What is cultural exchange. » The role of the political factor in international cultural exchange - International humanitarian relations

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, and 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.

In the Declaration of Principles international cooperation, adopted by the fourteenth session of the General Conference of UNESCO on November 4, 1966, in particular, in Article 1 and emphasizes that "every culture has dignity and worth" 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 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 of 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 values in peaceful and war time, joint creation, reconstruction and restoration of cultural values, different kinds research activities, 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 world 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 regulating 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 world system has always been and is multicultural, we cannot turn a blind eye 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 development scheme 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 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 an 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 rational and emotional that has developed in the process of human evolution as work becomes informatized, when it is loaded mainly left hemisphere, is gradually lost. This leads to 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 directed 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 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 creative work painters 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 50,000 clubs, over 500 theaters and about 250 concert organizations function within the system of the Ministry of Culture of Russia.
The new stage of Russian history turned out to be associated 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, creating conditions for the development of professional art organizations and expanding their audience, supporting 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 development of the system of art and cultural education, improvement of the quality of training of specialists, organizational reorganization of the network educational institutions and 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 activity, 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 adopted laws, 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 .
However, accepted in last years laws do not fully provide legal guarantees for the preservation and development of national culture, 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 Petr Aven general conditions 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 connections.
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 - critical process interaction and mutual enrichment of the cultures of the peoples of the world, contributing to the progress of human civilization for 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 during historical development has become an urgent need of our time.
International cultural exchange not only continues to demonstrate a steady trend towards expanding the 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 implementation of the results of scientific research, other generally recognized manifestations of creativity in everyday life 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 a 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. This is the effective organization of the economic life of society, which will steadily increase investment 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 complete 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 scale 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 formulated general provisions which are indispensable 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 (Article 1), for organizing tours of artistic groups and individual performers (Article 4), to promote the creation of a single information space (Article 5) and the organization of international touring and exhibition activities (Article .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;

V) establish rules for interested parties (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 items 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 unite 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 a constant increase in their selling 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, because of this, each state bears a moral responsibility for their protection and preservation before all 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 still largely depends on commercial activities, and therefore promotes speculation, which leads to an increase in prices for artistic values, which makes them inaccessible to countries 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 kinds of mental and creative activity.

The objectives of cultural cooperation are defined in Article IV: the dissemination of knowledge, the promotion 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 should 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 distribution 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, visual, 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 promote 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 to file offers for exchange only when it is established that the legal status of the objects in question corresponds to the original law, and that the institution that made the offer 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, under the best 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 objects 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 dated 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 from the President of the Russian Federation have been established to support creative projects 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 subjects of jurisdiction in the field of culture into subjects of jurisdiction of the Russian Federation, subjects of joint jurisdiction of the Russian Federation and constituent entities of the Russian Federation, and subjects of jurisdiction of local governments. Taking into account the need for state support of culture in modern socio-economic conditions, the draft law 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 values and objects of cultural heritage 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 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.
Expertise - the study of any issue that requires special knowledge to provide 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 evaluation. 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 subject to 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. From this it follows 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 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 differs in many aspects from the attitude to the same area. public life 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 characterized in the USA by state financing 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 cultural life and art of the country 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 NFIG consist Federal Council for the Arts and Humanities and the Museum Services Institute. Both functional foundations (NFI and UFG) are managed by councils whose members are appointed by the President of the United States, the main tasks of the councils, each of which consists of 27 people, to advise the American president on policy issues in the field of arts, culture and humanities, as well as 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, and helping art students to 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 art and art criticism, various aspects of the social sciences associated with historical or philosophical analysis). The NFG distributes grants to individuals, groups of individuals, 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.
WITH outside the state's interest 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; more than 20 thousand artistic and administrative personnel are employed in these collectives with an annual total fund wages over $293 million; as a result of these and other changes over the past decades, including in such areas as literature, museum work, 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 large cities in the center of the country to smaller communities located 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. average level the 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 Russian Ministry 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 darling of 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 been protection from American expansion, expressed in state 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, roads 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 the arts, culture, heritage, broadcasting, Canadian identity, multiculturalism, official languages and sports, and policies and programs for national parks, Marine Conservation Zone and National Historic Landmarks." 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, marketing and distribution of Canadian music products and expertise. 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 programs - the Royalty Program and the Equity Investment 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 , which meet the requirements for a sufficient presence of "Canadian content", provided that these films, within two years after the end of filming, will be shown in the evening on Canadian television;
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 Foundation;
The federal Canadian Television 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 overcome 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 grant system to equity investment through the Canadian Television Fund, and then to more fair tax credits and incremental 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 throughout 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 TV and special television service companies that are also licensed by the CRTC are required to have Canadian content ranging from 16% to 100% of broadcast time, depending on the specific type of 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 invest 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 emphasis in 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 US 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.

The Canadian cultural industries will continue to be pressured by the optimal size market that foreign manufacturers cultural goods and services and do not possess Canadian. 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 past two or three decades, will, as before, to a decisive extent depend on the amount 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 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 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 ^ ^ ta - The development of international cultural exchange, the improvement and progress of interstate relations, the deepening of mutual understanding between peoples is one of characteristic features modernity* The improvement of cultural exchange is a powerful stimulus for 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. The attitude to increase the role of exchanges in the field of culture in order to get acquainted 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, 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 growing 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 acquires particular relevance. Hence, the interest in this phenomenon as a subject of research is quite justified. There is no doubt that the theoretical differences existing in this area determine the need to strengthen research searches and serious discussion of certain concepts that represent cultural exchange at different levels and in different logical and practical aspects.

Considering that the category "cultural exchange" is 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 located in different territories (or were originally located on them) and 2) the contact proceeds conditionally at 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 interaction of cultures, where dialogue acts as specific type 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.

Importance for this study, there 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. Drobi^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 indicates that, despite numerous studies on the problems of intercultural interaction, the issues of international cultural exchange, the improvement of its forms, 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 and methodical and scientific literature, as well as in lecture work.

Methodological basis research. 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 schema: 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.

