenomenon is of extreme importance for the development of the country not only in the cultural, but also in the social and economic sense.
Commercial structures are actively involved in the process of international cultural exchanges. An example is the agreement signed on June 19, 2004 by Russian Foreign Minister Igor Ivanov and Alfa-Bank President Pyotr Aven on the general terms of cooperation in the field of international cultural exchanges between the Russian Foreign Ministry and Alfa-Bank. The agreement provides for broad opportunities for cooperation between the Russian Foreign Ministry and one of the largest domestic banks in the interests of developing foreign cultural relations of the Russian Federation. Alfa-Bank expressed its readiness to provide sponsorship assistance to the implementation of individual projects of international cultural cooperation that have a foreign policy sound.
International cultural exchange
“Everyone has the right to freedom of opinion
And on free expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.”
International Declaration of Human Rights
Today, international cultural exchange is acquiring qualitatively new features and is characterized by a sharply increased scale and unprecedented intensity. For the first time, intellectual and artistic creativity at the level of international relations outgrows the national framework and acquires an international character. Evidence of this new quality of cultural exchange was the creation of a significant number of international scientific associations, the emergence of international associations of creative intelligentsia and the organization of international intellectual cooperation. For the first time, international cultural exchange becomes the subject of a targeted policy. This largely predetermines its higher level of organization and increased material opportunities for cooperation in the field of spiritual creativity.
The close attention of the public is riveted to the process of creating intellectual and artistic values. The most outstanding achievements in this field become an event not only for specialists, but also acquire the character of a world sensation. Leading scientists, engineers, writers and artists attract the attention of the international community as outstanding personalities. Science, literature and art began to be perceived not only as spheres of individual creativity, but also as social phenomena, due to their influence on accelerating the processes of changing the conditions of human life.
For the first time, the notion that people's lives, and the fate of mankind as a whole, depend not only on the "powerful of this world", but also on the ability of the intellectual elite to adequately solve the problems that arise in society, has become widespread. A reflection of this process was the realization by a part of the creative intelligentsia of moral responsibility for the results of their activities. International cooperation in the field of culture has acquired the character of a public activity, and some prominent representatives of science and art see this as their public duty.
The equal interaction of national cultures is always fruitful, contributes to their mutual enrichment, and the cooperation of their representatives, as a rule, is more inherent in loyalty and tolerance than in contacts between representatives of political elites.
It should be noted that international cultural exchange also contributes to the progress of human civilization in the intellectual sphere. This is especially evident in the field of science and technology. This makes it possible to determine the most promising areas of research, identify unresolved problems, and establish interdisciplinary links.
International congresses, conferences, and other forms of information exchange have become systematic. Coordination of efforts at the world level in scientific activities has become a regular practice.
With the growing requirements for the practical significance of research results, international forms of cooperation in the field of experimental design, medical and other applied branches of knowledge have become more active. Characteristic is the holding of international forums for the exchange of information and the organization on a commercial basis of the transfer of best practices, inviting foreign specialists to work. All this contributes to a significant acceleration of scientific and technological progress in industrial development, largely determining the high level of involvement in the economic circulation of the planet's resources and ensuring the mass production of complex equipment.
International cultural exchange acquires great importance in the field of humanitarian knowledge. Its content is determined by the desire to humanize humanity, to unite people on the basis of universal human values.
The organization of international cultural relations in Russia has been given the status of state policy, which is determined by the need to provide favorable conditions for the accelerated economic and cultural development of the country. Participation in international cultural exchange is also considered as a means of implementing the foreign policy of the state, which allows you to influence the formation of world public opinion, since the content of national culture and ultimately determines the content of the international policy of our country. All this allows us to assert that, in the main, Russia's international relations in the field of culture ensure the progress of the country, allow representatives of domestic science, literature, and art to fruitfully cooperate with representatives of the world's intellectual and artistic elite.
From the history of cultural exchange
International cultural exchange is the most important process of interaction and mutual enrichment of the cultures of the peoples of the world, contributing to the progress of human civilization over many centuries. In the past, the exchange of information in the sphere of culture was of an accidental nature, often acquiring barbaric forms in the course of conquests. There was not only the interpenetration of the cultures of peoples, but sometimes the decline of civilizations, the disappearance of entire cultural layers. Humanity as a whole, thus, was losing invaluable experience accumulated over centuries of creative search and hard work.
At the dawn of human history, more civilized forms of cultural exchange were associated with the development of trade relations. But they often depended on chance, were even more often limited to a narrow region and were very unstable. Separate peoples developed as closed cultural systems. Over time, relations in the world acquired an increasingly systematic and broad character. The success of navigation, the geographical discoveries of Europeans, the development of trade - all this created the conditions for the dissemination of knowledge about the culture of various peoples. This process was accompanied by European colonization and the creation of colonial empires, which led to unrestrained robbery and destruction of the culture of the peoples subject to Europeans.
Only with the creation of large-scale industry in Europe and the intensification of the export of capital to dependent countries did their peoples become acquainted with the elements of industrial civilization, partly joined the European education. Conditions arose for the development of sustainable cultural exchange: the entire economic, political and spiritual life of mankind began to acquire an increasingly international character, new incentives appeared for exchange in the field of culture and the assimilation of advanced experience.
The devastating consequences of the world wars and the emergence of weapons of mass destruction in the 20th century led to the strengthening of the anti-war movement and the development of broad communication between peoples based on an understanding of the need to restructure the entire system of international relations. In the course of international cooperation in this area, awareness of the integrity of the modern world, the danger of its division into closed ethno-cultural and military-political groups, has increased. Overcoming the barriers created in the course of historical development has become an urgent need of our time.
International cultural exchange not only continues to demonstrate a steady trend towards expanding the scale and forms of mutual influence of the cultures of the peoples of the world, but also becomes a necessary condition for any movement along the path of progress. Broad contacts between peoples and the development of modern means of communication greatly simplify the possibility of exchanging information. Nowadays it is difficult to imagine at least a small corner of the Earth that would be completely separated from communication with the outside world, would not be influenced to some extent by world culture. Due to the fact that the achievements of human thought and spirit can be used for the benefit of all mankind, it is possible to resolve the most complex problems of the world community. The realization of this possibility depends on how quickly international cooperation in the intellectual sphere will be established.
International cultural exchange has acquired a global, interconnected, progressive character, it has a deep internal motivation for development. However, even at the end of the 20th century, it still depends on a number of external factors that have a huge impact on all aspects of our lives.
In modern conditions, integration in the intellectual and spiritual spheres significantly accelerates the process of solving the vital problems facing humanity. Moreover, international cooperation, as a rule, leads to intensive and widespread introduction of the results of scientific research, other generally recognized manifestations of creativity in the daily life of peoples. International cultural exchange contributes to the intensification of creative processes, ensuring the inclusion of a significant spiritual potential of representatives of many peoples, increasing the level of competition between them, strengthening the role of moral incentives. In the historical perspective, thanks to international cultural exchange, it becomes possible to overcome the split of the world into the so-called "civilized" and "uncivilized" peoples, to ensure a genuine solution to the problems of human civilization on a truly democratic basis, which allows us to hope for a sustainable progress in the world.
In the second half of the XX century. the process of creativity has become much more complicated. Activities in this area sometimes require large capital investments and complex organization, affecting social structures on a national and international scale. These are the effective organization of the economic life of society, which will allow steadily increasing investments in the sphere of culture, and the organization of modern education, which provides a high level of training at all its stages, and the continuity of advanced training, and the organization of cultural life, which regulates the harmonious development of all elements of a person’s spiritual life. All this inevitably requires the combined efforts of specialists in various fields of knowledge and representatives of various layers and areas of science and culture, often from different countries. The organization of such work is associated with the need to coordinate efforts at the international level, overcome narrow national interests, and attract significant resources from the world community.
After the Second World War, the task of promoting international cooperation in the field of science and culture was entrusted to the United Nations (its charter directly indicates this function). The XIV session of the General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in November 1966 adopted the Declaration of Principles for International Cultural Cooperation, which proclaims that “cultural cooperation is the right and duty of all peoples and nations, which must share each with other gaps and art. The Declaration determined the main directions of cooperation between states in the field of culture. However, the activity of international organizations within the framework of the UN shows that so far it has not been possible to establish an effective system of international cooperation in this area.
At the end of the 20th century, it becomes more and more obvious that for many peoples of the world (but by no means for all) that stage of development was passed when the “national idea” was the only creative basis for the formation of national culture.
A modern alternative to national isolation is the process of integrating the cultural environment of peoples. Unfortunately, this objective process sometimes takes on the character of "cultural intervention" on the part of economically more stable states. Unification inevitably leads to the loss of "their face" by many peoples, to the erosion of the deep roots of national culture and the superficial, imitative assimilation of elements of mass culture. All this leads to the impoverishment of the culture as a whole. Quite often, such a process as a response causes the growth of nationalism and the desire for autarky, and even destabilizes international relations. World culture develops as an integral system only when it includes in its arsenal the centuries-old experience of peoples with gigantic historical layers of culture and originality of spiritual ideals.
International cultural exchange is not only creative, but also social in nature. This is determined by the fact that in the course of the exchange of cultural values there is a process of communication between representatives of national cultures, which over time becomes more and more widespread. For many representatives of the creative intelligentsia, cultural exchange becomes part of social activities, their national and international associations arise, which aim to expand the scope and deepen the forms of international cooperation. In addition, state and international organizations are involved in the process of organizing cultural exchange, which also have a significant impact on the nature of international cultural relations.
Involvement in the discussion of the most acute interstate problems of intellectual circles with diverse knowledge, a broad view of the world community as a whole, sometimes makes it possible to find non-traditional solutions to problems that suit all parties involved in the negotiation process. The authority of the international intellectual elite can induce statesmen to change the system of priorities in the political course of individual countries and the world community as a whole. This circumstance makes international cultural exchange a factor of international politics.
The political determinism that characterizes research on the history of international cultural exchange in the 1920s and 1930s was determined mainly by the circumstances under which these works were written. In the conditions of the Cold War, the atmosphere of confrontation between the two military-political groups inevitably left its mark on the minds of scientists. In addition, the very subject of the study - international cultural relations between the two world wars - was characterized by a high degree of politicization. Finally, culture, by virtue of its nature, inevitably reflects the ideological and political trends prevailing in society. Therefore, the objective foundations for political determinism in research on this issue, of course, remain today. But along with this, a broader understanding of the content of international cultural exchange in accordance with the diversity of culture itself is becoming more and more obvious, and, consequently, a further expansion of the scope of research on this topic. This suggests the need, relying on the indisputable achievements of historiography, to attract new sources and comprehend what is happening, taking into account the objective content of the process of mutual influence of national cultures.
The growing role of the spiritual interaction of peoples is a long-term trend in world development. Awareness of the significance and specifics of international cultural exchange becomes a necessary prerequisite for the stabilization of international relations and a factor in the use of this very complex and subtle tool of human communication in the interests of the progress of civilization.
International cooperation in the field of cultural property, their legal protection
Cultural cooperation actively influences the growth of mutual understanding between people, countries and nations, which leads to the stability of international relations, reducing the risk of armed conflicts. International relations in the field of culture are carried out in certain areas and in appropriate forms. The areas of cooperation include the following:
cultural exchanges;
- protection of cultural values (in peacetime and during war, various forms and methods of protection are used);
- joint activities to create cultural values (film, television and radio industry, publishing, etc.);
research activities;
holding festivals, competitions and so on;
export-import activity.
restitution.

The implementation of these areas of cooperation is carried out within the framework of international organizations and international agreements (multilateral, regional, bilateral).

When implementing international cooperation in the field of culture, states are obliged to be guided by the general (basic) principles of modern international law and the special principles of cultural cooperation.

The general principles of cultural cooperation are fixed in the Declaration of Principles of International Law Concerning Peaceful and Friendly Relations between States, approved by the UN General Assembly in 1970. The seven principles listed in this document are fully applicable to the field of international cultural cooperation. All activities in this area should be based on the requirements of:

Prohibition of the threat and use of force;

respect for state sovereignty;
non-interference in internal affairs;
equality and the right to self-determination;
peaceful resolution of disputes;
mandatory fulfillment of obligations.

The special principles by which states and other subjects of international cultural relations are obliged to be guided in their cooperation were formulated in the Declaration of Principles of International Cultural Cooperation, approved by the UNESCO General Conference on November 4, 1996. The Declaration names the following principles:

the principle of equality of cultures: the cultures of all states, peoples, nations, nationalities, national and ethnic groups are equal; both existing nations and states, and lost civilizations; service of culture to the cause of peace: this principle is revealed in several requirements: (a) cultural cooperation should be aimed at spreading the ideas of peace, friendship and mutual understanding; (b) propaganda of war, racial hatred, anti-humanism is prohibited; (c) presentation and dissemination of reliable information;

mutually beneficial cultural cooperation: that is, the development of ties that enrich their participants with knowledge, contribute to the mutual enrichment of cultures;

obligatory protection of cultural property in times of peace and war: each state itself takes care of the preservation and development of the culture of each nation, people, national and ethnic groups, protects cultural values located on its territory. In peacetime, the action of this principle is expressed in the obligation to preserve existing cultures and cultural values, to provide the necessary support for the development of these cultures, for the restoration of cultural objects, the return of illegally exported cultural values, etc. In times of war, states are also obliged to protect cultural values in order not to allow their destruction, damage, disappearance.

General issues of cooperation in the field of culture are reflected in such multilateral documents as the Universal Declaration of Human Rights, adopted by the UN General Assembly on December 10, 1948, which proclaims the right of every person to the right to freely participate in the cultural life of society, to enjoy art. In the International Covenant on Economic, Social and Cultural Rights of December 19, 1966. states have recognized the benefits derived from the encouragement and development of international contacts and cooperation in the scientific and cultural fields (clause 4, article 15).

Multilateral treaties of a general nature have also been adopted at the regional levels. Of particular note is the European Cultural Convention of December 19, 1954, adopted within the framework of the Council of Europe. The Convention is interesting in that its content is based on the recognition of the existence of a common cultural heritage of Europe, which the states have committed to protect and develop. In this agreement, the states have formulated general provisions that are mandatory for conducting cultural cooperation. States also recognized the need to take appropriate measures to protect and encourage the development of their national contribution to the common heritage of Europe (art. 1).

The member states of the Commonwealth of Independent States (CIS) concluded an Agreement on cooperation in the field of culture dated May 15, 1992, which reflected a broad program of cultural cooperation. These are: a general obligation to create favorable conditions for the development of cultural ties (Art. 1), for organizing tours of artistic groups and individual performers (Art. 4), to promote the creation of a single information space (Art. 5) and the organization of international touring and exhibition activities (Art. .7), etc.

To conduct a coordinated policy in the field of culture in accordance with the 1992 Agreement. The CIS member states created the Council for Cultural Cooperation by signing the relevant Agreement on May 26, 1995.

Considerable attention is paid by all states to the protection of cultural property. Such protection is always needed. International treaties on the protection and protection of cultural property can be divided into: regulating the protection of cultural property in peacetime and treaties that put these values under protection in time of war.