AproG) of the work- The results of our study received a preliminary approbation at the Republican Interuniversity scientific conference(Chisinau, 1967), at the scientific conference of the Moldavian Institute of Arts (Chisinau, 1988), where the author made presentations. The main content of the work is reflected in the following publications:

I "Organization and methodology of 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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COURSE WORK

PROBLEMS OF GLOBALIZATION IN THE SYSTEM OF INTERNATIONAL CULTURAL EXCHANGE

CONTENT:

INTRODUCTION .................................................. ................................................. ................................. 3

Chapter 1. Globalization, intercultural communication and cultural exchange .......................................... 5

1.1.Globalization as a socio-cultural reality .............................................................. ........... 5

1.2. The problem of correlation of value systems .............................................................. ..................... 10

1.3. Intercultural exchange in international communication flows .............................. 15

Chapter 2

2.1. Formation of the cultural policy of Russia.................................................... ................... 19

2.2. Programs of cultural exchanges as a mechanism for overcoming contradictions between value systems .............................................................. ................................................. ............................................... 24

CONCLUSION................................................. ................................................. ......................... 27

BIBLIOGRAPHY................................................ ................................................. .......... 29

INTRODUCTION

Cultural exchange between peoples is an essential attribute of the development of human society. Not a single state, even the most powerful politically and economically, is able to satisfy the cultural and aesthetic needs of its citizens without resorting to the world cultural heritage, the spiritual heritage of other countries and peoples. At the same time, it should be borne in mind that cultural exchange has two interrelated aspects: cooperation and rivalry. Rivalry in the field of cultural ties, despite its veil, manifests itself even in a more acute form than in politics and economics. States and peoples are selfish in the same way as individual individuals: it is important for them to preserve and expand the influence, first of all, of their culture, to use in own interests achievements of other cultures. In the history of human civilization, there are enough examples of large and small peoples passing into the past that have not overcome internal and external contradictions. The problems of acculturation, assimilation, and integration have become especially acute during the period of globalization, when changes in all spheres of human society have been noticeably accelerated.

The problems of finding one's own place in the global cultural space, the formation of nationally oriented approaches in domestic and foreign cultural policy are of particular relevance for Russia, which became an independent state in 1991. The expansion of Russia's openness has led to an increase in its dependence on the cultural and information processes taking place in the world, primarily such as the globalization of cultural development and the cultural industry, the outpacing growth of the Anglo-American influence in it; commercialization of the cultural sphere, increased dependence of culture on large financial investments; convergence of "mass" and "elite" cultures; the development of modern information technologies and global computer networks, the rapid increase in the volume of information and the speed of its transmission; reduction of national specifics in the world information and cultural exchange.

All of the above determined the purpose of the course work , which consists in studying the problems of globalization in the system of international cultural exchange.

IN work tasks includes:

1) reveal the phenomenon of globalization as a socio-cultural reality, show its problems and contradictions.

2) to analyze the features of modern intercultural exchange and the participation of international organizations and the Russian Federation in it.

The work used publications of domestic (V.V. Natochiy, G.G. Pocheptsov, M.R. Radovel and others) and foreign authors (J.A. Alonso, A.M. Kacowicz, I. Wallerstein), documents of UNESCO, the Russian Federation, materials of the network Internet.

Chapter 1. Globalization, intercultural communication and cultural exchange

1.1.Globalization as a socio-cultural reality

Globalization by the beginning of the XXI century. ceased to be only a subject of theoretical disputes and political discussions, globalization has become a social reality.

In it you can see:

Intensification of cross-border economic, political, social and cultural ties;

The historical period (or historical era) that began after the end of the Cold War;

The transformation of the world economy, literally driven by the anarchy of the financial markets;

The triumph of the American value system, ensured by the combination of an illiberal economic program with a program of political democratization;

An orthodox ideology that insists on a perfectly logical and inevitable culmination of the powerful tendencies of the working market;

Technological revolution with numerous social consequences;

The inability of nation-states to cope with global problems (demographic, environmental, human rights and the spread of nuclear weapons) requiring global solutions .

From the point of view of the formation of a global civilization, experts usually distinguish four sociocultural megatrends:

Cultural polarization. Hotbeds of possible polarization in the coming century: growing economic and environmental inequality (between peoples and regions, within individual countries), religious and market fundamentalism, claims to racial and ethnic exclusivity, the desire of individual states or military-political blocs to expand their zone of control in a fragmented world , the proliferation of weapons of mass destruction, the struggle for access to scarce natural resources.

Cultural assimilation. It is generally recognized that the last two decades of the past century were marked by the triumph of the ideas of Western liberalism, and F. Fukuyama's thesis about the "end of history" read: "Westernization" as consistent subordination - through the ever-expanding system of world markets - to Western values and the Western way of life of all economically active segments of the population of the Earth - there is no alternative. The process of establishing universal (“universal”) norms and rules in international relations.

cultural hybridization. This megatrend by the end of the twentieth century. acquires completely new qualities: the processes of "creolization" of culture, which traditionally led to the formation of new ethnic communities, are complemented by the processes of transcultural convergence and the formation of translocal cultures - cultures of the diaspora, and not traditionally localized cultures striving to acquire a national-state identity. The intensification of communications and intercultural interactions, the development of information technologies contribute to the further diversification of the diverse world of human cultures, and not their absorption into some universal global culture(which we'll talk about next). The world is gradually turning into a complex mosaic of interpenetrating translocal cultures that form new cultural regions with a network structure. An example is the new professional worlds that have arisen in connection with the growth of computer and telecommunications networks.

cultural isolation. 20th century gave numerous examples of isolation and self-isolation of individual countries, regions, political blocs, and the means of political and cultural isolation (“cordon sanitaire”) or cultural self-isolation (“iron curtain”) were resorted to in order to consolidate social systems against external and internal enemies. The sources of isolationist tendencies in the coming century will also be: cultural and religious fundamentalism, environmental, nationalist and racist movements, the coming to power of authoritarian and totalitarian regimes, which will resort to such measures as socio-cultural autarky, restrictions on information and humanitarian contacts, freedom of movement, tightening censorship, preventive arrests, etc.

The main axes along which a civilizational shift occurs in the late 20th - early 21st centuries. appear as follows:

A) Axis of "culture" - shift from cultural imperialism to cultural pluralism.

B) Axis "society" - a shift from a closed society to an open society.

Schematically, the relationship between the axes along which a civilizational shift occurs and the main cultural archetypes that determine the dynamics of globalization processes, scientists propose to present in the form of a “parallelogram” (Fig. 1).

Culture of Consolidation is characterized by the dominance of synchronous organizational systems, all changes and functions of which are strictly linked in time.

The culture of consolidation is characterized by an autarkic type of management - either non-productive activities and balancing on the brink of survival, or production associated with the need to replenish the declining sources of "natural gifts" (picking fruits, hunting, fishing; in more developed economic formations - mining and other types of raw materials , extensive agriculture). The main ethical value of this archetype is social justice, the measure of which is determined by authority (religious, spiritual, political), and the basic moral and psychological principle is collectivism.

Fig. 1. Main cultural archetypes in the era of globalization

Culture of competition is implemented in the form of random organizational systems that involve contractual relationships between interested participants. Such systems are characterized by an entrepreneurial organizational culture, which is dominated by forms of organization of joint-individual activities.

The main ethical value of the culture of competition is personal freedom as a guarantee of success, and the basic moral and psychological principle is individualism.

A culture of confrontation peculiar h closed (hierarchical) organizational systems with bureaucratic management forms and a bureaucratic organizational culture dominated by forms of organization of joint-sequential activities. Each higher level of the organizational hierarchy is designed to resolve conflicts that arise at the lower level. Therefore, the area of goal-setting inherent in this culture is the interests of the “tops”.

Culture of cooperation involves open organizational systems with democratic management forms. Participatory organizational culture with a predominance of forms of organization of joint creative activity. The area of goal determination is the legitimate interests of the majority of the people, with the obligatory consideration of the interests of the minority.