In the first group, the Convention "On the measures aimed at the prohibition and prevention of illegal import, export and transfer of ownership of cultural property" of November 14, 1970 occupies a paramount place.

“The States Parties to this Convention recognize that the illicit import, export and transfer of ownership of cultural property is one of the main causes of the impoverishment of the cultural heritage of the countries of origin of such property and that international cooperation is one of the most effective means of ensuring the protection of their cultural property from all the dangers associated with it" (v. 2).

The Convention lists the categories of cultural property that make up the heritage of each state (Article 4):

a) cultural property created by the citizens of this state and cultural property of importance to this state;

b) cultural property found on the national territory;

c) cultural values acquired by archaeological, ethnological and natural-science expeditions with the consent of the authorities of those countries where the values originate;

d) cultural property acquired as a result of voluntary exchanges;

e) cultural property received as a gift or legally purchased with the consent of the competent authorities of the country where the property originates.

The Convention obliges the parties (Article 5) to establish on their territory national services for the protection of cultural heritage to perform such functions as:

a) development of draft legislative and regulatory texts that ensure the protection of cultural heritage and, in particular, the suppression of its illegal import, export and transfer of ownership of important cultural property;

b) draw up and update, on the basis of the national register of protection, a list of important cultural property, public and private, the export of which would mean a significant impoverishment of the national cultural heritage;

in) establish rules for interested persons (custodians, antique dealers, collectors, etc.) that meet the ethical principles formulated in this Convention, and monitor compliance with these rules;

G) carry out educational activities with the aim of awakening and strengthening respect for the cultural heritage of all states and popularizing the provisions of this Convention;

e) ensure that any case of disappearance of cultural property is given appropriate publicity. The participating States undertake:

a) take all necessary measures to prevent the acquisition by museums and other cultural property stolen and illegally exported from another state;

b) prohibit the import and acquisition of stolen cultural property, as well as take appropriate steps to search for and return the stolen.

The Convention was ratified by Russia in 1988. In the Russian Federation, in accordance with Art. 35 of the Fundamentals of the Legislation of the Russian Federation on Culture, the responsibility for identifying, recording, studying, restoring and protecting monuments of history and culture is entirely vested in the state.

Responsibilities for the accounting of cultural property, first of all, are assigned to museums, for which the functions of preserving and studying cultural property are the main ones. This is stated in the Instruction of the Ministry of Culture of the USSR "On the accounting and storage of museum valuables located in state museums of the USSR" (M, 1984), which regulates the accounting of these valuables, in particular, its III section ("State accounting of museum funds"). Thus, according to clause 81 of this Instruction, "State accounting of museum collections is the identification and registration of museum collections that are public property ... Museum collections are subject to strict state accounting, which ensures their legal protection and creates conditions for studying rational use." The main form of study, description and scientific definition of museum objects is a scientific inventory.

The system of accounting for cultural property is constantly being improved. Federal Law of the Russian Federation of May 26, 1996 No. "On the Museum Fund of the Russian Federation and Museums in the Russian Federation" provides for the creation of the State Catalog of the Museum Fund of Russia, which will combine cultural values located in state museums and in private ownership.

In addition to the law on museum collections, the customs legislation of the Russian Federation is also the protection and protection of Russia's cultural values. Law "On Export and Import of Cultural Property" dated April 15, 1993 [Romanian] [Russian] This law underlies all activities of customs services in this direction. It gives a list of cultural property that falls under its action (Article 6), defines the values that are not subject to export outside the Russian Federation (Article 9), indicates the need to export illegally imported cultural property. The specially authorized body of state control over the export and import of cultural property is the Federal Service for the Preservation of Cultural Property. However, it should be noted that the issue of the import of cultural property remains unclear. August 7, 2001 The law "On the export and import of cultural property" was revised by the Government of the Russian Federation and the Ministry of Culture, and supplemented. True, no significant changes. The normative basis for the legal protection and protection of cultural property at the national level is the Constitution of the Russian Federation, resolutions of the President and the Government, International Treaties and Conventions ratified by Russia, regulations of ministries and departments, civil, administrative, criminal, customs and other legislation in force. That. Russian legislation also provides for various types of liability for violation of the rules for the protection and protection of cultural property.

Fundamental in this system are the law “On the Protection and Use of Monuments of History and Culture”, in which the attempt to legislate the very concept of “cultural value” is essential, without which it is hardly possible to determine the range of protected objects. And "Fundamentals of the legislation of the Russian Federation on culture" 1992.

In the second group, a special place is occupied by questions of the protection of cultural property in the event of an armed conflict.

Legislatively, these issues found their initial reflection in the Hague Conventions of 1899 and 1907, in the Pact "On the Protection of Cultural Property" of 1935, the outstanding Russian artist Nicholas Roerich and the Hague Convention of 1954, based on the Roerich Pact. In 1929 The Pact "On the Protection of Cultural Property" was published, the basic principles of which were developed, in accordance with the code of international law, by G. Shklyaver, Doctor of International Law of the University of Paris, together with Professor J. de Pradel, a member of the Hague Peace Court and N. Roerich. In 1930 The pact was submitted to the League of Nations. In 1931 the Belgian city of Bruges becomes the center for the dissemination of the ideas of the Pact. April 15, 1935 in Washington, the Roerich Pact was signed by the United States and other countries.

The Pact's broad movement was interrupted by the Second World War. After the war, Nicholas Roerich again put forward the idea of the Pact and in 1954. on its basis, the final act of the International Convention - "On the Protection of Cultural Property in the Event of Armed Conflict" was signed. After the Second World War, which brought enormous damage to world culture, the Hague Convention of 1954. united a number of international norms providing for the protection of cultural property in the event of armed conflict, introducing two forms of protection - general and special. Special protection is granted only to objects of particular importance, the preservation of which is of value to mankind. All objects considered by the Convention as cultural property fall under general protection. The main thing in this document is the issues of restitution of cultural property that ended up on the territory of other states as a result of the war.

Legal support of cultural exchange

The constant desire of people to see and appreciate the diversity of the phenomenon of the cultural life of peoples simultaneously leads to the growth of all kinds of dangers to which cultural values are exposed as a result of cultural exchange. Insufficient legal framework, protection, risk associated with transportation, increase in theft, illegal trade, illegal, smuggling export and import, unjustified loss, damage to works of art. These dangers are increased by the constant demand and order for the theft of specific works of art and the constant increase in their sale value.

In accordance with the UN Convention "On the Means of Prohibiting and Preventing the Illicit Import, Withdrawal and Transfer of Ownership of Cultural Property" (1970). "Cultural values characteristic of different cultures are part of the common heritage of mankind, and, by virtue of this, each state bears a moral responsibility for their protection and preservation before the entire international society." Russia has ratified this Convention and is therefore responsible for ensuring the preservation of works of art, as well as for legitimate and legal cultural exchange.

Normative acts that specifically regulate various forms and directions of cultural exchange in the field of art, make it possible to prevent illegal trade and damage to cultural values, are a means of strengthening mutual understanding and mutual respect between peoples, especially since the exchange between countries is still largely dependent on commercial activities, and therefore promotes speculation, which leads to an increase in the prices of artistic values, which makes them inaccessible to countries that are in the least advantageous conditions.

The normative acts regulating cultural exchange are aimed at weakening and eliminating obstacles to its expansion, encouraging mutual trust, which will allow countries to establish cultural exchange on an equal basis, which leads not only to the enrichment of national culture, but also to a better use of world culture. cultural fund formed by the totality of national cultures.

I do not set myself the task of reviewing all international and national legal acts regulating cultural exchange. This is not possible in a dissertation. Therefore, I will present the most important and interesting from my point of view.

First of all, this is the Declaration of Principles of International Cultural Cooperation of November 4, 1966, which, first of all, emphasizes that the culture of the world in its diversity and mutual influence is part of the common heritage of mankind, and therefore cultural cooperation involves all types of mental and creative activity.

The objectives of cultural cooperation are defined in Article IV: the dissemination of knowledge, the promotion of the development of talents and the enrichment of various cultures, the promotion of a better understanding of the way of life of peoples, the provision of every person with the opportunity to enjoy the art and literature of all peoples, the improvement of the conditions of the material and spiritual life of man in all parts of the world.

The Declaration emphasizes that in the implementation of international cultural cooperation, which has a beneficial effect on all cultures and contributes to their mutual enrichment, the identity of each of them should be respected. Appropriate exchanges must be imbued with the spirit of maximum reciprocity, respect for the sovereign equality of states and refraining from interfering in matters that are essentially within the domestic jurisdiction of states.

Section IV of the International Covenant on Economic, Social and Cultural Rights of December 19, 1966 is also devoted to the problems of cultural cooperation, according to which it is necessary to encourage the dissemination of ideas and cultural values, develop and diversify cultural exchanges, and draw attention to the cultures of developing countries.

To this end, it is necessary to make an active contribution to the implementation of cultural events, the creation and dissemination of joint works, to encourage various organizations, to participate in international cultural exchanges and their development. At the same time, proceed from the fact that familiarization with culture and cultural information are especially necessary when it comes to civilizations and cultures of other peoples.

An important document in the field of cultural exchange is the Agreement on Cooperation in the Field of Culture, adopted by the member states of the Commonwealth of Independent States on May 15, 1992.

Expressing the desire to develop and strengthen cultural exchanges, supporting the desire of the artistic intelligentsia to preserve and develop creative contacts, the CIS states pledged to create all the necessary conditions for the development of cultural exchanges in the field of theatrical, musical, fine, variety and circus arts, cinema, television and radio broadcasting, library and museum business, amateur folk art, folk crafts and other types of cultural activities.

The agreement provides for the provision of all participants with complete information about the cultural values of the peoples and their use for the purposes of education, science and culture within the framework of interstate programs.

On the basis of agreed programs and direct contractual relations, the states undertook to facilitate the organization of tours of art groups and individual performers, the exchange of art exhibitions and museum exhibits, films, the holding of festivals, competitions, conferences, events in the field of professional art and folk art.

In order to pursue a coordinated policy in the field of culture, the member states of the Commonwealth of Independent States created the Council for Cultural Cooperation, which in its activities is guided by the principles proclaimed by the UN Charter, the Helsinki Final Act of the Conference on Security and Cooperation in Europe, the fundamental document of the CIS member states.

The main functions of the Council are to study the possibilities for the further development of cultural cooperation, the preparation and adoption of multilateral programs in the field of culture, the coordination of joint activities, the study and generalization of the experience of states in ensuring the social protection of creative workers, the protection of intellectual property, copyright and related rights.

The Recommendation on the International Exchange of Cultural Property, adopted by the UNESCO General Conference on November 26, 1976, draws particular attention to the need to create national files of requests and proposals for the exchange of cultural property that can be used for cultural exchange.

Moreover, the Recommendation proposes that exchange proposals be entered into a card file only when it is established that the legal status of the objects in question corresponds to the initial law, and that the institution that made the proposal has the rights necessary for these purposes (Articles 4,5).

Offers of exchange should be accompanied by full scientific, technical and legal documentation to ensure, in the best possible conditions, the cultural use, preservation and possible restoration of the objects offered.

The beneficiary institution must take all necessary conservation measures to ensure that the relevant cultural property is adequately protected.

The recommendation also provides for the problem of covering the risks to which cultural property is exposed during the entire period of being in temporary use, including transportation, and in particular, the possibility of creating systems of government guarantees and compensation for losses should be explored in cases where items of great value are provided for temporary research.

Legal environment for cultural activities

The process of forming a new legal framework for cultural activity, begun in 1992 by the adoption of the basic law "Fundamentals of Legislation on Culture in the Russian Federation", was continued in subsequent years both at the federal and regional levels. We will try to systematize and analyze these legal acts.

Federal normative legal acts The State Duma on April 24, 1996 adopted the Federal Law “On the Museum Fund of the Russian Federation and Museums in the Russian Federation”. The need to develop and adopt this law was due to a fundamental change in property relations in Russia, an increase in the number and change in the nature of subjects in the field of cultural heritage, an unprecedented activation of criminal structures and their wide internationalization. Together with the previously adopted law of the Russian Federation “On the export and import of cultural property”, the fundamentals of the legislation of the Russian Federation, “On the archival fund and archives”, the law has become an integral part of the Russian legislation on the preservation of the cultural heritage of the peoples of our country. In accordance with the law, the Government of the Russian Federation, by Decree No. 179 of February 12, 1998, approved the “Regulations on the Museum Fund of the Russian Federation”, “Regulations on the State Catalog of the Museum Fund of the Russian Federation”, “Regulations on Licensing the Activities of Museums in the Russian Federation”. The provisions provide for real mechanisms for the practical implementation of the main provisions of the law.

An important place in the implementation of the state cultural policy was occupied by Presidential Decree No. 1010 dated July 1, 1996 “On Measures to Strengthen State Support for Culture and Art in the Russian Federation”. By a decree, the draft of which was developed by the Ministry of Culture of Russia and approved by the Government of the country, the Federal Target Program "Development and Preservation of Culture and Art in the Russian Federation (1997-1999)" was given the status of a presidential one, the size of scholarships for outstanding figures of culture and art of Russia and talented, young authors of literary, musical and artistic works, 100 grants of the President of the Russian Federation were established to support creative projects of national importance in the field of culture and art.

The Fundamentals of Legislation of the Russian Federation, adopted in 2001, preserves the main conceptual provisions of the current Law and thereby ensures the continuity of legislation in this area. The bill establishes the state policy in the field of culture, state responsibility for the preservation of the country's cultural heritage and state support for culture and its creators. The main objectives of the bill are:

Ensuring and protecting the rights of citizens to cultural activities and participation in cultural life;

creation of legal conditions for the preservation of the historical and cultural heritage of the peoples of the Russian Federation, the development and reproduction of the creative potential of society;

determination of the principles of relations between the subjects of cultural activity;

determination of the principles of state cultural policy, state support of culture and provision of guarantees of non-interference in creative processes.

The foundations come from the principle of federalism - consistent, within the framework of the current Constitution, the restoration of the vertical of power in determining the rights and responsibilities of each level of this power. Hence, the draft law delimits the jurisdiction in the field of culture into the jurisdiction of the Russian Federation, the joint jurisdiction of the Russian Federation and the constituent entities of the Russian Federation, and the jurisdiction of local governments. Taking into account the need for state support of culture in modern socio-economic conditions, the bill retains the current norms of budgetary financing of culture in the amount of 2% of the expenditure part of the federal budget and 6% of the expenditure part of the budgets of the constituent entities of the Russian Federation, and the norm of budgetary financing of culture in the constituent entities of the Russian Federation is transferred to conducting subjects and comes into force in accordance with the laws of the subjects. The preservation of these norms, which are of strategic importance, creates conditions for overcoming subjectivity in the formation of expenditures on culture both at the federal and regional levels and will serve as a guideline in the formation and consideration of draft federal budgets in terms of expenditures provided for culture, art and cinematography.

The draft law defines the financial resources of cultural institutions to ensure their multi-channel financing:

the opportunity for cultural institutions to independently manage income from their own activities provided for by their charters;

direct income from the lease of property of cultural institutions as an additional source of funding for the maintenance and development of their material and technical base;

the established receipt of funds from other sources should not reduce the amount of budgetary financing of cultural institutions.

The draft law defines the types of activities of non-profit cultural organizations that allow the development of all forms of economic life in culture:

the concept of “main activity” of non-profit cultural organizations, already adopted in the tax legislation, has been introduced;

paid forms of primary activity are not considered as entrepreneurial if the income from these activities is fully directed to the maintenance and development of these cultural organizations.

Particular attention is paid to the issue of privatization in the field of culture. Culture should not be subject to the general order of privatization. There is a large amount of cultural property and cultural heritage objects that are national treasures, the privatization of which is impossible under any circumstances. However, with certain obligations, historical and cultural monuments of local significance can be privatized. The new edition of the Fundamentals specifies the fundamental principles of privatization in the field of culture, which should be further developed in the provisions of the privatization legislation.

In 2000, the law “On theater and theatrical activity in the Russian Federation” was adopted, aimed at resolving the following tasks in the field of theatrical activity:

formation of mechanisms for the protection of the constitutional rights of citizens to freedom of artistic creativity, participation in cultural life and the use of cultural institutions;
ensuring legal, economic and social conditions for maintaining a single theatrical space of the country, developing interethnic, interregional and international cultural ties;
creation of legal guarantees for the support and preservation of a stationary state and municipal theater, as well as the development of theater organizational forms and forms of ownership, the implementation of innovative projects related to the organization of theatrical business;
protection of the rights to a theatrical production of its creators and participants;
consistent approval of the policy of state protectionism in relation to theatrical art, its creators and theatrical organizations;
ensuring a stable financial and economic position of theaters, a system of social protection for theater workers, creating conditions for updating the creative teams of theaters;
The expert and his role in determining cultural and artistic values
Expert (from lat. Expertus) - an experienced, knowledgeable person.
Examination - the study of any issue that requires special knowledge with the provision of motivated conclusions and conclusions. In museum business, this is a combination of traditional art criticism methods (historical and archival research, stylistic analysis) and natural science research methods (physical, chemical, physico-chemical, technological, computer).
Leaving the term "cultural values" we will consider artistic values. Those. talk about artistic expertise. Artistic value is a set of visual qualities of a work of art that are significant to people. Each type of art has its own system of visual and expressive means and, accordingly, its own artistic values.
Artistic expertise - determination of the artistic qualities of a work with proof of their merits. The need for artistic expertise is quite often determined by life: when selecting works for exhibitions, when completing private and museum collections, when selling or buying cultural property, when exporting or importing them from other countries, etc. And here it turns out that often the goals
The criteria and parameters of assessments are different for different experts, which means that the final conclusions about the cultural and artistic value of a work often turn out to be ambiguous, sometimes opposite and even mutually exclusive.
Of course, for a professional judgment about artistic values, it is necessary to evaluate this or that phenomenon. It concentrates the result of the knowledge of the phenomenon, the main conclusions about its merits.
Researchers dealing with the problem of values, as a rule, are looking for the specifics of the value approach to the object in comparison with the scientific and cognitive one. And the specifics of the aesthetic judgment, as initially evaluating, in comparison with the scientific-theoretical judgment, as "non-evaluative". The conclusions drawn on this basis are far from indisputable. They lead to the opposition of scientific-theoretical and value judgments.
Aesthetic evaluation is denied scientific objectivity, and the scientific-theoretical approach to the subject, as it were, excludes evaluation. At the same time, the circumstance remains in the shade that the basis of scientific classification and conclusions is their assessment, and the basis of the value judgment is the knowledge of the object. The very choice of an object, regardless of how it is going to be investigated, is already its kind of assessment. There is always some value prism between the researcher and the object. Therefore, it seems that the scientific-cognitive and value approaches in determining cultural values are in close and obvious relationship.
The originality of the establishment of artistic value is due to the fact that its carrier is a work of art. And therefore, speaking about the establishment of artistic value, it should be noted that it is not identical with aesthetic and is not its variety. Only in the history of artistic culture, on the basis of the collective experience of mankind, it becomes possible to establish the objective artistic value of the work of each artist. It also determines the place he occupies in art. However, since each type of culture solves the problem of the value of the artistic heritage, based on its ideals, a reassessment of values \u200b\u200bis constantly going on in the history of art.
In this regard, it becomes difficult to establish the artistic value of contemporary art. The art of past centuries has already received its assessment in the course of the development of culture. Contemporary art is less accessible to research, because. a time distance has not yet formed that would separate and alienate the object of study from the subject studying it.
Particular difficulties arise in the artistic examination of works of arts and crafts.
The Law "On the Import and Export of Cultural Property" (Article VII - "Categories of items falling under the scope of the Law", in the paragraph "artistic values", in the section "works of arts and crafts") lists art products made of glass, ceramics , wood, metal, bone, fabric and other materials, products of traditional folk crafts. In accordance with this Law, an examination is appointed for exported and imported works, designed to determine their artistic merit, as well as whether they are of cultural value for the country.
These difficulties arise, in most cases, from the fact that experts are required to have perfect knowledge of all the subjects presented to them, i.e. - universality of knowledge. The expert must be a practitioner in a particular form of arts and crafts. And only then can his assessment be reliable and reasoned.
In the broad sense of the word, the examination of decorative and applied art is a whole system of human relations to the objective world. In a narrow sense, it is a very complex and responsible type of scientific and creative activity. It follows from this that an expert in artistic expertise should be not so much an "appraiser" of things as an expert in a particular type of decorative and applied art, but with a broad cultural and art history outlook, the owner of many skills and abilities. The expert examines a material object as a unique witness to certain factors of history in the context of world culture. Expertise is carried out by specialists of museums, archives, libraries, restoration and research organizations authorized by the Ministry of Culture of the Russian Federation and the Federal Archival Service, other specialists who are freelance experts or members of expert commissions of the Ministry of Culture of the Russian Federation or its territorial bodies for the preservation of cultural values. The results of the examination are the basis for making a decision on the possibility or impossibility of export or temporary export of cultural property from the territory of the Russian Federation.
Legal status of a customs expert
The legal status of a customs expert is quite precisely defined in the Customs Code (2001). In accordance with Art. 346 - an examination is appointed if special knowledge in science, art, technology, craft, etc. is required to clarify the questions that arise. The examination is carried out by employees of the customs laboratory or
other specialists appointed by an official of the customs body of the Russian Federation. The main requirement for an expert is to conduct an examination, the result of which will be an assessment that reveals the authenticity, monetary equivalent, artistic and cultural value of the subject presented for examination.
Art. 326: "Customs examination is carried out by an expert with a higher or secondary specialized education, who has received training in the relevant field of customs examination and is admitted to conduct customs examination based on the results of attestation, the procedure for which is determined by the Regulations on the attestation of employees of customs laboratories." Selection of specialists, approval of their composition and procedure for activities is carried out by the head of the customs laboratory.
The expert starts the examination only after a written instruction from the head of the customs laboratory, together with a decision on the appointment of an examination and all materials submitted for examination. The resolution must indicate the basis for the examination and the questions that raised doubts.
The expert's conclusion consists of three parts: introductory, research, conclusions-justifications. The expert gives his opinion only in writing, on his own behalf, with his signature and, accordingly, bears responsibility for it.
So, without a doubt, the role of an expert in determining artistic cultural values is dominant. It is up to the expert to determine the value of exported and imported works of art and many other items that fall under the current legislation. But, it should be noted that before any item is sent for examination, it is first attributed by a customs inspector, whose doubts allow you to turn to an expert.
The role, means, methods, status and characteristics of the expert are not disclosed in this work in full, because the purpose of this work is to derive an algorithm for the initial attribution carried out by customs inspectors. Mandatory examination is subject to declared for export or temporary export from the territory of the Russian Federation, as well as cultural property returned after temporary export. Regulations on the examination and control of the export of cultural property were approved by Decree of the Government of the Russian Federation of April 27, 2001 N 322.
State policy in the field of culture on the example of the USA and Canada
The US government policy in the field of arts and culture in many aspects differs from the attitude towards the same area of public life of the authorities in other developed countries. Although many similarities can be found in some details and directions of the cultural policy of all developed countries, the United States stands out from the general row, and this is especially evident in the forms and methods of financing the arts and culture. Here, more than in other countries, purely “market” approaches make themselves felt, as a result of which direct funding of individual areas of culture is distributed extremely unevenly: relatively little is spent on supporting creative activity, while the costs of various levels of government for such cultural institutions like libraries or museums can be quite large.
The financing of creative areas is characterized, first of all, by the absolute prevalence of various non-state sources. Finally, completely different approaches are used in the United States for state funding of such industries that are directly related in many respects to culture and art, such as education and science (which includes the training of workers in the arts and culture or research on the history and theory of art, etc.). For the United States, a parallel consideration of the more or less complete economic relationship of the state with these three spheres of public life is absolutely necessary in view of the sharp differences in approaches to public funding of the arts and culture, on the one hand, and science and education, on the other hand. Such an analysis, firstly, will help to reveal the role of market postulates and traditions and the life practice of American art; secondly, as a result, the scales and directions of the complementary influence of the state in these three areas are clarified; in addition, important conclusions can be drawn about the contemporary nature of American capitalism and the role of state intervention in economic life, including the economy of art.
The beginning of regular support, by the American state, of the country's cultural life and arts should be attributed to the period of F. Roosevelt's "New Deal", when artists were not only assisted in the general framework of social events along with other representatives of the disadvantaged sections of the US population, but special events were also held , for example, to provide financial assistance to theaters from the federal government (the Federal Theater Project of 1935-39 remains the most significant of these activities).
After the Second World War, the relationship between the state and American art entered a phase of gradual but increasing systematization; in 1965, at a time when an extremely active process of building the US state machine was going on, accompanied by the debugging of its individual functions and the improvement of the interaction of its individual parts, the National Fund for the Arts and Humanities (NFH) was created in the system of executive power at the federal level. This institution has become one of the so-called "independent departments", which are a specifically American variety of executive agencies, organized, as a rule, to carry out relatively narrow (though perhaps large-scale) tasks; such departments are to a greater extent, in comparison with ordinary ministries (departments), accountable directly to the President of the United States, and their "independence" is determined primarily by autonomy in relation to other executive agencies; the size of such institutions varies from two or three dozen people to hundreds and thousands of employees - suffice it to say that among the "independent" departments are, for example, NASA or the FRS - "the American Central Bank".
The NFAH included two functional foundations - the National Endowment for the Arts (NFI) and the National Endowment for the Humanities (NFH); in addition, the Federal Council for the Arts and Humanities and the Institute of Museum Services are members of the NFAH. Both functional foundations (NFI and UFG) are managed by boards whose members are appointed by the President of the United States, the main tasks of the boards, each of which consists of 27 people, to advise the American president on policy issues in the field of arts, culture and humanities, and also to analyze applications for applicants for financial support. The Federal Council for the Arts and Humanities (FSAH) is made up of 20 members, including the directors of the NFI and NHF and the Museum Services Institute; the duty of this Council is to coordinate the activities of the two functional funds, as well as the programs of other federal departments in similar areas.
The NFI is intended to assist artists and organizations in the field of art at all levels (federal, state, local governments) by awarding grants, scholarships to talented artists, to help students who study art receive education. The main programs under which the NFI works are in such areas as dance, design art, folk crafts, literature, museums, opera and musical theaters, drama theaters, visual arts, international contacts.
The task of the NHF is to promote education, research and general programs in the humanities (which primarily include languages and linguistics, literature, history, jurisprudence, philosophy, archeology, religious studies, ethics, theory and history of arts and art criticism, various aspects of the social sciences associated with historical or philosophical analysis). The NFG distributes grants to individuals, groups, or organizations, including colleges, schools, universities, television stations, libraries, and various private non-profit groups through departments of educational programs, research programs, seminars and scholarships, state programs, and other departments.
The Institute of Museum Services was established by the decision of the Congress in 1976 with the aim of helping the country's museums in providing, expanding and improving museum services to the population. The Director of the Institute is appointed by the President of the United States with the advice and consent of the Senate. The Institute distributes grants in accordance with the decisions of the 20-member Board of Governors. Grants can be directed to museums of all types - including art, history, general, children's, natural science, technical, botanical, zoological, planetariums, etc. The main task of the Institute is to assist museums in preserving the historical, cultural, scientific heritage of the nation , support and expand the educational role of museums, alleviate the financial burden on museums due to the growth of their attendance.
From the above information, the general integration nature of the approach of the US government authorities to the scientific, educational and cultural aspects of public life is clear. Fundamentally the same is the toolkit used to support or stimulate the relevant types and areas of activity. This toolkit consists of three parts: direct funding from budgetary resources (most often in the form of grants); funding from private sources (individuals or organizations) and from funds of non-profit (charitable) organizations created specifically for such purposes; tax incentives and the use of a preferential (“protectionist”) tax regime.
From the outside, the interest of the state in these spheres of social and economic life seems to be manifested in almost the same way: in each of the areas in the federal power structure there are either ministries or departments of a different category; The federal budget regularly allocates funds for each of these areas and departments.
Economics of culture in the US and Canada
Below are some statistics on the economic side of the arts and culture in the United States. Based, in particular, on these data, both supporters and opponents of state support for culture prove the correctness and economic feasibility of their positions.
Thus, supporters of the NFI emphasize the important place of art in the American economy, saying that in the field of art in the United States economic activity is estimated as a whole at about $ 36 billion a year, which brings in about 3.4 billion additional tax revenues to the budget. .
The state of the arts in the US can be summed up by the following key figures cited by NFI management in support of the foundation's budget request for FY 1998: the number of non-profit professional theaters in the US has grown from 50 to over 600 over the past 30 years; by the end of the 90s. there are more than 1,600 orchestras in the United States, and 236 of them have budgets in excess of $260,000 per year - twice the number of orchestras with comparable annual budgets by the end of the 1960s; these orchestras employ more than 20,000 musicians and administrative staff, and many more serve their stage performances; the combined revenues of the orchestras amount to more than 750 million dollars a year, the total attendance of their concerts is 24 million people; the number of professional dance groups, which was 37 in 1965, grew to 400 by the end of the 1990s, with a total fund for the salaries of dancers, administrative apparatus, plus the cost of productions of more than 300 million dollars a year; in the USA there are now more than 120 professional opera companies, while in 1965 there were only 27; these teams employ more than 20,000 artistic and administrative personnel with an annual total payroll of more than $293 million; As a result of these and other changes over the past decades, including in areas such as literature, museums, folk dances and crafts, jazz and chamber music, there has been a decentralization of the distribution of the performing arts - from former concentrations mainly along the west and east coasts and areas of major cities in the center of the country to smaller communities throughout the United States.
Attendance at cultural events also increased in almost all arts, although not at such a rapid rate. So, for the period 1982-1992. jazz concerts showed an increase in attendance from about 16 to 20 million people; classical music concerts - from 21 to 23 million people; opera performances - from 4 to 5 million people; musicals - from 30 to 32 million people; ballet performances from 7 to 9 million people; dramatic performances - from 19 to 25 million people; and museums in various branches of art - from 36 to about 50 million people.
The growing interest in the arts and cultural life has led to an increase in the number of people employed in creative activities in the United States, as well as the size of their income. From 1970 to 1990, the number of people in creative professions more than doubled, rising from 737,000 to 1.7 million. In general, the share of people in the creative profession between 1970 and 1990. in the total active population of the United States increased from 0.92 to 1.36%, and in the total number of skilled ("professional") workers - from 8.37 to 10.04%.
During this period, the average income of representatives of creative professions also increased. By the beginning of the 90s. the average income of men in these professions was 8-9% higher than the average income of men across the entire occupational spectrum, and the gap tended to widen; among women, the corresponding gap was even larger, but grew at a slower pace. It should be added that the unemployment rate among people in the creative professions was either the same as for most other professions, or below this level. The good state of the American economy contributes to the preservation of the emerging positive trends for the artistic world in terms of income and employment. In addition, according to American experts, the increasing quality of the education they receive contributes to the increase in the income of people in the creative professions in the United States.
Unlike Russia, Canada is a young country: not so long ago, in 1967, the centenary of the founding of the Canadian Confederation was celebrated. Only in 1931, according to Westminster status, Canada became fully independent. Just 10 years ago, in 1995, the federal Ministry of Heritage was formed in Canada - an analogue of the Russian Ministry of Culture. As the respected economics newspaper the Financial Post wrote in 1998: “Twenty years ago, it was extremely difficult to get anyone to pay attention to a Canadian ballet company, theater company, or novelist performing in one of the world's cultural capitals. Now everything has changed. In the 90s. it has become commonplace: Robert Lepage has become a favorite in Paris, Margaret Atwood has become one of the most famous writers in the world, Ethom Egoyan is welcomed to Berlin, and then he goes to Hollywood, where he is nominated for an Academy Award as the best director/producer. Brian Adams, Celine Dion, Alanis Morisette and Blue Rodeo perform to a full house on the best stages in London. Cirque du Soleil triumphantly tours America and Europe. Canada is no longer seen as a boring addition to American culture."
The second factor that left a noticeable imprint on the development of culture in Canada was the neighborhood with the United States. An important element of Canadian cultural policy has become protection against American expansion, expressed in government support for measures aimed at increasing the so-called "Canadian content" in national television and radio broadcasts, television and film production, and regulating the inflow of foreign capital into book publishing, production and film rentals, the recording and telecommunications industries, etc.
As a result, over the course of several decades, a peculiar model of "cultural self-affirmation" has developed in Canada. It is based on the following principles: 1) respect for freedom of choice and expression; 2) encouraging the creation of "Canadian content"; 3) support for a "space" free for Canadian cultural production; 4) development of various measures of state support and regulation, depending on the specific type of cultural activity; 5) establishment of partnership relations with the creators of cultural values; 6) preservation of cultural heritage. For Russia, these problems are not yet as acute as they are for Canada. However, it is obvious that in the open and globalized world of the 21st century, the issues of preserving, developing and protecting national culture from the expansion of foreign, primarily American culture, will become increasingly important.
Canada's experience may be of interest to Russia for yet another reason - the traditionally large role of the state in the economy in general and cultural life in particular. Just as the Canadian government once undertook the construction of railroads, highways and communication systems, so today it supports Canadian culture. Moreover, this experience is quite successful and impressive. Starting almost from scratch, and in the conditions of the "overwhelming" cultural, economic and political presence of the United States, the state managed in the post-war period to create its own culture in Canada, which has become a noticeable phenomenon in the world in recent decades.
Organizational form of the Ministry of Canadian Heritage. It was established in 1995. Prior to that, the management of culture was dispersed among various government departments. As I. A. Ageeva writes, “the formation of the Canadian Heritage Ministry reflected the growing importance of culture as the most important object of state policy in modern Canada, especially in the light of deepening economic integration with the United States and the growth of the country’s international prestige and authority.” As mandated, the Department assumed "responsibility for policies and programs in the areas of arts, culture, heritage, broadcasting, Canadian identity, multiculturalism, official languages and sports, as well as policies and programs for national parks, the marine conservation area, and national historic attractions". The areas of responsibility of the ministry include:
-Canadian Institute for Conservation, Canadian Heritage Information Network, Cultural Property Export Administration, Office of Monuments and Historic Sites;
-seven agencies under the ministry: Canadian Information Office, Canadian Broadcasting and Telecommunications Commission (an independent regulatory agency), National Archives, National Battlefield Commission, National Film Board, National Library, State of Women Canada;
-ten crown corporations: Arts Council of Canada, Canadian (Radio) Broadcasting Corporation, Television Film Canada, Museum of Civilization, Museum of Nature, Race Relations Foundation of Canada, National Gallery, National Center for the Arts, National Capital Commission, National Museum of Science and technologies;
-The Public Service Commission also reports to Parliament through the Minister of Canadian Heritage.
Funding programs
The state supports the cultural industries by adopting various programs, creating funds, and providing other incentives. For example:
in 1972, the Council of Canada created a grants program to support national book publishing;
in 1979, the federal government launched the Book Publishing Industry Development Program, which provides financial assistance in three areas: assistance to publishers; assistance to associations and the book publishing industry; assistance in the field of foreign marketing;
in 1986, the government launched the Sound Recording Development Program (SRDP) to support the production, marketing, distribution, marketing, and development of Canadian music products. In 1997, the amount of funding for this program amounted to 9 million 450 thousand kan. Doll.; Television Film Canada has two funds, the Feature Film Fund and the Film Distribution Fund, as well as the Loan Guarantee Program and the Movie and TV Revenue Sharing Program. In fiscal year 1996-97, funding under the first fund was CAD 22 million. dollars, within the second - 10.3 million Canadian. dollars.;
The Canadian Television Foundation has an annual expenditure of CAD 200 million under two programmes, the Royalty Program and the Investment Equity Program. dollars to encourage a strong Canadian presence in the broadcast market by supporting the production and distribution of Canadian plays, children's shows, documentaries, etc. Fund funds are paid only to companies owned or controlled by Canadian capital, and only for films that meet the requirements for a sufficient presence of "Canadian content", provided that these films are shown in the evening on Canadian television within two years after the end of filming;
Since 1997, the Canadian Broadcasting and Telecommunications Commission has required broadcast distributors, including direct broadcast services via satellite to home receivers, to contribute 5% of their annual gross revenues to the Canadian Television Fund;
The federal Canadian Film and Video Production Tax Relief Program aims to create a stable financial environment and encourage long-term corporate development for filmmakers. additional tax incentives are also provided at the provincial level;
The Cultural Industries Development Fund provides loans to the cultural industries. In 1997-98 total loans amounted to CAD 9 million. Doll.;
In June 1998, a 30 million CAD Multimedia Fund was established. dollars for a five-year period. The fund operates within the Telefilm Canada system and provides interest-free loans to help multimedia companies cope with high production costs and funding difficulties. The fund is intended to assist in the development, production, distribution and marketing of Canadian multimedia products; the government also provides support to Canada's periodicals. Under the Publications Assistance Program, the government provides postage subsidies to Canadian periodicals printed and distributed in Canada. Those publications that are distributed in Canada, but printed in other countries, do not receive postal subsidies. In total, about 1,500 Canadian periodicals are beneficiaries of this program;
In order to ensure the presence of Canadian culture on a global scale, the federal budget for the 2004-2005 financial year provided for 30 million Canadian dollars. dollars to finance major projects on the Internet, such as the creation of a virtual museum that will electronically unite the collections and exhibitions of 1000 real Canadian museums "made of glass and concrete."
In the television and film industry, financial incentives have gradually evolved from a system of grants to equity investment through the Canadian Television Fund, and then to more objective tax incentives and additional payments in the form of royalties. These changes occurred against the background of an overall improvement in the financial position of national film and television companies, which were able to attract foreign investment, as well as secure funds and other financial commitments from partners to support their projects at the stage of pre-release and sales. In a market dominated by American cultural production, the government, through the Canadian Broadcasting and Telecommunications Commission, has mandated a certain percentage of "Canadian content" on the broadcast network. These rules apply to radio and television broadcasters, as well as distribution systems (cable television, direct broadcast satellites to residential receivers), multipoint distribution systems that deliver services directly to the home.
"Canadian content" is defined differently in radio and television. For radio broadcasts, the calculation of "Canadian content" is based on the so-called MAPL system, according to which the nationality of the authors of the music and words, the nationality of the performer and the place of production of the recording matter. If at least two of these four criteria are relevant to Canada, then the sound recording qualifies for "Canadian content". For television programs and feature films, "Canadian content" is calculated on the basis of a points system. For example, two points are awarded for a Canadian director, one point for each lead actor being Canadian. The producer of the program or film must be a Canadian citizen. To be considered "Canadian", a show or film must score at least six points; a maximum of 10 points is needed in order to be able to apply to the Canadian Television Foundation for financial support.
The rules regarding "Canadian content" are relatively flexible. For example, the Canadian government has signed film and program co-production agreements with more than 30 countries. Under these agreements, even if a production has as little as a 20% Canadian contribution, it may qualify for "Canadian content".
The following are some specific examples:
Under CRTC rules, TV and radio stations are required to allocate a certain amount of airtime to broadcast "Canadian content". In some cases, the CRTC even requires these stations to meet certain minimum costs and/or air hours during the year to broadcast certain categories of Canadian-produced programming, such as theatre, music, variety shows, children's shows;
since 1989, private broadcasters have been required to either allocate a certain number of hours each week to broadcast Canadian productions, music and variety shows, or to spend a set portion of gross broadcast income on Canadian broadcasts;
pay television and specialty television service companies that also obtain licenses from the CRTC must have Canadian content ranging from 16% to 100% of broadcast time, depending on the specific service;
Cable systems are required to include local Canadian Public Broadcasting Corporation stations or their affiliates, local commercial Canadian services, and provincial training services in their basic service package.
State policy in the field of foreign investment in culture
Like many other countries, Canada has legislated restrictions on foreign ownership in some "sensitive" sectors of the economy, including cultural ones. The central role in this regard belongs to the Law on Foreign Investments adopted in 1985.
This is because Canadian-owned cultural organizations tend to create, produce, distribute and display "Canadian content" more than foreign ones. For example, in 1994-1995. Canadian record labels, which own only 16% of the domestic market, accounted for 90% of all Canadian music recordings. In book publishing, Canadian-controlled firms produced 87% of all book titles published in Canada. Under the Foreign Investment Law, all foreign investment in cultural industries is subject to scrutiny;
according to Canadian rules, companies owned by foreign capital cannot be engaged in bookselling as the main field of their activity; new enterprises emerging in the cultural sphere should be under the control of Canadian capital; acquisition by foreigners of existing Canadian cultural businesses is permitted only in exceptional circumstances;
in 1988, the state developed guidelines for foreign investors. The Principles prohibit the purchase of Canadian-controlled rental companies and allow foreigners to acquire foreign-owned firms only if the new investors agree to put a portion of their Canadian profits into Canadian culture.