Fragmigration- a term meaning a combination of integration and fragmentation processes, introduced by the American political scientist J. Rosenau. This is the formation and strengthening (integration) of blocs and unions of "nation states".

Localization- the consolidation of ethnic and civilizational formations based on fundamentalist ideologies that pursue a policy of cultural isolation as a surrogate form of social and cultural tolerance makes it impossible to form a global civilization.

Glocalization- the term was proposed by the head of the Japanese corporation "Sony" Akio Morita) - the combination of the processes of modernization of local cultures with the achievements of the emerging global multicultural civilization occurs as a result of cultural hybridization, i.e. constructive cooperation and mutual enrichment of cultures within cultural regions.

Actually globalization can be viewed as a megatrend of cultural assimilation (according to I. Wallerstein, it corresponds to the predictive scenario of “democratic dictatorship”), which has found its expression in the universal neoliberal doctrine.

The greatest difficulty today is managing the ideological conflicts that permeate every religion and every culture.

The existing trends predetermine a new quality of intercultural communication (IC), where the framework principles of interaction can be formulated as follows:

1. Participants in the MC should perceive the other as equal parties, free from any sense of their own superiority.

2. Listen to each other carefully, carefully understanding the argument.

3. Being denied yourself in many ways.

4. Always start from scratch, building a new type of relationship between equal parties.

Scientists propose to solve the problem global governance on the basis of a broad program that takes into account the multidimensional nature of globalization, which makes it possible to distinguish between the spheres of effective market mechanisms and the spheres of collective - international - actions aimed at preserving the common heritage and solving humanitarian issues.

1.2. The problem of correlation of value systems

If we look at globalization from the point of view of the problem of the relationship and interaction of value systems, then first of all it should be noted that in the modern world, with its ever-increasing trends towards integration and dialogue, the question of a full understanding of each other by people representing different forms is becoming increasingly important. and the content of the culture of thinking, values and behavior. The question of the possibility or impossibility of cross-cultural communication, of the problems arising in connection with the loss of part of the meanings and meanings during the contact of representatives of different cultures, should be interpreted as a question of identity conflict. In other words, naturally there is a situation of misunderstanding between representatives of different cultures - national, religious, professional or organizational.

The most important condition for intercultural communication of ethnic groups are the features of their value worlds, the relationship between their value systems. At the same time, the global socio-historical circumstances in which certain ethno-subjects are “placed” by the will of fate practically do not depend on them and at the same time significantly determine their relations. In addition, these relationships can be consciously regulated by people and are associated with their own choice - to live in peace and friendship or in enmity and malice.

Scientists rightly believe that in order to overcome conflict and tension between different ethno-national communities great importance has an objective and accurate knowledge of the value (cultural) systems of the respective communities, a qualitative and quantitative relationship between such systems.

In this regard, the understanding of such entities (or phenomena) as geoculture, global culture, intercultural communications, determining the coordinates of value systems in the modern world.

For example, with regard to the term geoculture, then in its first meaning it is a synonym for "cultural imperialism", the cultural power of the industrially developed World North over the economically backward countries of the South. The concept of "geoculture" became widespread in science after the publication in 1991 of the book "Geopolitics and Geoculture" by the American scientist Immanuel Wallerstein. "Geoculture", according to Wallerstein, is the cultural basis of the capitalist world-system, which was formed at the beginning of the 16th century. and now - after the collapse of the socialist experiment - is experiencing the most significant crisis in its history. Geoculture, Wallerstein argues, is based on three beliefs: (a) that states that are present or future members of the United Nations are politically sovereign and, at least potentially, economically autonomous; (b) that each of these states has in fact only one, at least one predominant and native, national "culture"; (c) that each of these states can "evolve" separately over time (which in practice seems to mean reaching the standard of living of current OECD members).

The “geoculture” of the world-system, the ideological justification of the inequality that inevitably exists in it between the rich center and the poor periphery in the 20th century. there was liberalism, the general belief that a politically free nation, choosing the right (capitalist or socialist) economic development course, would achieve success and power. Now mankind is experiencing the collapse of the former liberal hopes, therefore, in the very near future, the "geoculture" of the world-system should change significantly.

WITH global culture also not clear. Its possibility and desirability are actively denied. This denial is rooted in many strands of knowledge - deconstruction, postmodernism, postcolonialism, poststructuralism, cultural studies - although, of course, there are very different approaches in each of these currents. The point of the entire argument is that the assertion of universal truths is, in fact, a “fundamental narrative” (i.e., a global narrative), which in practice is nothing more than the ideology of the groups that dominate the world system. The various universal truths proclaimed are nothing more than particular ideologies. But this statement still does not answer the question whether there are, in principle, universal moral norms? Is a global culture possible?

Some would like to admit that "universalism is always historically accidental", without denying that the desire to create an acceptable global culture has always accompanied the history of mankind. Moreover, without the requirement of universality, no matter how it is characterized - as universal correspondence, universal applicability or universal truth - no academic discipline can justify its right to exist.

However, it is obvious that information revolution, changed the traditional alignment of forces in society, made people talk about a single world information community - a society in which, at first glance, there seems to be no place for ethnocultural features, nations and national relations, national traditions, a single information space, a new civilization without national borders. And, as if in opposition to the emerging new cultural reality, since the second half of the 20th century in American, and then in European science, the growth of the ethnic factor in social processes has been recorded. This phenomenon has even been called "ethnic revival". Ethnic values again began to acquire special significance. From year to year, the struggle of ethnic minorities for the expansion of their ethno-cultural rights in America and Europe became more active, and in 1980-90 this process also overwhelmed Russia. Moreover, such social activity does not always take place in a calm form, sometimes it is expressed in the form of open social conflicts, accompanied by a wave of violence.

As a result, a number of contradictions arise between these two trends:

The contradiction between modernism and traditionalism;

The contradiction between "our" and "them", which is especially characteristic in the dialogue of two cultures - European and Asian, more precisely, Western and Eastern;

The contradiction between global and local forms of culture, which in the light of the "information revolution" acquires a special meaning;

Contradiction between technical and humanitarian aspects of culture.

The theoretical aspects of these contradictions are not sufficiently comprehended, while the very fact of their presence in modern society is no longer denied by anyone. Of particular interest to researchers is the study of the interaction of local and global forms of culture, there is a growing need to predict the further impact of the information revolution on the ethnic components of culture and vice versa.

It is wrong to assume that cultural globalization is only the spread of Western mass culture, in fact, there is an interpenetration and competition of cultures. The imposition of the standards of Western culture in those nation states, where historical and cultural traditions are especially strong, leads to an ethno-cultural upsurge, which sooner or later will be expressed in the strengthening of nationally colored social ideologies. At the same time, states that have "weak" roots of cultural traditions due to the nature of their history are experiencing the modern crisis of public consciousness much weaker. The interaction of local and global culture ultimately occurs along the path of processing cultural innovations and adapting them “for oneself”, while the threshold for the perception of innovations by a civilizational system is determined by the traditionalism of a given society.