Some Conclusions and Perspectives

The state plays an important role in building a strong cultural infrastructure and achieving cultural policy goals in the US and Canada.

Canada has succeeded in creating a unique administrative system for managing culture, combining private and public elements. An important link in this chain are the crown corporations, which operate on the basis of the principle of "arm's length" from the executive branch.

The financial and economic role of the state in the field of culture has evolved in accordance with the ongoing changes in the world (globalization and economic integration), budget opportunities, income growth and a change in the structure of consumption of Canadian citizens, the development and strengthening of national business, a change in the value orientations of society, as well as the development and strengthening of the national culture itself. In the past, in supporting culture and achieving the goals of cultural policy, the state relied mainly on direct subsidies and a direct presence in cultural life through crown corporations. Measures of tariff and customs protection of the market of cultural products were also used. Subsequently, customs tariffs on the import of cultural products were gradually eliminated, and the focus of state policy shifted towards the provision of tax incentives and investment incentives, coupled with regulatory measures in the field of television broadcasting, film production and distribution, sound recording, book publishing, etc.

Considering the size and openness of the Canadian market, it can be said that Canada has made some headway in building a relatively mature cultural industry. Despite the "overwhelming presence" of the United States with its aggressive mass culture, Canadians to a certain extent own and retain control over their cultural industries, create products with "Canadian content" and distribute them in the domestic market. In recent years, since the dissemination of Canadian values and culture was proclaimed as the third foreign policy objective after promotion of economic growth and security in 1995, Canada has made a concerted effort to promote its cultural products abroad.

Canadian cultural industries will continue to be pressured by the optimal market size that foreign producers of cultural goods and services have and Canadian producers do not. As long as it is cheaper to import and distribute foreign cultural goods and services, there is little incentive for companies (especially multinationals) to produce and market Canadian goods and services. Given the dominance of the American entertainment industry and the weakness of Canada's, incomes, jobs and labor will continue to flow south. In addition to the Canadian creative minds that traditionally go to the US to make a name for themselves, there is now an influx of engineering and technical workers involved in new multimedia and other high-tech industries. Therefore, the further fate of Canadian culture, despite its noticeable strengthening in the last two or three decades, will, as before, to a decisive extent depend on the volume of budget funding and other measures of regulation and support from the state.

Conclusion

Cultural exchange between countries is an essential condition for the global cultural process.

In this work, an attempt was made to determine the place of cultural exchange in the modern world, to identify the main forms and directions of cultural exchange in Russia. The work identified the main international and national legal documents regulating cultural exchange. The paper analyzes the state modeling of cultural exchange on the example of the USA and Canada.

Cultural exchange is one of the greatest values of the modern world. Projects and theses summarizing the historical, cultural, economic, social, political, national, religious experience of various peoples and states are brought into the common treasury of mankind.

The expansion of cultural exchange is ensured by the fact that the citizens of most states have a legally enshrined right to use the public cultural values not only of their own country, but also of other countries too.

The paper gives the main characteristics of cultural exchange, collected and systematized legal acts aimed at the legitimate implementation of cultural exchange.

Russia's accession to the Council of Europe has significant implications for the protection of cultural property. First of all, the tasks of integrating legislation at the international, regional and subregional levels of legal cooperation can be solved here. The laws of the Russian Federation give a general definition of monuments and only single out items of significant value. But there are no clear criteria for distinguishing categories of historical and cultural monuments that are of significant value for national culture and their scientific classification today. Some legal issues related to the export and import of cultural property, the issues of alienation of cultural property of particular importance, have not been brought into line with international standards, despite the fact that, in accordance with the Constitution of the Russian Federation, Russian legislation must be brought into line with international norms. Cultural exchange is a priority direction of cultural cooperation. Mastering the necessary legal information is a prerequisite and condition for the legitimacy of cultural exchange.

Two processes taking place in the world of culture require great attention and support from state structures, at the level of internal and interstate relations. The first is the development of national cultures, the formation of national identity. The second process is the cultural exchange between countries, which contributes to the mutual enrichment of cultures, the peaceful dialogue of people of different faiths and ethnic groups, the destruction of national stereotypes, and, ultimately, the humanization of life on Earth.