Analyzing this aspect of the problem, it should be noted that the core of each culture has a high immunity that resists the penetration and impact of other cultures; on the contrary, the unified norms, standards and rules that have been formed within the framework of Western civilization are relatively easy to spread on a global scale, which is explained by the fact that generally recognized Western structures, institutions, standards and rules grow on the basis of a historically established sum of technologies, which always assumes the presence of identical rational mechanisms. management, rational activity and rational organizational forms. In cases where we are talking about highly adaptive cultures, for example, Japanese, Korean, and partly Chinese, the process of modernization transformations, as a rule, is not only painless, but even with a certain acceleration.

The foregoing allows us to conclude that the era of globalization in the cultural aspect carries at least two trends: on the one hand, this is a change in the traditional way of life of a person, on the other hand, it stimulates the adaptive protective mechanisms of culture, this process sometimes acquires an acute conflict character.

1.3. Intercultural exchange in international communication flows

A large role in eliminating the contradictions inherent in the global process of interpenetration of cultures belongs in modern society to the United Nations, which considers cultural and scientific exchange, intercultural communications as important elements in moving towards international peace and development. In addition to its main activity in the field of education, the United Nations Educational, Scientific and Cultural Organization (UNESCO) focuses on three other areas - science for development; cultural development (heritage and creativity), as well as communication, information and informatics.

A 1970 UNESCO convention prohibits the illegal import, export and transfer of cultural property, while a 1995 convention promotes the return to the country of origin of stolen or illegally exported cultural objects.

UNESCO's cultural activities aim to promote the cultural aspects of development; promotion of creation and creativity; preservation of cultural identity and oral traditions; promotion of books and reading.

UNESCO claims to be a world leader in promoting freedom of the press and a pluralistic and independent media. In its main program in this area, it seeks to encourage the free flow of information and strengthen the communication capabilities of developing countries.

The UNESCO Recommendations "On the International Exchange of Cultural Property" (Nairobi, November 26, 1976) states that the General Conference of the United Nations Educational, Scientific and Cultural Organization recalls that cultural property is the basic element of the civilization and culture of peoples. The Recommendations also emphasize that the expansion and strengthening of cultural exchanges, ensuring a fuller mutual acquaintance with achievements in various fields of culture, will contribute to the enrichment of various cultures, while respecting the identity of each of them, as well as the value of the cultures of other peoples, which constitute the cultural heritage of all mankind. The mutual exchange of cultural property, from the moment it is provided with legal, scientific and technical conditions that make it possible to prevent illegal trade and damage to these values, is a powerful means of strengthening mutual understanding and mutual respect between peoples.

At the same time, by "international exchange" UNESCO means any transfer of ownership, use or storage of cultural property between states or cultural institutions different countries - whether in the form of loaning, depositing, selling or donating such property - under conditions that can be agreed between the parties concerned.

The UN and UNESCO constantly emphasize the non-equivalence of information flows that exist in the modern world. Back in 1957, UNESCO drew the attention of the UN General Assembly to a kind of information hunger based on the disparity in the exchange between the rich countries of the North and the poor countries of the South.

The world receives 80% of its news from London, Paris and New York. Industrialized countries have full control over such areas as scientific and technical information, information related to industrial, commercial, banking, trade operations, information about natural resources and climate received from satellites. Such information is controlled by government organizations and large corporations and does not reach developing countries. In this case, we have a one-way street.

This causes a certain concern of the UN and UNESCO, since the quantitative advantage will certainly turn into a qualitative one. A similar discrepancy is also observed at the level of cultural exchange.

There are also other types of asymmetry that make communication fundamentally non-equivalent. For example, there is a so-called external asymmetry, when multinational companies begin to capture the content of cultural and entertainment programs in developing countries. The incentive to produce programs gradually disappears own production, films, books. As a result, there is a monotony of tastes, styles and content of cultural life.

In general, this is an important problem, because the free exchange of information, protected by the international community, is not implemented today. This is a significant problem also because the development of the country and the corresponding communication opportunities are interconnected. Therefore, UNESCO is directing its efforts towards the formation of a new world information and communication order that makes information exchange more equivalent.

Chapter 2. The practice of organizing an international
cultural exchange

2.1. Formation of the cultural policy of Russia

Cultural policy can be defined as a set of measures taken by various social institutions and aimed at forming the subject of creative activity, determining the conditions, boundaries and priorities in the field of creativity, organizing the processes of selection and transmission of created cultural values and benefits and their development by society.

The subjects of cultural policy include: state bodies, non-state economic and business structures and figures of culture itself (moreover, the latter play a dual role in cultural policy, being both its subjects and objects). In addition to cultural figures, the sphere of culture itself and society, considered as a set of consumers of created and distributed cultural values, belong to the objects of cultural policy.

In the field of the formation of Russia's foreign cultural policy, it should be noted that in the last decade Russia has gained the opportunity to redefine its domestic and foreign cultural policy, develop the legal framework for international cultural interaction, conclude agreements with foreign countries and international organizations, and form a mechanism for their implementation. . The process of transformation of the former system of international cultural cooperation, established under the conditions of the administrative-command system, into a new democratic system based on universal values and national interests has begun in the country. The democratization of international relations contributed to the elimination of strict party-state control over the forms and content of international cultural exchanges. The "iron curtain" was destroyed, which for decades hindered the development of contacts between our society and European and world civilization. The opportunity to independently establish foreign contacts was given to professional and amateur art groups, cultural institutions. Various styles and directions of literature and art have acquired the right to exist, including those that previously did not fit into the framework of the official ideology. There has been a marked increase in the number of state and public organizations participating in cultural exchanges. The share of non-governmental financing of events held outside the country has increased (commercial projects, sponsors' funds, etc.). Development foreign relations creative teams and individual masters of art on a commercial basis not only helped to increase the international prestige of the country, but also made it possible to earn significant foreign exchange funds necessary to strengthen the material base of culture. The political and bureaucratic obstacles in arranging trips of Belarusian citizens abroad have been reduced.

Guided by the Foreign Policy Concept of the Russian Federation and in accordance with Decree of the President of the Russian Federation of March 12, 1996 No. 375 “On the coordinating role of the Ministry of Foreign Affairs of the Russian Federation in pursuing a unified foreign policy line of the Russian Federation”, a lot of work is being done to form cultural cooperation between Russia and foreign countries Ministry of Foreign Affairs of Russia.

The core task of Russia's foreign cultural policy is to form and strengthen relations of mutual understanding and trust with foreign countries, develop equal and mutually beneficial partnerships with them, and increase the country's participation in the system of international cultural cooperation. The Russian cultural presence abroad, as well as the foreign cultural presence in Russia, contributes to the assertion of a worthy place for our country, consistent with its history, geopolitical position, total power and resources, on the world stage.

Cultural exchanges are designed to establish and maintain stable and long-term ties between states, public organizations and people, to contribute to the establishment of interstate interaction in other areas, including the economy.

International cultural cooperation includes relations in the field of culture and art, science and education, mass media, youth exchanges, publishing, museum, library and archival affairs, sports and tourism, as well as through public groups and organizations, creative unions and individual groups of citizens .

The basis of relations in the field of culture is artistic and artistic exchanges in their traditional forms of touring and concert activity. The high prestige and uniqueness of the Russian performing school, the promotion of new national talents to the world stages ensure a stable international demand for the performances of Russian masters.

In the system of educational exchanges, an important role belongs to the implementation of a program of retraining abroad for Russian managerial personnel represented by managers of the real sectors of the economy and civil servants.

Among the normative acts aimed at regulating cultural exchange between Russia and foreign countries, an important role is also played by the Decree of the Government of the Russian Federation of January 12, 1995 N 22 "On the main directions of cultural cooperation between the Russian Federation and foreign countries", which states in particular that cultural cooperation of the Russian Federation with foreign countries is an integral part of the state policy of Russia in the international arena.

As an example, indicating the serious attention of the state to the issues of cultural exchange, one can cite the activities of the Russian Center for International Scientific and Cultural Cooperation under the Government of the Russian Federation (ROSZARUBEZHTSENTR). The main task of Roszarubezhtsentr is to promote the establishment and development of information, scientific, technical, business, humanitarian, cultural relations between Russia and foreign countries through the system of its representative offices and centers of science and culture (RCSC) in 52 countries of the world.

Roszarubezhtsentr has been given the following main tasks: to develop, through Russian centers of science and culture (RCSC) and its representative offices abroad in 68 cities of Europe, America, Asia and Africa, a wide range of international relations of the Russian Federation, as well as to promote the activities of Russian and foreign non-governmental organizations in development of these links; assistance in the formation abroad of a comprehensive and objective view of the Russian Federation as a new democratic state, an active partner of foreign countries in cooperation in the cultural, scientific, humanitarian, informational fields of activity and the development of world economic relations.

An important area of activity of Roszarubezhcenter is participation in the implementation of the state policy for the development of international scientific and cultural cooperation, familiarization of the foreign public with the history and culture of the peoples of the Russian Federation, its internal and foreign policy, scientific, cultural, intellectual and economic potential.

In its activities, Roszarubezhcenter promotes the development of contacts through international, regional and national governmental and non-governmental organizations, including with specialized organizations and institutions of the UN, the European Union, UNESCO and other international organizations.

The foreign public is given the opportunity to get acquainted with the achievements of Russia in the field of literature, culture, art, education, science and technology. These chains are also served by the holding of complex events dedicated to the constituent entities of the Russian Federation, individual regions, cities and organizations of Russia, the development of partnerships between cities and regions of the Russian Federation and other countries.

Despite the attention of the state to the issues of cultural exchange, in recent years the sphere of culture has been in the strict framework of market relations, which significantly affects its condition. Budget investments in culture have sharply decreased (both in percentage and in absolute terms). Most of the normative acts adopted by the authorities regulating relations in this area are not being implemented. The material situation of both the cultural sector in general and creative workers in particular has deteriorated sharply. Increasingly, cultural institutions are forced to replace free forms of work with paid ones. In the process of consumption of cultural goods provided to society, domestic forms begin to predominate; as a result, there is a decrease in attendance at public cultural events.

The implementation of the course announced by the state towards the formation of a multi-channel system of financing culture is poorly carried out in practice due to insufficient legal development, the insignificance of the tax benefits provided for sponsors, and the incomplete formation of the very layer of potential sponsors - private entrepreneurs. Benefits guaranteed by tax legislation are often unilateral, since they mainly concern only government organizations culture.

A very important feature inherent in today's culture of the country is the planting in society of the values of Western (primarily American) civilization, which is reflected in a sharp increase in the cultural offer of the share of products of Western mass culture. This is happening to the detriment of the introduction into the public consciousness of norms and values traditional for the Russian mentality, to a decrease in the cultural level of society, especially young people.

2.2. Cultural exchange programs as a mechanism for overcoming contradictions between value systems

Overcoming the contradictions between the value systems of different peoples is largely facilitated by specific programs of cultural exchanges between countries. An example of this is the Cultural Exchange Programs between Russia and the United States of America, among which the following are widely known:

· Fulbright Scholars Exchange Program

Fulbright master's / postgraduate program

Internship for university teachers

The program "Actual issues of our time" within the framework of the "Act in support of freedom"

Fulbright-Kennan Program for Scholars in the Humanities and Social Sciences

Galina Starovoitova Fellowship Program for Human Rights and Conflict Resolution

· "Young leaders" - Russian- American program for future leaders of state and public organizations

Freedom Act program for university students

· "Act in support of freedom" - an exchange program for schoolchildren ("Flex" program).

· University Partnership Program under the Freedom Act

Russian-American competition of teachers of English and regional studies of the USA

Edmund S. Muskie Fellowship and Freedom Act Postgraduate Fellowship Program

The Hubert Humphrey Program

Program "Cooperation of professional associations"

· Efficient production program

· Open World Program

SABIT - Special American Business Internship Program

· Cochran Fellowship Program

Art programs

· Summer institutes and seminars, etc.

For example, the Fulbright Program is open to Russian professionals who wish to travel to the US to lecture or conduct research. Applicants must have a Ph.D. or PhD degree, scientific publications, and good command of English. Grants are provided for a period of three to eight months.

The selection of participants for the program is based on open competition and includes review of the questionnaire, assessment of the scientific project by reviewers, an interview in English and the final selection stage, which is conducted by a commission consisting of Russian and American scientists and specialists.

Young Leaders, a Russian-American program for future leaders of state and public organizations, provides scholarships to Russian university graduates who have outstanding leadership qualities and intend to work in the state or public sector. The direct implementation of the program is carried out by the Council for International Research and Exchanges (IREX).

The program provides young leaders in Russia and the United States with the opportunity to receive training and professional internships in areas significant for the development of democracy in Russian society, as well as in the sphere of Russian-American historical, political and governmental relations. Russian fellows will study the management system in the public, state or corporate sector. The program includes a year of study at a university or college at the master's level without obtaining a degree. In addition, participants in the program will have to community service, as well as undergo a professional internship for a period of four to twelve weeks.

The Freedom Support Act program for university students is intended for first, second and third year students of Russian universities. The program provides scholarships for a one-year internship at an American college or university without a degree. The program is run by the International Research and Exchange Council (IREX).

Thus, we can talk about serious achievements and good prospects in this area of international cooperation.

CONCLUSION

An analysis of the development of international cultural cooperation shows that some progress has been made in this area compared to previous decades. However, globalization leaves its mark on intercultural communications, which is expressed in a whole set of serious contradictions, primarily at the value (ideological) level.