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Number of pages 155

CHAPTER. I. NATIONAL CULTURE AS A GENERAL AND SOCIAL SOCIETY

1.1. Ethnic diversity and cross-cultural enrichment.*.

1.2. Cultural exchange as a historical pattern

CHAPTER 2

2.1. Basic principles and forms of cultural exchange between European countries.*

2.2. Problems of cultural interaction of peoples.

Introduction to the thesis (part of the abstract) on the topic "International cultural exchange and its impact on the development of national culture"

The relevance of the research is the development of international cultural exchange, the improvement and progress of interstate relations, the deepening of mutual understanding between peoples - one of the characteristic features of modernity * The improvement of cultural exchange is a powerful stimulus in the development of the creative potential of peoples, the intensification of the process of mutual influence and mutual enrichment of national cultures. Therefore, it is important to comprehend the diverse nature of the links between national cultures, adequately assess the significance of their national color, identity, which not only do not oppose the development of a universal culture, but are also a necessary condition for enriching this process.

Today, the issues of identifying and analyzing contradictions, understanding the nature of international cultural exchange, and determining further prospects for its study in the context of the humanization of interstate relations are especially acute. An attitude to increase the role of exchanges in the field of culture in order to familiarize oneself with the cultural heritage of other states in all its forms, with the spiritual and dramatic achievements of our time is gaining more and more popularity.*

The relevance of the development of this topic is also determined by the need for a scientific analysis of the mechanism of cultural exchange, improvement of the ways of interaction between national cultures, expansion of the range of possibilities for their full functioning in the process of forming a diverse human culture.

Moreover, taking into account and adequate assessment of the individual-specific parameters of the cultures of various peoples, reflected in their local manifestations and traditions, are today one of the essential conditions for scientifically based management of social processes. The tendency to increase the need for knowledge, which could strictly scientifically and quite fully reproduce the local parameters of different cultures, makes itself felt in a wide variety of areas of practical activity, ranging from socio-economic to the development of a foreign policy strategy.

The expediency of studying the specifics of international cultural exchange is also dictated by modern trends in the development of national cultures, the increasing need to intensify a meaningful dialogue between peoples, overcoming stereotypes and dogmas that still fetter interstate cooperation. The collapse of the totalitarian system opened up wide opportunities for access to a variety of information, to genuine cultural values. , to rethink positions in the matter of ensuring fruitful international cultural exchange, primarily political, ideological and practical"

The significance of studying this problem is also enhanced because it is organically connected not only with the prospects for raising the status of national cultures and expanding the possibilities for their inclusion in the context of world culture, but also with the prospects for social development in general.

In the conditions of deepening tendencies towards isolation, disrespectful, sometimes hostile attitude towards other nations and nationalities, the search for ways to ensure mutual respect, mutual tolerance and mutual understanding of people is especially relevant. In this regard, cultural interaction, the exchange of genuine spiritual and moral values that form the basis of the national cultures of different peoples, act as an effective factor in the consolidation of mankind, the humanization of interstate relations in general * In this context, cultural exchange is a fundamental part in the improvement of political, economic and socio-cultural relations on a global scale. In this regard, the search for ways and forms of intensification and improvement of the process of international cultural exchange is of particular relevance. Hence, the interest in this phenomenon as a subject of research is quite justified. There is no doubt that the theoretical disagreements in this area determine the need to strengthen research searches and a serious discussion of certain concepts that represent cultural exchange at different levels and in different logical and practical aspects.

Considering that the category "cultural exchange" is the key one in the dissertation, we will carry out its terminological analysis in the introduction, which will help to characterize more clearly and deeper the modern interpretations of the category under consideration.

In the scientific literature, there is no consensus on the issue of the concept of "cultural exchange", and clear definitions of initial positions have not been worked out. An attempt to give a scientific definition of cultural exchange was made by A. M. Khodkaev (151, pp. 29-30).

The absence of a definition, however, does not mean that the process of cultural exchange is not explored. The reason here is different. Many authors consider cultural exchange as interaction, mutual influence of cultures of different nations, on the one hand, and as the impact of one culture on another through various channels and means, on the other. In our opinion, hence the use of such concepts as "cultural interaction", "cultural © contacts", "cultural communication", "cultural dialogue", "cultural cooperation", "cultural ties", "cultural relations", etc. In many cases, the concepts of "cultural cooperation", "cultural ties", "cultural relations" are considered as synonyms.

However, for a more complete definition of the concept of "cultural exchange", it seems appropriate to refer to the authors who have specifically studied the processes of cultural interaction, problems of contact, dialogue *

First of all, attention is drawn to the concept of S.N. Artanovsky, who substantiated the theory of cultural communication and cultural contacts. According to his classification, there are three stages of cultural communication: I) contact, contact between peoples, when people get acquainted with other cultures and a different way of life; 2) the establishment of certain relationships, the study of a foreign culture, the selective exchange of cultural values; 3) cultural synthesis (4, p. 95).

In addition, the author also puts forward the structure of cultural contacts: "By cultural contacts, we understand the ties between peoples, in which 1) the contacting parties are in different territories (or were originally located on them) and 2) the contact proceeds conditionally on the same time interval" (6 , p. 18). In this, S.N. Artanovsky sees the main difference between cultural contacts and cultural continuity, where cultures are on the same time period1. Under conditions of cultural contact, the contacting party is located in the next time interval relative to the "donor culture" and often in the same territory.

In the scientific literature, cultural contacts are also interpreted as a manifestation of the communicative function of culture on the international plane. This is one of the functions that allows us to successfully solve the problem of true culture - to strengthen the connection between times and peoples, to put all the best that has been created by mankind at the service of its further development and improvement. Cultural blasphemy contributes to overcoming the alienation of peoples from the spiritual values of mankind, the world-historical process.

M.S. Kagan analyzes the possibilities of applying the theory of communication to the study of the relationship of cultures, in particular, the use of the concept of "dialogue" to denote intersubjective relations that are realized not only at the interpersonal level, but also in relation to

1 Given that the category of continuity is of great methodological importance, researchers are trying to reveal the content of the concept of "cultural exchange" through a theoretical understanding of the patterns of continuity (A.M. Khodkaev). However, it is important to take into account that continuity as a philosophical category provides not only for the "absorption" of everything progressive, created at all stages of the development of culture, but also for the attitude to the huge factual material accumulated by culture in modern foreign countries, we highlight this conclusion, since only on "selection" and the selection of everything positive, it is impossible to understand the progressive development associated with the processing of "existing" material by living practice *

For a more detailed and comprehensive consideration of the content of the concept of "cultural exchange", it is necessary to take into account the interdependence of the categories of continuity and inheritance. After all, the process of inheritance and exchange of cultural values is inextricably linked with the critical development of certain manifestations of continuity. Moreover, cultural exchange includes the fight against all negative manifestations of historical continuity. In this paper, we use the category "inheritance" more broadly. This is not only a critical understanding of the positive in the culture of the past, but also a similar attitude towards cultural values created in modern conditions. niah aggregate subjects (nations, classes, etc.) and certain products of their activities - cultures.

A number of domestic scientists, among which it is necessary to single out L.M. Batkin, M.M. Bakhtin, T.P. Grigorieva, N.I. requiring a general philosophical and theoretical understanding. The authors try to identify different types of cultural interaction, where dialogue acts as a specific type of cultural interaction.

It follows from the above that the concept of cultural exchange is closely related to the other categories mentioned. Their widespread use in our study dictates the need to prioritize. In our opinion, the category of "cultural interaction" is more scientific. It acts as the basis of cultural synthesis, a kind of system-forming factor. Other categories are only a particular manifestation of interaction, depending on various factors (temporal, spatial, geographical, economic, political, etc.). Cultural exchange is characterized by the presence of various forms, channels, means of ensuring this process, its organized and purposeful nature. The interaction of different cultures occurs only through the exchange of spiritual values. This process underlies the formation and development of a universal culture.

At present, cultural exchange covers a wide and diverse range of cultural phenomena. In parallel with the intensification of this process, the forms of cultural communication, cultural relationships are being improved, filling with new content.

Thus, cultural exchange should be considered not only as a spiritual process of exchanging ideas, thoughts, emotions, mutual transfer of knowledge, skills, products of this activity, embodied in objects of material culture, but also as a specific form of interaction between cultures that differs from others (contact, dialogue) in an organized and purposeful manner. The main goal of petty cultural exchange should be the humanization of interethnic relations.

The degree of scientific development of the problem. Many domestic and foreign philosophers, historians, sociologists and ethnographers of the past turned to the study of intercultural interaction. The issues of international cultural exchanges are reflected in various philosophical, sociological concepts and theories: the theory of the historical cycle, the concept of social evolutionism, the concept of local cultures and civilizations, the concept of the unity of the world historical process. To solve research problems, the author turned to the works of J. Vico, I. G. Herder, N L “Danilevsky, M. J. Condorcet, L. G. Morgan, K “X From the rope, P. Sorokin, A. D. Toynbee , E. B. Tylor, O. Spengler for the purpose of their comparative analysis.

Due to the fact that in the noted concepts and theories the topic of interest to us was studied only indirectly, many of its issues did not receive detailed consideration.

A comprehensive study of the specifics and prospects for the interaction of cultures was undertaken only in the 20th century. Diffusionism (B. Malinovsky) should be especially singled out as a direction in cultural studies, which put the problem of cultural innovations in the center of attention; studies on acculturation (W.H. Homes, F. Boas, J. McGee), studying the interaction of cultures as a concrete historical process.

All this ultimately significantly expanded the initial base for rethinking the history of world culture, overcoming the concepts of "autonomous", closed development of individual cultures as impenetrable organisms. Despite the fact that philosophical and historical reflections on cultural exchanges, intercultural interaction were different, and sometimes diametrically opposed, the idea of \u200b\u200bthe historical unity of civilization, the systematic consideration of individual cultures in connection with the theory of world culture - the worldview "(81, p. 16).

The problem under study is inextricably linked with the patterns of development of culture, the cultural and historical process as a whole. The works of such scientists as A.I. Arnoldov, S.N. Artanovsky, L.M. Eakhkin, M.M. Bakhtin, V.S. Bibler, L.P. Vilin, I.E. Diskin, N. S. Davidovich, N.S. Zdobin, S.6 .Ikonnikova, M.CJtaraH, N.I. Konrad, D.S. Likhachev, Yu.A. .M. Mezhuev, E.A. Orlova, Yu.M. Shor and others.

Of great importance for this study are also works devoted to the analysis of the interaction of national cultures, their genesis and essence (A.G. Agaev, Yu.V. Arutyunyan, T.Yu. Burmistrova, A.I. Golovnev, L "M. Eva, S.G. Kaltakhchyan, G.G. Kotozhekov, M.I. Kulichenko, A.P. Melnikov, P.S. Sokhan and others.

In the scientific literature, the issues of cultural interaction of peoples within the framework of ethnocultural research are considered in some detail. In this regard, we relied on studies on the problems of ethnocultural contacts (G.V. Aruhyunyan, M.S. Aruionyan, Yu.V. Dmitriev, I.M. Kuznetsov and others).

The theoretical understanding of the problem under study from the point of view of its current state and prospects was carried out on the basis of a number of monographs, scientific collections and books (9, 22, 26, 27, 54, 63, 65, 79, 84, 89, 90, 107, etc.) , articles in periodicals (6, 12, 15, 57, 61, 62, 79, 91, 95, 118, 144, 149, 150, 157, etc.).

Closely related to the topic of research are dissertations that consider the interaction of artistic cultures (E.R. Akhmedova, A.I. Ozhogin, E.G. Khiltukhina), theoretical problems of the development of national cultures, their genesis (D. Berdnyarova, A ". K.Degtyarev, V.N.ipsov, ND.Ismukov, N.VLSoksharov, K.E.Kushcherbaev, G.Mirzoev, V.Kh.Tkhakakhov, A.B.Elebaeva), interstate cultural and information communication (A.V. Kravchenko, E.D. Smirnova, Ya.R. , A. Seshtko).

The object of ttsoledprashmt is the process of cultural exchange, considered as a means of mutual enrichment of national cultures.

The subject of the study is the substantive foundations and mechanisms of cultural interaction between European countries.

The relevance of the topic of this study determined its purpose: a theoretical analysis of the features, trends and mechanism of international cultural exchange as an effective factor in intensifying the development of national cultures.

Achieving this goal involves solving the following specific and interrelated tasks:

1. Understanding the essential definitions of national culture.

2. Identification of the dialectic of the general and the particular in the national culture in order to identify trends in the modern process of internationalization of cultures,

3. Generalization of new phenomena and trends in the field of international cultural exchange, identification of patterns and prospects for its development.

4. Disclosure of the objective and natural nature of international cultural exchange in the process of cultural and historical development.

The scientific novelty and theoretical significance of the study consists in the generalization and development of scientific ideas about the process of international cultural exchange, the interaction of national cultures.

The author made an attempt to analyze the main factors that stimulate the development of national culture in the process of cultural exchange. Based on theoretical material, it is shown that cultural exchange is historically natural and a necessary condition for cultural and historical development.

The conceptual approaches of philosophers, culturologists, ethnographers, sociologists to the definition of the categorical apparatus from the point of view of the problems of intercultural interaction are considered.

The analysis of the works of domestic and foreign scientists shows that despite numerous studies on the problems of intercultural interaction, the issues of international cultural exchange, the improvement of its forms, and organization in a rapidly changing world are still insufficiently covered in the scientific literature*

The practical significance of dissartyatti is as follows:

1. The theoretical developments of this study are of practical importance for a more competent use of the mechanisms of intercultural interaction, the practical organization of cultural exchange.

2. The results and conclusions of the work can be used in the activities of organizations, institutions, departments, diplomatic services dealing with issues of interstate cultural cooperation

3* The materials of this dissertation may be useful in the development of courses on the theory of culture in educational institutions, in educational, methodological and scientific literature, as well as in lecture work.

Methodological basis of the study. The dissertation is based on the principles and approaches developed in domestic and foreign culturological science (historicism, dialectical approach, consistency, etc.). Of great importance in the process of research was the appeal to the works and articles of leading philosophers, ethnographers, culturologists, sociologists, diplomats and politicians involved in various aspects of the interaction of cultures, international cultural cooperation. When analyzing the problem under study, the dissertation also relied on articles, materials of international conferences, forums, seminars, symposia on the problems of cultural cooperation, program documents of UNESCO and other international organizations.

The theoretical analysis of the problem under study allowed us to formulate the following phrase: cultural exchange is carried out as a process of mutual enrichment of national cultures, each of which is a natural step in the development of world culture * Modern processes of intercultural interaction largely determine the nature of international cultural exchange, its focus on cooperation, mutual knowledge of cultural heritage, the search for optimal solutions to common problems of being and personality, overcoming political and national contradictions, psychological barriers.

The results of our research were preliminary tested at the Republican Interuniversity Scientific Conference (Kishinev, 1967), at the scientific conference of the Moldavian Institute of Arts (Kishinev, 1988), where the author made presentations. The main content of the work is reflected in the following publications:

I "Organization and methodology of work with folk art groups in the system of cultural exchange: Methodological development to help students of distance learning / Mods. state Institute of Arts, - Chisinau, 1989. - 41 p.

2, Cultural exchange as a historical pattern //conferinta d«totalizer® a narnaii atiintlfico-methodice a profesorilor,

I Inatitutul de arte p * "mil 19EO 22-26 April 1991 (Tezele raporturilor ei comaiioarilor). Inatltutul de arte din Moldova*- Ghiai-nau, 1991

3, Cultural exchange as a factor in the development of folk art // Culture, Creativity, Man: Abstracts of the rep. conf. - Samara, 1991. - S. 53-54.