The most important feature The development of modern society is undoubtedly the process of mutual penetration of cultures, which at the end of the 20th - beginning of the 21st centuries, acquired a universal character. Thanks to radio, television, cinema, the Internet and other media, the intervention of American mass culture, as well as the authoritative cultural standards of Europe and some Asian regions, began to intervene in the cultural space of the whole world.

Despite the cultural transformations taking place in the world, the changes that have taken place in our country can be assessed positively on the whole. There was a transition from strict ideological control to cooperation based on universal values, the right to existence of various styles and forms of creative expression and self-expression was recognized.

At the same time, it is obvious that the theoretical support of Russia's foreign cultural policy lags noticeably behind the existing needs. There is no reason to talk about a sufficient analysis of current processes and forecasting future ones. There are only contours of foreign cultural policy, and not an integral system. The residual principle of funding the cultural sector is still in effect. However, the existing trends generally show positive dynamics, which is largely facilitated by the active involvement of Russian citizens in international programs cultural exchanges. From our point of view, it is very important to develop, within the framework of the cultural policy of the state, an integrated system of value orientations, norms and attitudes (ideologies), which today are dispersed in various regulations. Democratic rights and freedoms of the individual, eternal, enduring values of interpersonal relationships can be named as its spiritual elements. The purpose of creating such an ideology should be to achieve a general consensus on the basis of views shared by the majority of members of society, which can serve as an effective mechanism for social stabilization and the normal development of Russian society.

Regarding the problems of globalization affecting the system of international cultural exchange, we can say the following: the process of interpenetration of cultures is inevitable. In the current difficult conditions of relations between countries with different value systems and levels of social development, it is necessary to develop new principles of international dialogue, when all participants in communication are equal and do not strive for dominance.

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9. Radovel M.R. Factors of mutual understanding in intercultural communication // Proceedings of the international scientific-practical conference "Communication: theory and practice in various social contexts "Communication-2002" ("Communication Across Differences") Part 1 - Pyatigorsk: PSLU Publishing House, 2002. - p. .19.

10. Khots A.Yu. Information revolution and ethnic aspects of the culture of modern society // Abstract of diss. cand. philosopher. Sciences. - Stavropol, 2001.

11. Yarmakhov B. B. Intercultural communication: an aspect of social identity // Proceedings of the international scientific-practical conference "Communication: theory and practice in various social contexts" - "Communication-2002" ("Communication Across Differences") Part I - Pyatigorsk : PSLU Publishing House, 2002.

12 Alonso J.A. Globalization, civil society, and the multilateral system // Development in practice. - Oxford, 2000. - Vol. 10, No. 3-4.

13. Wallerstein I. Capitalist civilization. - Binghampton (N.Y.), 1992.

14. Kacowicz A.M. Regionalization, globalization, and nationalism: Convergent, divergent, or overlapping? // alternatives. - Delhi; N.Y., 1999. - Vol. 24, No. 4.

15. Open the Social Sciences: Report of the Gulbenkian Commission on the Reconstruction of the Social Sciences, Stanford: Stanford Univ. Press, 1996.

16. Pieterse J.N. Globalization as hybridization // Intern. sociology. - L., 1994. - Vol. 9, No. 2.

17. Website of the US Embassy in Moscow http://www.usembassy.ru/bilateral/bilateralr.php?record_id=pa_exchanges.

18. http://pravo2002.by.ru/intern/09/med01309.html.

International cultural exchange is the most important process of interaction and mutual enrichment of the cultures of the peoples of the world, contributing to the progress of human civilization over many centuries. In the past, the exchange of information in the 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 a 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. This is the effective organization of the economic life of society, which will steadily increase investment 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 Melekhin BI Cultural and scientific communication of peoples. Voronezh, 1968. 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. Negodaev I.A. On the way to the information society. Rostov-on-Don, 2001 p.51. 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 scale 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.

86. Pros and Cons of the Bologna Process - http://russ. en

87. Russian higher education and the Bologna process - http :// comparative . edu. en

88. Tkachenko process at St. Petersburg University - http://www. recipe. ru / ru / redirect .

2. Additional :

1. Functioning of university science in conditions of regulated market relations. Ed. . M., 1991.

2. , Sushchinskaya system of higher education in foreign countries. SPb., 1998.

3. Economic problems higher education in Western European countries. Collection. Rep. Ed. . M., 1999.

4. Problems of the quality of higher education. Materials of the international conference. Ufa, 1993.

5. Modern problems of university education. materials III All-Russian scientific - practical conference. Volgograd, 1993.

6. Universities in the formation of a specialist in XXI century. Abstracts of scientific - methodological conference. Perm, 1999.

7. Bologna process and quality of education// Almamater. Bulletin of the higher school. 2003. No. 8.

8. Does the globalization of the economy create value for the new civilization? Speeches by Mr. Koichiro Matsuura // UNESCO Courier. 2000. September. WITH

9. International educational aspects as an element of strategy // Higher education in Russia. 2000. No. 5. S. 12 - 16.

10. Will education become part of the world market? // UNESCO Courier. 2000 . February . WITH . 5 - 9.

11. Shchennikov distance education. M., 2002.

12. Second International Congress of Education and Informatics. UNESCO. Moscow, 1996.

13. UNESCO. Worldwide action in education. UNESCO. Paris, 1993.

14. Walderrama F. A History of UNESCO. UNESCO. Paris, 1995.

SubjectIX. Problems and prospects of cultural exchange at the beginning XXIcentury (4 hours).

Lecture 15. St. Petersburg is an international scientific and cultural center. The history of the formation and development of cultural and scientific relations of St. Petersburg. The main directions and forms of international cultural interaction of St. Petersburg in the present. XX I century. International cultural and scientific organizations, foundations and centers in St. Petersburg in the XX - n. XXI V. V. (structure, principles and main activities). St. Petersburg is the cultural capital of Russia. St. Petersburg is the scientific and cultural center of the Northwestern region. Bilateral and multilateral cultural relations of St. Petersburg in n. XXI century. Problems and prospects for the development of cultural ties of our city at the turn of XX - XXI century V.

Lecture 16 XXIV.

Features of the development of international cultural exchange in present stage. The main problems and contradictions of modern cultural exchange. Interdependence of international cultural relations and international relations. International cultural exchange in the context of internationalization, integration and globalization of culture. Prospects for the development of international cultural relations at the beginning 21st century

Literature on the topic:

1. Mandatory:

Mexico City Declaration on Cultural Policy.//Culture: Dialogue of the Peoples of the World. UNESCO, 1984. No. 3. Law of the Russian Federation "Fundamentals of the Legislation of the Russian Federation on Culture" // Rossiyskaya gazeta. - July 02, 1999., N 124. The concept of the development of exhibition and fair activities in the Russian Federation.// Magazine-reference book about exhibitions and business meetings "Expomir" 2001 No. 3-4. Culture of Russia (). federal program. Ministry of Culture of the Russian Federation., 2001. Decree of the Government of the Russian Federation of 01.01.2001 N 740 "On the federal target program "Culture of Russia (years)"// http://www. gov. *****/gov/admin/otrasl/c_culture/conception. Interaction with international organizations. http://www. gov. *****/gov/admin/otrasl/c_foreign/otshet/megdorg. Exhibition Policy of the Administration of St. Petersburg// http://media. *****/library_view_book. php? chapter_num=11&bid=96. Partner cities of St. Petersburg//http: //www. kvs. *****/ru/activity/international/city/ Tasks of the Foreign Relations Committee// kvs. *****/en/tasks/ Information about the work of the Committee. Annual report for 2005 //kvs. *****/en/activity/reports/2005/ Information about the work of the Committee. Annual report for 2006 //kvs. *****/en/activity/reports/2006 Information about the work of the Committee. Annual report for 2007 //kvs. *****/ru/activity/reports/ 2007 International cooperation of St. Petersburg// http://www. gov. *****/gov/admin/otrasl/c_foreign/otshet/sotrmegd International and interregional relations of St. Petersburg// http://www. gov. *****/day/inter On the cooperation of the Administration of St. Petersburg with the Nordic countries and the countries of the Baltic Sea.//Memorandum to the Session of the Nordic Council of Ministers, Oslo, November 1-12). On the preparation of high-level meetings during the celebration of the 300th anniversary of St. Petersburg (Official site of the Legislative Assembly of St. Petersburg) // http://www. gov. *****/today? newsid=7875 //http://www. assembly. *****. Official website of the Committee for External Relations//www. kvs. ***** Official site of documents of the Ministry of Foreign Affairs of the Russian Federation. //http://www. ln. *****/ns-dksu. nsf. Official collection of sources Alliance Française. http://www. af. *****/af10/af2_ru. htm Cooperation agreement with the Goethe Institute.// http://www. *****/newsheadlines/index. html. Cooperation of UNESCO with Russia//. http://ced. *****/schools/web/g11/media/sotrud/sotrud2.htm Organizations of the Baltic region// http://www. . Official website of the British Council// http://www. *****. Official website of the organization Goethe Institute// http://www. goethe. de/ins/ru/pet/uun/ruindex. htm Official site of the St. Petersburg Center for International Cooperation// http://cic. *****/ Official site of the French Institute in Russia. http://www. /rus/index. php Official site of UNESCO in the Russian Federation. http://www. ***** St. Petersburg Center for International Cooperation //http://www. cic. ***** Saint Petersburg. Calendar of events. SPb., 2001; 2002; 2003. // http://www. 300 spb. ru. Country Plan . . The full text of the document has not been published, the document is at the disposal of the British Council//http://www. *****/rian/intro. cfm? nws_id=25222 WITH operation culturelle, scientifique et technique// http://www. france. diplomacy. gouv. fr/actu/article. asp? ART=45015. Public policy in the field of soft security. St. Petersburg Humanitarian and Political Science Center "Strategy". SPb., 2003. Dawn over Petersburg. St. Petersburg in the world community. St. Petersburg, European House, 2005. Ryazantsev connections of St. Petersburg with the Baltic countries, history and modernity. St. Petersburg, 2003. From Leningrad to Petersburg: A Journey through Time and Space. - St. Petersburg: Buttress, 1999. Sherikh 300 years day by day. -M: Tsentrpoligraf, 2003. Bogolyubov of St. Petersburg in the formation of the foreign cultural policy of Russia.//Materials of the scientific-practical conference-sminar. June 2-3, 2004, St. Petersburg, 2005. , Nikolaeva, analysis of the activities of foreign cultural centers in Russia and the problems of foreign cultural policy.// Comparative studies - II . Almanac of Comparative Socio-Humanitarian Studies. SPb., 2002. S. 267 - 271. St. Petersburg in Russia's foreign policy. //International life. 2003. No. 6. St. Petersburg as a cultural phenomenon / // St. Petersburg in world culture: Sat. Art. Ed. ,.- SPb., 2005. S. 7-29.

Note: as part of the lessons, viewing of video materials is provided.

2. Optional:

, Shlapentokh of cultural development: their study and forecasting. M., 1976. City and culture. Digest of articles . SPb., 1992. Intercontacts. From the history of international artistic relations between Leningrad and St. Petersburg in the last quarter of the 20th century. SPb., 2000. , The problem of "West-East" in cultural studies: the interaction of artistic cultures. M., 1994. The mentality and political development of Russia. M., 1996. Greenhouses for everyone. Mass culture and modern man. M., 1996. Cort D Revolution by cliche. N.Y., 1970. Popular culture and social relation. Philad., 1986 Richards B. Disaplines of delight: the psychoanalysis of popular culture. London. 1994. Sillars S. visualization in popular fiction. London. 1995.

DOCUMENTS FOR WORK AT SEMINAR CLASSES

Foreign cultural policy

1. Foreign cultural policy of Russia.//Diplomatic Bulletin. 2000 No. 4. S. 76-84. European Higher Education Zone (Bologna, 1999)//International Cultural Exchange in Documents and Materials. Reader. Compiling authors, . SPb., 2004 (FMO library).

2. "Roadmap" for the common space of science and education, including cultural aspects// www . kremlin/ru

UNESCO Documentation

1. Declaration of Principles of International Cultural Cooperation//International cultural exchange in documents and materials. Reader. Authors-compilers, . SPb., 2004

2. Universal Declaration on Cultural Diversity//International cultural exchange in documents and materials. Reader. Authors - compilers, . SPb., 2004

Documentation of international tourism

1. World Conference on Tourism (Manila, 1980)// International cultural exchange in documents and materials. Reader. Authors - compilers, . SPb., 2004

2. Global Code of Ethics for Tourism // International Cultural Exchange in Documents and Materials. Reader. Authors - compilers, . SPb., 2004

3. Tourist Code//International cultural exchange in documents and materials. Reader. Authors - compilers, . SPb., 2004

4. Interparliamentary Conference on Tourism (The Hague, 1989)//International cultural exchange in documents and materials. Reader. Authors - compilers, . SPb., 2004

5. Osaka Declaration on World Tourism (Osaka, 2001) // International Cultural Exchange in Documents and Materials. Reader. Authors - compilers, . SPb., 2004

6. Tourist Charter//International cultural exchange in documents and materials. Reader. Authors - compilers, . SPb., 2004.

Documentation of the Bologna Process

European Higher Education Zone (Bologna, 1999)//International Cultural Exchange in Documents and Materials. Reader. Compiling authors, . SPb., 2004 (FMO library). Convention on the Recognition of Qualifications Relating to Higher Education in the European Region (Lisbon, 1997)//International cultural exchange in documents and materials. Reader. Compiling authors, . SPb., 2004 (FMO library). Common European Educational Space - Achieving Goals (Bergen, 2005)//Official Documents in Education. 2005. No. 21.С; see also// http://www. tempus-russia. ru / bolon-1. htm Joint Declaration on the Harmonization of the Architecture of the European Higher Education System (Sorbonne, 1998) International cultural exchange in documents and materials. Reader. Compiling authors, . SPb., 2004 (FMO library). Creation of a common European area of higher education (Berlin, 2003)// International cultural exchange in documents and materials. Reader. Compiling authors, . SPb., 2004 (FMO library). Bologna Process Stocktaking London 2007. Summery of findings from stocktaking. BP Stocktaking Report 2007//http://www. dfes. gov. uk/bologna/uploads/documents/6909-BolognaProcessST. pdf

Documentation of the International Olympic Committee

Olympic Charter//International cultural exchange in documents and materials. Reader. Compiling authors, . SPb., 2004 (FMO library).