The structure of digital literature is determined by the goals and objectives of the study and includes an introduction, two chapters, a conclusion and a list of references.

Similar theses in the specialty "Theory and History of Culture", 17.00.08 VAK code

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FEDERAL AGENCY FOR EDUCATION OF THE RUSSIAN FEDERATION

SAINT PETERSBURG STATE UNIVERSITY

FACULTY OF INTERNATIONAL RELATIONS

International Humanitarian Relations Dean of the Faculty

Protocol No. ___________________________

The date_____________________________ _______________

head Department _____________________ "_____" ____________ 200___

Academic discipline program

Main problems and prospects

internationalscientificandculturalexchange

(Main problems and aspects of international scientific and cultural exchange)

Direction 030700 “International Relations – OPD. F 017

Developers: ,

Candidate of Historical Sciences,

docent

Candidate of Historical Sciences

docent

Reviewers:

Associate Professor, Ph.D. , Russian State Pedagogical University im. Herzen

Associate Professor, Ph.D. , St. Petersburg State University

St. Petersburg

2008

Organizational and methodological section

Discipline "Problems and prospects of cultural exchange in the system of international relations" read in the 2nd year of the bachelor's degree in "International Relations" in the second semester (32 hours of lectures).

This course includes classes on the general problem of international cultural cooperation at the present stage. In addition to studying traditional forms, seminars involve practical acquaintance with specific examples of the organization of international cultural exchange at the present stage, taken out for independent work of students.

Relevance of the problems associated with international cultural exchange is reinforced by the importance that is now given to cultural issues by diplomats, politicians, businessmen and scientists around the world. It is culture, due to its huge human potential, that can become that unifying space where people of different nationalities, language, religion, age, professional affiliation will be able to build their communication without any boundaries solely on the basis of mutual understanding. At the same time, being part of the system of international relations, cultural exchange reflects its general patterns.

Purpose of the course– to acquaint students with the phenomenon of international cultural exchange as a specific form of international relations at the present stage.

The objectives of the course are:

1. Consideration of the main issues and problems related to the history, formation and development of international cultural cooperation;

2. Acquaintance with the current state, principles of organization, as well as with further trends in the development of international cultural exchange;

3. Identification of the main patterns of international cultural exchange at the present stage;

4. Study of the main forms and directions of international cultural exchange;

5. Identification of promising areas of cultural cooperation at the present stage.

Special attentionthe course focuses on the problem of Russia's participation in various areas and forms of international cultural interaction, work in governmental and non-governmental organizations, activities within the framework of various programs, multilateral and bilateral projects, etc.

Choice of destinations course is determined by the main provisions of the Foreign Cultural Policy of the Russian Federation, where the greatest attention is paid to the issues of multilateral and bilateral cultural cooperation of Russia, and in particular to such aspects as: science and education, sports and tourism, cinema, music and theater, modern computer technologies in the context of international cultural ties, as well as such forms of international cultural exchange as festivals and exhibitions, competitions and touring activities in various areas of international cultural contacts. The choice of these directions is also correlated with the expanded concept of culture, adopted in accordance with world practice and classification by the UNESCO General Assembly in 1982 in Mexico City. We also note that all these areas of cultural interaction contribute to the formation of a positive image of the state and thereby strengthen its political position in the world.

separate plot the course presents issues related to the important position of St. Petersburg in the international cultural space, its multilateral relations and prospects for their development.

Place of the course in vocational training . The course is designed for 64 hours (32 hours of lectures and 32 hours of seminars) in the 4th semester .

Reporting Form .

Interim reporting form - control work on the documents of international organizations, creative work on the formation of a political image and the image of states.

Form of current reporting - a written report on visiting an event of international status.

Final reporting form

Final reporting form : exam (in writing).

Basic requirements for the level of preparation for the exam. As a result, students need to possess a set of information on the theory, history and current state of international cultural exchange, master the basic concepts and categories of the subject, understand the place of international cultural contacts in the system of international relations and be able to put them in writing.

Exam Requirements

The number of questions in the ticket is two, including, including a number of questions - on the knowledge of the text of the documents that were considered at the seminars.

The time for preparing for the exam is set in accordance with the general requirements adopted at St Petersburg University. The final grade consists of three components: grades for the exam, grades for work in seminars and grades for a report on attending an event in the field of international cultural and scientific exchange.

Criteria for assessing knowledge in the exam:

Excellent- an exhaustive, complete answer, indicating a deep understanding of the material and the ability to use it, correctly presented in writing. For an "excellent" grade, the student must demonstrate knowledge of the factual material, the most important personalities, the main sources on the problems of international cultural relations, be aware of the largest scientific schools and theories that study international cultural exchange, show an understanding of cause-and-effect relationships and a vision of the role and place of cultural exchange in the system of international relations in the historical aspect and at the present stage.

Good- the correct answer, indicating a good understanding of the material and containing no more than one or two inaccuracies.

Satisfactorily - basically, the correct answer, but schematic, with inaccuracies, inconsistently presented, containing no more than three or four shortcomings.

unsatisfactory - misunderstanding of the topic, poor knowledge of the material, lack of logic in the presentation of the material, the presence of errors or more than five shortcomings.

The final grade for the course is the sum of :

Evaluation of the student's work in seminars,

Assessments of student participation in the colloquium,

Exam scores.

The volume and distribution of hours by topic and type of occupation

p/n	Name of topics and sections	Total hours (labor-capacity)	Auditory lessons Including	self- standing work
Lectures	Semina- Ry
	Theme I . Introduction to the subject. Sources and historiography of the course
	Theme II . Multilateral ties in international cultural exchange.
	Theme III . Bilateral ties in international cultural exchange.
	Theme IV . The problem of foreign policy images and ethnic stereotypes in international cultural exchange
	Theme V . The main directions and forms of international cultural exchange. International relations in the field of theater, music and cinematography.
	Theme VI . International exhibitions and fairs as the most important form of international cultural exchange.
	Theme VII . International relations in the field of sports and tourism.
	Theme VIII . International relations in the field of science and education
	Theme IX . Problems and prospects of international cultural exchange in the beginning. 21st century
	TOTAL

Topics of lectures .

TopicI. Introduction to the subject (4 hours) .

Lecture 1. Introductory lesson . Purpose, objectives and content of the course. The place of the course in the system of professional training of specialists in the field of international relations. The concept of international cultural exchange. General characteristics of international cultural cooperation at the turn of the XX - XXI centuries. Basic concepts and categories of the subject. Cultural ties as an instrument of the state's foreign policy. Bilateral and multilateral exchange. Interstate, state, non-governmental levels of exchange. The role of international organizations in cultural exchange.

Lecture 2. Sources and historiography of international cultural exchange . The main groups of sources on the problems of international cultural relations. The concept of the Foreign Cultural Policy of the Russian Federation: the main stages in the formation of the foreign cultural policy of Russia, directions (scientific, educational, artistic ties), forms, methods of implementation. Cultural policy of Western states (France, Great Britain, USA, Canada, Germany, etc.). historical aspect and current state. Scientific literature on the problems of the course. Foreign and domestic schools for the study of international cultural contacts.

Literature

Introduction

The importance of issues related to international cultural exchange is reinforced by the importance given to them by diplomats, politicians, businessmen and scientists around the world. It is culture, due to its huge human potential, that can become that unifying space where people of different nationalities, language, religion, age, professional affiliation will be able to build their communication without any boundaries solely on the basis of mutual understanding.

In the modern world, in the era of integration, cultural exchange, in the period of the formation of a new "planetary" culture of the new millennium, intercultural communication is of great importance, which is carried out at different levels and involves a significant audience in the process of communication.

Today it is quite difficult to imagine the development of science, culture, education outside of international, intercultural communication. Recently, social, political and economic upheavals on a global scale have led to active migration of peoples, their resettlement, collision, mixing, which, of course, gives the issues of intercultural communication special significance and urgency.

Scientific and technological progress also had a significant impact on the development of intercultural communication, which opened up new opportunities for communication, the formation of new types and forms of communication, the main condition for the effectiveness of which is mutual understanding, tolerance and respect for the culture of dialogue partners.

The issues of intercultural communication acquire independent significance in the field of international relations, business, politics, where it is the basis of professional activity.

However, despite the already significant experience and history of the development of intercultural communication, not always a dialogue in a particular area can be called constructive and mutually beneficial. Sometimes the participants in the communication process have significant differences in certain positions, which are not the result of professional differences, but arise due to reasons related to the characteristics of cultures, traditions, the specifics of seeing the world and ways of perceiving and interpreting events. Similar difficulties arise from the peculiarities of the way of life, religious diversity, and cultural values.

Thus, intercultural communication can become both an important condition for the development of mutually beneficial cooperation, and an insoluble problem in the implementation of certain projects, the most important economic and political undertakings and aspirations. Such problems, undoubtedly, are of a global nature and really deserve separate theoretical and practical consideration.

The relevance of the issues of intercultural communications is also confirmed by the fact that in the context of globalization, almost all countries are involved in the process of intercultural communication, striving to take their special, worthy place in the world community.

Interest in the problems of intercultural communication can be clearly seen throughout the twentieth century, when it became obvious that the solution of many pressing problems is impossible without the participation of a large audience, representatives of different countries, cultures, and traditions.

Intercultural communications are directly related to the processes taking place in the field of cultural exchange. Dialogue in this area is an indispensable condition for the development of communications, as well as a vivid example of its implementation.

Experience shows that in the implementation of the political strategy of many countries, a special role belongs to culture. The place and authority of states on the world stage is determined not only by their political, economic weight, military power, but also by the cultural, spiritual, intellectual potential that characterizes the country in the world community.

It is culture that has those unique opportunities associated with the formation of a positive image of peoples, states, which ultimately helps in solving political problems.

The culture of the 20th and 21st centuries is becoming more and more international in nature and is based on the dynamic processes of cultural communication. Therefore, intercultural communication serves as a guarantee of enrichment of national cultures of different regions and countries of the world. The processes of international cultural exchange are the basis for the development of civilization, an indispensable condition for moving along the path to progress. Today it is impossible to solve a single significant problem without the participation of representatives of different cultures, without their constructive, balanced dialogue, without knowledge of the traditions and cultures of other peoples.

The challenges and threats of modern civilization have reached such a scope and scale that they require the development of a single policy, a single language of communication understandable to all representatives of the world community.

At the same time, in modern conditions it is impossible to lose that great cultural heritage that has evolved throughout the history of mankind. The diversity of the modern world is also a condition for its further progress. The problems and contradictions of the modern world dictate the need to study the issues of intercultural communication.

Today, the problems of intercultural communication are within the competence of representatives of various sciences. The desire to comprehend and study this phenomenon has given rise to a significant number of concepts of intercultural communication, which are introduced into scientific and practical circulation. Often in the definition of intercultural communication, representatives of sociology, psychology, linguistics focus on their own professional vision of the issue and reflect a specific view of this phenomenon.

This publication is devoted to the theory and practice of intercultural communication and cultural exchange in the modern world. In modern foreign and domestic literature, there are many publications devoted to the study of intercultural communication. This clearly indicates the actual, promising nature of this scientific problem. However, despite a certain number of scientific papers on the issues of intercultural communication, there are no studies in which the issues of studying intercultural communication and cultural exchange were considered together. At the same time, intercultural communication and intercultural exchange are largely similar processes, having a common nature and common patterns.

In the proposed textbook, we will try to combine different points of view on the theory of intercultural communication and offer a fairly general definition that reflects the essence of this phenomenon, consider the main aspects of intercultural communication, identify the range of the most important problems that arise in the process of intercultural communication, and analyze the forms and directions of cultural exchange which have received special distribution in the modern world.

The modern world is extremely complex, colorful and diverse. Different peoples and cultures coexist in it at the same time, which either interact with each other or never intersect with each other. In accordance with their cultures, millions of people are guided by a variety of value systems, are guided in their lives by often mutually exclusive principles, ideas, stereotypes, and images.

It is for this reason that an important place in the system of modern intercultural communications is occupied by the formation of images, images and stereotypes. Such ideas arise in the process of intercultural communication, in the process of acquaintance of representatives of some ethnic groups, states and cultures with others. Such representations are an integral part of cultural exchange and international relations. Positive ideas that arise among different peoples about each other in the process of intercultural communication are able to smooth out, level out various conflict situations. On the contrary, the negative perceptions of the participants in the communication process about each other create the ground for misunderstanding, contradictions and tension. It is for this reason that the authors have included issues related to images, images and stereotypes in this edition.

This publication also examines the main forms of modern cultural exchange in various fields. The textbook includes materials on international relations in the field of theater, music and cinema, international relations in the field of science and education, as well as sports and tourism. Of course, these areas do not exhaust the diversity of modern cultural exchange. However, it is these areas that are developing most dynamically, characterizing the current state of cultural ties in the best possible way. The choice of these areas is consistent with the expanded concept of culture, adopted in accordance with world practice and classification by the UNESCO General Assembly in 1982 in Mexico City. We also note that all these areas of cultural interaction contribute to the formation of a positive image of the state and thereby strengthen its political position in the world.

International cultural relations in the field of music, theater and cinema are perhaps the most common areas of cultural interaction. Due to their special impact on a person, theater, music, cinema can become that unifying principle on which you can build a constructive dialogue between representatives of different states and cultures.

International educational relations today can also be attributed to the most important and promising areas of international cultural exchange. It should be noted that it can rightly be called one of the most dynamically developing aspects of cultural cooperation, since students and scientists are characterized by mobility, the desire to acquire new knowledge.

Education and science at the present stage have become not only the leading cultural, but also one of the decisive factors in economic and political development and an effective way of international communication. It is especially important to take this into account right now, when the exchange of information, highly qualified specialists, promising scientific and educational technologies and research are becoming an indispensable condition not only for scientific and technological progress, but also for the political and economic success of many countries of the world. In the conditions of the modern information society, the role of intellectual, creative communication between peoples is constantly growing and is becoming one of the most important conditions for the further development of civilizations. It should also be emphasized that scientific and educational ties are among the main forms of intercultural communication.

At the beginning of the 21st century, international scientific and educational exchanges occupy an important place in the system of international relations; current trends in the field of science and education convincingly demonstrate the main problems and prospects of the world community. The problems of globalization and integration inherent in the entire system of international relations are reflected in international educational and scientific contacts.

One of the most important areas of modern cultural exchange is sports ties. Sport, being in its essence an international phenomenon, is an integral part of the concept of culture. International sports relations have deep historical roots based on high humanistic ideals and are among the oldest forms of intercultural communication. At present, the Olympic Games are one of the most effective forms of international communication at the non-governmental level, the most important form of public diplomacy.

The possibilities of sport are so significant that it can certainly be considered as an important part of culture, international relations, and diplomatic activity, as well as one of the forms of intercultural communication. The humanistic potential of sport is so great that it can be a true ambassador of peace, an important part of the peace movement, unite peoples, serve as a reliable way of human communication, and be a guarantor of stability on earth.

International tourism occupies a significant place in modern society. Currently, tourism is becoming a significant cultural, economic and political value. Tourism is an important means of understanding, expressing goodwill and strengthening relations between peoples. International tourism, of course, has become one of the most important forms of intercultural communication, since it gives people ample opportunity to get acquainted with the life of other peoples, their traditions, spiritual, natural and cultural heritage.

The interests of economy and culture are closely intertwined in the tourism system. At the beginning of the third millennium, tourism has become a powerful planetary socio-economic and political phenomenon, largely influencing the world order and the policies of states and regions. It has become one of the most profitable businesses in the world, comparable in terms of investment efficiency to the oil and gas industry and the automotive industry.

Modern cultural ties are distinguished by considerable diversity, wide geography, and proceed in various forms and directions. The processes of democratization and transparency of borders give even greater importance to cultural exchange in the system of international relations, which unites peoples regardless of social, religious, political affiliation.

Chapter I Theoretical approaches to the problem of intercultural communication

The concept of intercultural communication. The historical aspect of intercultural communication. Intercultural communications in the era of Antiquity, the Middle Ages, New and Modern times. The problem of intercultural communications in the research of foreign and domestic scientists. A modern view on the features of intercultural communications of leading historians, political scientists, philosophers. Socio-psychological aspect of intercultural communications. History and current state of the problem in socio-psychological discourse. The language aspect of intercultural communications. The role of language in the process of intercultural communication. The problem of preserving linguistic diversity at the state and interstate level. Features of the linguistic aspect of intercultural communications and the main approaches to the analysis of the problem of intercultural communication. Intercultural communications in international relations. International relations as an important factor in intercultural dialogue. Features of intercultural communications in international relations in the era of Antiquity, the Middle Ages, Modern and Contemporary times. Multilateral and bilateral aspect of intercultural communications in international relations. Problems of the dialogue of cultures in the activities of authoritative international organizations and the foreign cultural policy of modern states. Intercultural communications as the basis of the professional activity of an international affairs specialist.

§ 1. The concept of intercultural communication

Intercultural communication, of course, is an original, independent branch of communication, which includes the methods and scientific traditions of various disciplines, but at the same time is part of the general theory and practice of communications.

A feature of intercultural communication is that within the framework of this direction, the phenomenon of communication between representatives of different cultures and the problems that arise associated with this are investigated.

It can be noted that for the first time the term communication was established in studies related to such sciences as cybernetics, computer science, psychology, sociology, etc. Today, real sciences demonstrate a steady interest in communication issues, which is confirmed by a significant number of studies devoted to this problem.

In the English explanatory dictionary, the concept of "communication" has several semantically close meanings:

1) The act or process of conveying information to other people (or living beings); 2) Systems and processes used to communicate or transfer information; 3) Letter or phone call, written or oral information; 3) Social contact; 4) Various electronic processes by which information is transmitted from one person or place to another, especially by means of wires, cables or radio waves; 5) Science and activities for the transfer of information; 6) The ways in which people build relationships with each other and understand each other's feelings, etc.

In English linguistic literature, the term "communication" is understood as the exchange of thoughts and information in the form of speech or written signals, in Russian it has the equivalent of "communication" and is synonymous with the term "communication". In turn, the word "communication" refers to the process of exchanging thoughts, information and emotional experiences between people.

For linguists, communication is the actualization of the communicative function of language in various speech situations, and there is no difference between communication and communication.

In the psychological and sociological literature, communication and communication are considered as intersecting, but not synonymous concepts. Here the term "communication", which appeared in the scientific literature at the beginning of the 20th century, is used to refer to the means of communication of any objects of the material and spiritual world, the process of transferring information from person to person (exchange of ideas, ideas, attitudes, moods, feelings, etc.). in human communication), as well as the transfer and exchange of information in society with the aim of influencing social processes. Communication is considered as interpersonal interaction of people in the exchange of information of a cognitive (cognitive) or affectively evaluative nature. Despite the fact that often communication and communication are considered as synonyms, these concepts have certain differences. For communication, the characteristics of interpersonal interaction are mainly assigned, and for communication - an additional and broader meaning - information exchange in society. On this basis, communication is a socially conditioned process of the exchange of thoughts and feelings between people in various areas of their cognitive, labor and creative activity, implemented with the help of predominantly verbal means of communication. In contrast, communication is a socially conditioned process of transmitting and perceiving information, both in interpersonal and mass communication through various channels using various verbal and non-verbal communication means. Since human existence is impossible without communication, it is a continuous process, since relations between people, as well as the events taking place around us, have neither a beginning nor an end, nor a strict sequence of events. They are dynamic, changing and continuing in space and time, flowing in different directions and forms. However, the concepts of "communication" and "communication" can be seen as interrelated and interdependent. Without communication at different levels, communication is impossible, just as communication can be perceived as a continuation of the dialogue taking place in different areas.

Various approaches to understanding this phenomenon are also reflected in scientific research.

A significant contribution to the development of the problem of communication was made by mathematicians Andrei Markov, Ralph Hartley, and Norbert Wiener, who is considered the father of cybernetics. Their research was the first to consider the idea of information transfer and evaluate the effectiveness of the communication process itself.

Back in 1848, the famous American researcher, mathematician Claude Shannon, based on the works of his predecessors, published the monograph "Mathematical Theory of Communication", where he considered the technical aspects of the information transfer process.

A new impulse of interest in the problem of communication dates back to the middle of the 20th century. In the 1950s and 1960s, scientists were interested in the issues of information transfer from addressee to addressee, message coding, and message formalization.

For the first time, the real branch of communication was considered in their study by scientists G. Trader and E. Hall “Culture and Communication. Model of Analysis" in 1954. In this scientific study, the authors consider communication as an ideal goal that every person should strive for in order to successfully adapt to the world around them.

The original term intercultural communication was introduced into scientific circulation in the 70s of the twentieth century in the famous textbook by L. Samovar and R. Porter "Communication between Cultures" (1972). In the publication, the authors analyzed the features of intercultural communication and those features that arose in its process between representatives of different cultures.

An independent definition of intercultural communication was also presented in the book by E. M. Vereshchagin and V. G. Kostomarov “Language and Culture”. Here, intercultural communication is presented as "an adequate mutual understanding of two participants in a communicative act belonging to different national cultures" . In this work, the authors paid special attention to the problem of language, which is undoubtedly important in communicative communication, but not the only one that determines the essence of this phenomenon.

In the future, intercultural communication was considered more broadly, and in this direction of scientific research, such areas as translation theory, teaching foreign languages, comparative cultural studies, sociology, psychology, etc. were singled out.

Summarizing various approaches to the study of intercultural communication, and also taking into account the interdisciplinary nature of this phenomenon, we can offer the following, fairly general definition. Intercultural communication- this is a complex, complex phenomenon that includes various areas and forms of communication between individuals, groups, states belonging to different cultures.

The subject of intercultural communication can be called contacts that take place at different levels in different audiences in a bilateral, multilateral, global aspect.

Communication between cultures should be aimed at developing a constructive, balanced dialogue that is equivalent in relation to representatives of other cultures.

Despite the fact that the problem of intercultural communication today is of justified interest, many issues related to this phenomenon are quite debatable and cause controversy in the scientific community. They stem from the very essence of the phenomenon, and are also caused by various methods and approaches related to the study and analysis of communication in the field of culture.

§ 2. The historical aspect of intercultural communication

Intercultural communication today is a completely natural reality, which reflects the needs of modern society, world development. However, the history of this phenomenon dates back to the deep past, deserves special attention and shows how the modern features of intercultural communications took shape, what factors had a special influence on this phenomenon, and who was the most active participant in the process, which gradually established specific directions and forms of international dialogue in the field of culture.

As historians, ethnographers, representatives of other humanities note, the first contacts, reflected in the monuments of material and spiritual culture, writings date back to the era of the formation of ancient civilizations.

Archaeological finds show that at that time, the exchange of household items, jewelry, original samples of weapons, etc. was quite active.

Thanks to the development of contacts, the Phoenician alphabet, which arose in Palestine between the 2nd and 1st millennium BC. e., spread in the Mediterranean countries and then became the basis of the Greek, Roman, and later Slavic alphabets, which confirms the positive value of intercultural communication.

Contacts in the era of the most ancient civilizations also played a special role in the development of science. In ancient times, the tradition of philosophers visiting Eastern countries became widespread. Here the Greeks got acquainted with the eastern "wisdom", and then used their observations in scientific activities. It is generally accepted that the traditions of the well-known Stoic school were greatly influenced by the teachings and way of life of the Indian Brahmins and Yogis.

In the history of ancient civilizations, one can also note the borrowing of the cult of gods representing other cultures, which were then included in their own pantheon. Thus, the Assyrian-Palestinian deities Astarte and Anat appeared in the Egyptian pantheon. Under the influence of ancient culture during the Hellenistic period, the cult of Serapis arose, eastern roots can be found in the veneration of the Greek gods of fertility Dionysus, Adonis and others, in ancient Rome the cult of the Egyptian goddess Isis became important.

Military campaigns also played an important role in the development of intercultural communication, so the aggressive policy of Alexander the Great led to the fact that the geography of intercultural communication increased significantly.

In the era of the Roman Empire, a system of intercultural communication was gradually taking shape, which developed thanks to active road construction and stable trade relations. Rome at that time becomes the largest city of the ancient world, a real center of intercultural communication.

Along the famous "Silk Road" luxury goods, jewelry, silk, spices and other exotic goods were delivered to Western Europe from China and through Asian countries.

It was in the ancient period that the first areas of cultural interaction arose, such as trade, religious, artistic ties, tourism, theatrical contacts, literary, educational, and sports exchange, which took place in various forms.

The actors of international cultural interaction at that time were representatives of the ruling classes, the intellectual elite of society, merchants, warriors. However, intercultural communication of this time was not without features and contradictions. Representatives of various cultures treated the conquests of other peoples with restraint, with a certain wariness. Language barriers, ethnic and religious differences, the specifics of the mentality - all this made cultural dialogue difficult and acted as an obstacle to the intensive development of contacts. So, in Ancient Egypt, Ancient Greece, a representative of another civilization was often perceived as an enemy, an enemy, as a result of which ancient civilizations were largely closed and introverted.

Representatives of ancient peoples assigned a special place and significance to their own civilization in the system of views on the world order. In the ancient maps of Egypt, Greece, China, the center of the Universe was its own country, around which other countries were located. Of course, at that time, intercultural communication was presented in its infancy and had an intercivilizational character, but later, developing and evolving, it became the basis of intercultural communications of the modern period.

In the ancient era, an attempt was made by great scientists to comprehend the very phenomenon of communication. The philosopher, teacher of Alexander the Great, Aristotle, in his famous work “Rhetoric”, for the first time tried to formulate one of the first models of communication, which boiled down to the following scheme: speaker - speech - audience.

A new stage in the development of intercultural communications refers to the period of the Middle Ages. In the Middle Ages, the development of intercultural communication was determined by factors that largely characterize the culture and international relations of a given time, when feudal states appeared on the political arena with a rather low level of development of productive forces, the dominance of subsistence farming, and a weak level of development of the social division of labor.

An important factor influencing the peculiarities of intercultural communication has become religion, which determines both the content and the main directions and forms of dialogue.

The emergence of monotheistic religions changed the geography of cultural exchange and contributed to the emergence of new spiritual centers. In this period, countries are coming to the fore that previously did not play the role of cultural leaders, but were only provinces of the largest ancient civilizations, which to a large extent had a cultural influence on them. The cultural ties of this period were distinguished by their isolation and locality. They often depended on the will of chance, most often limited to a narrow region and were very unstable. Frequent epidemics, wars, feudal strife limited the possibility of developing strong cultural ties. In addition, the very spiritual content of the Middle Ages did not encourage active cultural contacts. Sacred books were the basis of the worldview of a person of the Middle Ages, they locked him in his own inner world, his country, religion, culture.

In the Middle Ages, the Crusades played a very specific role in the development of cultural ties. During the period of the “great migration of peoples”, devastating barbarian invasions into Europe and Africa took place, which also illustrates the peculiarities of the development of intercultural contacts of this time. The expansion of the Central Asian nomadic peoples, which continued for 1300 years, also belongs to the same period. The most illustrative examples of the interaction of European and Muslim cultures dating back to the Middle Ages can be found in the history of Spain.

In the VIII century, Spain was subjected to powerful eastern aggression. Moving from the Arabian deserts through Egypt and North Africa, the Arab-Berber tribes crossed Gibraltar, defeated the army of the Visigoths, occupied the entire Iberian Peninsula, and only the battle of Poitiers in 732, which ended in the victory of the leader of the Franks Charles Martel, saved Europe from the Arab invasion. However, Spain for a long time, until the end of the 15th century, became a country where Eastern and European traditions intersected and various cultures were connected.

With the conquering Arabs, another culture penetrated into Spain, which was transformed in a very original way on local soil and became the basis for the creation of new styles, magnificent examples of material culture, science and art.

By the time of the conquest of the Pyrenees, the Arabs were a very gifted, talented people. Their knowledge, abilities and skills in many areas of human activity significantly exceeded the European "scholarship". So, thanks to the Arabs, “0” was included in the European number system. The Spaniards, and then the Europeans, got acquainted with very advanced surgical instruments. On the territory of a European country, they built unique architectural monuments: the Alhambra, the Cordoba Mosque, which have survived to this day.

Arabs in Spain produced leather, copper, carved wood, silk, glass vessels and lamps, which were then exported to other countries and enjoyed a well-deserved demand there.

Ceramics, the so-called lustred vessels, with a special metallic sheen, brought the Arabs special fame and well-deserved respect. There is an opinion that the art of lustration was transferred by the Arabs from Persia, and then improved.

Back in the 11th-12th centuries, Europeans adopted from the Arabs the technique of woven carpets, which were called Saracens.

The influence of Arabic art was not limited to the Middle Ages. Arabic style and Moorish motifs can be found in the works of art of the era of romanticism, in the art of modernity.

An example of the interaction of European and Arab cultures in the Middle Ages quite convincingly illustrates the features of intercultural relations of this period, which, of course, were very fruitful, but were mainly limited to borrowing, and not deep penetration and comprehension of the culture of another people.

However, despite the religious dominance, as well as the transformation and reduction of various areas and forms of intercultural interaction in the Middle Ages, new forms of contacts appear, which, of course, are important for modern intercultural communications.

The most interesting direction of intercultural interaction in the Middle Ages can be called the formation and development of educational contacts, which were an indispensable condition for university education. The first universities appeared in Europe in the 9th century. They were opened in cities, mainly at churches and monasteries. Since the Middle Ages, the practice of international student pilgrimage has been developing. Medieval universities had their own scientific specialization. Thus, Italian universities were considered the best in the field of medicine and jurisprudence, French ones gave the best education in the field of theology and philosophy, German universities (starting from the New Age) have established themselves as the best schools in the field of natural sciences.

Student life in all European countries was organized in the same way. Teaching was conducted in Latin. There were no barriers to cross the borders. All these factors have contributed to the fact that student exchange was a natural phenomenon, and the migration of students within Europe was an integral part of their lives.

During the period of the Middle Ages, the formation of such a form of trade contacts as fair activity takes place. The first fairs arose in the period of early feudalism, and their development was directly connected with the formation of commodity-money production. The first fairs were opened at the intersection of trade routes, transit points, they were held on certain days, months, seasons. In the Middle Ages, fairs were organized by monasteries, and the beginning of the auction coincided with the end of the church service.

As cities expanded and grew, fairs acquired an international character, and the cities where they were held became centers of international trade. The fairs contributed to the development of intercultural communication, acquaintance with the traditions of different peoples. Having appeared in the Middle Ages, fairs, in general, have not lost their significance in the era of the New Age.

The Renaissance played an important role in the development of intercultural communications. The great geographical discoveries contributed to the development of trade and became a condition for the dissemination of knowledge about the culture of various peoples. Gradually, there is an urgent need for the exchange of information, non-European cultures are of great interest to Europeans. Since the 16th century, intercultural contacts in Europe have been associated with a passion for exotic countries, goods, and luxury goods. Kings, nobles, representatives of the aristocracy begin to collect outlandish collections, which later became the basis of famous museums and art collections. Passion for outlandish countries, peoples and cultures is reflected in art. Oriental motifs are woven into the works of European masters.

However, interest in "other" cultures had negative consequences. It was accompanied by rampant robbery, European colonization and the creation of European colonial empires, and was associated with the destruction of the cultures of peoples subject to Europeans.

Thus, despite the expansion of the geography of intercultural communications, political, religious, economic differences did not contribute to the formation of equal relations between representatives of different cultures.

New impulses to the development of the communicative space were put forward by the very course of history, when in the era of the New Age it became necessary to organize the production process under the conditions of the division of labor, new means of communication appeared (river, land transport), and the world began to represent an integral single organism.

Life itself in the era of modern times dictated the need for the development of international cultural contacts. The value of science based on experiment, scientific knowledge involves the exchange of information and educated people.

The geography of intercultural communication is changing. Almost all countries and peoples are involved in the dialogue in this period, regardless of their religious, cultural, political affiliation. With the creation of large-scale industry in Europe and the intensification of the export of capital, there is an acquaintance with the elements of industrial civilization, partly joining the European education. The necessary conditions have arisen for the development of sustainable development of intercultural communication. The entire political and spiritual life of mankind began to acquire a stable, international character. There are new incentives for the exchange of information in the field of culture and the assimilation of advanced industrial experience.

The most important role in the dissemination of information, the intensity and expansion of the geography of intercultural communication was played by the development of transport - rail, sea, and then air. Already in the 19th century, the map of the world appeared in its modern outlines.

The era of the New Age is characterized not only by a significant expansion of the forms and directions of intercultural exchange, but also by the involvement of new participants in the process of communication. The emerging processes of democratization and integration have become a sign of the times. During this period, intercultural communication begins to be regulated both at the state level and develops taking into account private initiative.

In the era of the New Age, it becomes obvious that culture, intercultural communications can become an important part of international relations, a flexible and very effective tool in solving political and economic issues.

However, a significant contradiction of intercultural relations in this period was the idea of the inequality of cultures of different peoples. Racism and national prejudice were not only the cause of the remaining inequality of peoples, but also a psychological factor that made it possible to ignore the most ancient and, of course, the richest cultures of peoples who lagged behind in their industrial development. The world culture was artificially divided into the culture of the "civilized world" and the culture of the "wild peoples". At the same time, the struggle for influence on colonial and dependent countries became a source of international conflicts, world military clashes, accompanied by a spiritual crisis and the destruction of the cultural environment. The roots of these contradictions are largely determined by the course of world history. For a long time, Western countries, due to their technical, technological, economic and political development, had a strong influence on other, in a broad sense, Eastern countries, cultures and civilizations of Asia, Africa, and America.

In the scientific literature today, expansionist aspirations and the aggressive policy of the West are openly noted, which dates back to the campaigns of Alexander the Great, Roman rule, and the Crusades. To a large extent, the aggressive policy of European countries is confirmed during the period of great geographical discoveries, the formation of the colonial system. The ideological foundations of the expansionist policy were expressed in the idea that only Western, European civilization is capable of ensuring the progressive development of mankind and its foundations can be universal.

The cultural expansion of the West is also called cultural imperialism. It is characterized by the use of political and economic power to propagate and spread the values of one's own culture, and a disregard for the conquests and values of another culture.

At the end of the 19th century, prerequisites arise for understanding the understanding of the communication process, which in the 20th century becomes a fully recognized scientific category.

The whole complex of contradictions and traditions of intercultural relations of the 19th century found its continuation in the 20th century, which in historical memory is associated with the devastating consequences of world wars, the emergence of weapons of mass destruction, as well as the rapid growth of communication processes, which were the result of scientific progress, the development of transport, the emergence of new means of communication.

In the 20th century, the number of participants in intercultural exchange grew steadily, which was a reflection of the process of democratization and integration of the world community. Intercultural communication has become a prerequisite for solving global problems and urgent tasks, among which one can note those directly related to issues of cultural cooperation, its new understanding. In the twentieth century, the formation of the idea of the equivalence of different cultures comes, the issues of preserving the originality of national cultures, cultural diversity were put on the agenda. In addition, the acute humanitarian conflicts that arose required the universal participation of representatives of different cultures and spiritual traditions.

Since the second half of the 20th century, the world community has been consolidating. Interest in cultural contacts becomes consistent and conscious. There is a desire to organize intercultural contacts, both at the state level and at the level of international organizations. Intercultural communication is beginning to be perceived as a fully recognized value in politics, economics, and international relations.

However, along with the obvious integration processes in the 20th century, there are also trends associated with differentiation arising from political confrontation and religious differences.

For example, the USSR pursued a policy of isolationism towards the capitalist countries for a long time. Official propaganda unfolded the fight against cosmopolitanism and cringing before the West. However, it should be noted that in the United States and many other capitalist countries, the attitude towards the USSR was extremely ideological, which, of course, gave intercultural communications a special highly politicized character.

In the modern world, we can also find examples that representatives of various religions (especially in the Muslim and Christian worlds) do not strive for deep cooperation, the development of dialogue, but, on the contrary, experience complex conflicts, sometimes ending in military clashes and terrorist acts.

Thus, two trends can be noted in modern intercultural communication. On the one hand, there is an active expansion of the communicative space, which includes more and more countries, representatives of various social groups. However, on the other hand, dialogue in the cultural sphere cannot be called equivalent, mutually beneficial for many participants in this process.

The problems of intercultural communications of our time have a rather complex nature, which follows from the very phenomenon of culture. So even in the era of the New Age, many scientists turned to the problem of intercultural dialogue, and presented a variety of studies directly or indirectly adjacent to the general problem of intercultural communications.

The formation of scientific concepts that systematically study cultures as special forms of organization of human life dates back approximately to the second half of the 19th century. They were the result of the increased interest in the study of the phenomenon of culture in the philosophical aspect. At the same time, in the works of many Western and Russian philosophers, the question was raised about the interaction of different cultures and civilizations, including the interaction between the cultures of the West and the East.

The subject of O. Spengler's research is the "morphology of world history", that is, the originality of world cultures. The author of numerous interesting publications rejects the usual periodization of world history into the Ancient World, the Middle Ages and the New Age and identifies a number of separate, independent cultures that, like living organisms, go through periods of birth, formation and death. The dying of any culture is characterized by the transition from culture to civilization. “Dying, culture turns into civilization,” writes a well-known philosopher and culturologist. Hence, O. Spengler counterbalances each other with such concepts as “becoming” and “become”, that is, “culture” and “civilization”, which is a key aspect in his concept. According to Spengler, the end of Western civilization (since 2000) is simultaneous with the I-II centuries. Ancient Rome or XI-XIII centuries. China. The list of cultures that he calls “great or powerful”, in addition to such cultures as Egypt, China, India, Greece and Russia, includes separately the culture of Europe (“Faustian culture”) and separately the “magical” culture of the Arabs.

Speaking about the interaction of cultures, O. Spengler skeptically believes that a few centuries will pass and not a single German, Englishman and Frenchman will remain on earth. Culture, according to Spengler, is “the powerful creativity of the maturing soul, the birth of a myth as an expression of a new feeling of God, the flowering of high art, full of deep symbolic necessity, the immanent action of the state idea among a group of peoples united by a uniform worldview and unity of life style” . Civilization is the dying of creative energies in the soul; problematic worldview; replacement of questions of a religious and metaphysical nature with questions of ethics and life practice. In art - the collapse of monumental forms, the rapid change of other people's fashionable styles, luxury, habit and sport. In politics, the transformation of people's organisms into practically interested masses, the dominance of mechanism and cosmopolitanism, the victory of world cities over rural expanses, the power of the fourth estate. Spengler's typological system can be called symbolic.

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International cultural ties can be classified not only in terms of exchange participants, but also in terms of directions and forms of interaction. Turning to this issue, one can find examples of multilateral and bilateral cooperation at the state and non-state levels.

The forms of cultural exchange themselves are an interesting phenomenon of cultural and political life and deserve special attention.

In all the diversity of cultural exchange today, there are several areas and forms of cultural interaction that most clearly and fully reflect the features of modern international relations and the specifics of cultural development at the present stage.

The main areas of cultural exchange include: international musical relations, international relations in the field of theater and cinema, international sports relations, international scientific and educational relations, relations in the field of international tourism, commercial and industrial contacts. It is these areas that have received the greatest development in modern conditions. In this paper, we consider international relations in the field of education.

The main forms of international cultural exchange at the present stage include festivals, competitions, tours, competitions, sports congresses, scientific and educational conferences, research and educational exchange programs, the practice of scholarships and grants, the activities of foundations and scientific organizations, exhibitions, fairs, as well as joint cultural projects.

All these forms took shape quite a long time ago, but only in the conditions of integration and internationalization did they receive the most complete and consistent development.

Of course, the specifics of each area of cultural interaction will not always allow us to fully adhere to this scheme, therefore, in addition to common positions, when presenting each problem, we will first of all pay attention to its specifics.

Cultural exchange in the system of international relations, analysis of its main forms is a necessary knowledge not only for specialists, but also for a wide audience, which, on the basis of concrete material, will be able to present in all its diversity a real picture of modern cultural life.

2. International relations in the field of education

The theory of international relations in the field of education

Education is a process of spiritual and intellectual formation of a person 51 .

Higher education is the level of education obtained on the basis of secondary education in institutions such as universities, institutes, academies, colleges and which is certified by official documents (diploma, certificate, certificate) 52 .

The concept of education in the modern sense of the word was introduced into scientific circulation by two prominent public figures of modern times - the great German poet J.-W. Goethe and the Swiss teacher J.-G. Pestalozzi 53 . Education is secular and confessional; general and professional; primary, secondary and higher. All these characteristics extend to the concept of higher education. Let us dwell on the problems of international exchange in the field of higher education, since the processes of integration and interaction are most active here. In addition, educational contacts through higher education have the broadest regulatory framework, are developing most dynamically at the present stage, and are of practical importance for students of higher education.

Recently, international relations have been actively flowing in the field of higher, in particular, university education. For a long time, higher education was the property of the internal policy of the state, a purely national institution, with specific national or regional traditions, and only since the 20th century can we talk about active integration processes and the internationalization of education, about the creation of a single educational space.

Today, the following trends can be noted in the field of higher education, international educational relations: 54

Education integration. Integration processes are associated with an increase in the value of education and the political realities of the modern world. The result of the trend towards integration in the field of education was the signing of the Bologna Declaration on April 17, 2001 by 29 European countries. The meaning of this declaration boils down to the fact that Europe is seen as a single educational space that provides equal educational opportunities for citizens without distinction of national, linguistic, religious differences.

Humanitarianization of education. The goal of the process of humanitarization of education is to prepare not only a good professional specialist, but also a comprehensively educated person, cultured and erudite, able to take an active life position. The challenges and threats of the modern world put forward special requirements for the problem of the humanization of education. Today, it is obvious that without an understanding of the universal principles of coexistence, strong good neighborly relations cannot be built and the further development of human civilization is impossible. In addition, the humanization of education makes it possible to diversify curricula and make the learning process more exciting and interesting.

Links between education and industry and business. Today, representatives of large firms and corporations teach at universities and accept students for practice. In addition, with the participation of big capital, practical developments and research are carried out by teams of scientists and students, financial assistance is provided to students in the form of grants, scholarships, and contracts are also concluded to pay for the education of students who will later become employees of this company. The processes of merging education with industry at the present stage are a global trend.

Development of the commercial sector of higher education. Today we can safely say that not only individual universities, but also entire states are actively practicing the provision of international educational services on a commercial basis, which is a significant addition to the national budget. The United States, Great Britain, and Holland exploit their educational opportunities most actively.

The egalitarian nature of higher education, that is, providing access to it for everyone, regardless of social origin, national, religious and other differences.

Activation of academic mobility, that is, the exchange of students, interns, graduate students and teachers from all countries. The processes of academic exchange were also characteristic of an earlier period in the development of the education system. At the moment, they are proceeding, in addition, under the influence of scientific and technological progress, integration processes in Europe and around the world.

Thus, the following definition of international education can be proposed:

International education is one of the most common forms of education, when education is received in whole or in part abroad 55 .

At the present stage, international student exchange takes place at the state, non-state and individual levels, that is, it is carried out at the level of interstate agreements, relations at the level of public and other organizations, individual universities, as well as on an individual basis. However, the most common form of academic exchanges is participation in various programs, scholarships and grants.

Academic mobility programs can be classified as follows: they can be designed for an international circle of participants and serve as an example of a multilateral cultural exchange, they can be regional, as well as carried out on a bilateral basis.

An example of a student exchange program implemented on a multilateral basis is the TRACE program, created with the assistance of the International Association of Universities for the development of transnational academic mobility. Participants of this program are provided with diplomas that do not require confirmation in the countries participating in the program.

To date, there are a number of international organizations operating in the field of education, these primarily include: 56

UNESCO (Education Sector of the UNESCO Secretariat - Paris);

European Center for Higher Education (SEPES);

International Bureau of Education (headquarters in Geneva);

International Association of Universities;

UN University;

International Association of Francophone Universities;

Permanent conference of rectors, presidents, vice-presidents of European universities;

International Association of University Professors and Teachers;

Association of European University Teachers;

EU Cultural Development Council;

International Center for Research and Innovation in Education;

World Institute for Environmental Development Research (Helsinki).

International cultural exchange. From the history of cultural exchange. UNESCO's cultural activities aim to promote the cultural aspects of development; promotion of creation and creativity; preservation of cultural identity and oral traditions; propagandist

Tutoring

Introduction to the thesis (part of the abstract) on the topic "International cultural exchange and its impact on the development of national culture"

Similar theses in the specialty "Theory and History of Culture", 17.00.08 VAK code

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List of references for dissertation research candidate of philosophical sciences Bely, Vitaly Ivanovich, 1992

International Humanitarian Relations Dean of the Faculty

Academic discipline program

Main problems and prospects

St. Petersburg

Organizational and methodological section

The volume and distribution of hours by topic and type of occupation

Theme III . Bilateral ties in international cultural exchange.

2. International relations in the field of education

The theory of international relations in the field of education

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