REFERENCES FOR THE COLLOQUIUM

1. Alexandrov tourism. M., 2001 (FMO library).

2. Box of civilizations. M., 2001 (FMO library).

3. Galumov's image of Russia. M., 2003.

4. Derkach imageology. M., 2006.

5. The economy of symbolic exchange. M., 2006.

6. Cannes Festival. Vinnitsa, 1998.

7. Kasevich process in questions and answers. SPb., 2004 (FMO library).

8. Diplomacy of many faces: Confession of an ambassador. M., 2004 (FMO library).

9. , Smirnova of the image of the state in international relations. SPb., 2006.

10. , Smirnova state and decision-making in international relations. SPb., 2004.

America - Russia: cold war cultures. How American values refract the vision of Russia. M., 2007 (FMO Library).

12. PR - text in the system of public communications. SPb., 2002 (FMO library).

13. Trade fairs and exhibitions. M., 1997.

14. Russian theater Paris. SPb., 2003.

15. , Ushakov of Russia and the West XVIII - p. p. XIX centuries. SPb., 2006.

16. Pocheptsov. M., 2000.

17. Dawn over Petersburg. St. Petersburg in the world community. SPb., 2005 (FMO library).

18. Ryazantsev connections of St. Petersburg with the Baltic countries, history and modernity. St. Petersburg, 2003 (FMO library).

CMirnov leader and political elite in the UK press. SPb., 2006 (FMO library).

20. Fokin cultural exchange and the USSR in the 20-30s. SP., 1999.

21. Shanin. History of ancient athleticism. SPb., 2001 (FMO library).

Shepel. Secrets of personal charm. M., 2000. background. Europe and the Soul of the East. M., 2003. (see also: http:// imwerden. de/ pdf/ Schubart_ europa_ und_ Seele_ des_ ostens_ en_2000. pdf)

Sample Topics for Exam Preparation

1. The concept of international cultural exchange.

2. The main stages in the development of international cultural exchange.

3. Foreign cultural centers: theoretical aspect (the problem of sources and historiography, development of a definition, classification, main stages of formation and development, areas of activity).

4. The activities of foreign cultural centers in the context of the implementation of foreign cultural policy (British Council, Alliance Française, French Institute, American Cultural Center, Goethe Institute, Japanese Cultural Center, Nordic Council of Ministers).

5. Activities of Russian cultural centers abroad. Rosszarubezhtsentr and Russian centers of science and culture.

6. The main directions and forms of international musical and theatrical cooperation.

7. The main stages in the formation of international musical relations.

8. International music competitions in Russia.

9. International theater festivals in St. Petersburg.

10. Domestic cinema at international film festivals (Cannes, Berlin, Venice).

11. Cultural and educational programs of UNESCO.

12. Russia and UNESCO. The main directions and forms of interaction, problems and prospects for cooperation.

13. St. Petersburg as an international cultural and scientific center.

14. Cultural ties between Russia and the CIS countries.

15. Cultural relations of Russia with the countries of the Baltic region.

16. The role of Russia's bilateral relations in the context of foreign cultural policy.

17. The role of multilateral relations in the context of foreign cultural policy.

18. The problem of restitution of cultural values in modern cultural exchange.

19. The problem of preserving national culture in the context of integration and globalization.

20. The problem of the formation of foreign policy images in international relations: the main sources and methods of formation. The concept of ethnic image and stereotype.

21. Ethnic stereotypes in international cultural exchange: main sources and methods of formation.

22. Features and practical significance of the study of ethnic and foreign policy images: domestic and foreign scientific schools.

23. The role of ethnic and foreign policy images in international relations.

24. Russia in the international Olympic movement.

25. International sports organizations in cultural exchange ( general characteristics and main activities).

26. International relations in the field of sports (basic forms and directions).

27. The main stages in the development of international sports relations.

28. International Olympic Committee and International Olympic Movement

29. International relations in the field of science (basic forms and directions).

30. International scientific funds and awards in cultural exchange.

31. Nobel Foundation and Nobel Prizes. International scientific awards.

32. International scientific programs.

33. The role of science in modern international relations.

34. The concept of academic mobility: international student exchange programs.

35. International educational relations (main forms and directions).

36. The main stages of the formation of educational ties.

37. The concept of the Bologna process.

38. Russia in the Bologna process: main problems and prospects for participation.

39. The concept of cultural and natural heritage. UNESCO activities for the protection of monuments of cultural and natural heritage.

40. Russia in international cultural exchange.

41. international film festivals. Typology and classification.

42. International festivals of class A. Cannes Film Festival.

43. Typology and classification of theatrical connections.

44. The concept and typology of international tourism.

45. The main stages of formation and development of international tourism.

46. International organizations regulating the work of international fairs and exhibitions.

47. Typology of international exhibitions.

48. The main stages of formation and development of international exhibitions.

49. The concept of foreign cultural policy.

50. Foreign cultural policy of the USSR in the XX century.

51. The activities of the VOKS on the implementation of the foreign cultural policy of the USSR.

52. Institutional and functional analysis of the activities of the VOKS.

53. Features of the foreign cultural policy of the USSR after the Second World War.

54. Peculiarities of documenting foreign cultural policy: a comparative analysis on the example of Russia and European countries.

55. Foreign cultural policy of Russia. The main directions and forms of implementation.

56. Bilateral ties in Russia's foreign cultural policy.

57. Multilateral Relations in Russia's Foreign Cultural Policy.

58. The main forms of cultural ties in the Concept of foreign cultural policy.

59. Priority areas of cultural interaction in the Concept of Russia's foreign cultural policy.

60. Cultural Relations of Russia with International Organizations and Centers in the Concept of Russia's Foreign Cultural Policy.

61. Foreign cultural policy of European countries (France, Great Britain, Germany), USA.

62. The main problems of cultural interaction in the XX 1st century

63. The concept of the foreign cultural policy of Russia (analysis of the document "Theses of the Foreign Cultural Policy of Russia - the year 2000").

64. Documentation of the Bologna process.

65. The Olympic Charter is the main document of the international Olympic movement.

66. Documentation in the field of international tourism.

67. International cultural exchange in the era of antiquity and the Middle Ages.

68. International cultural exchange in the era of modern times.

69. Features of international cultural exchange in the twentieth century.

70. Prospects for the development of international cultural exchange in the early twentieth century 1st century

Educational and methodological support of the course

List of videos for the course

Ancient Olympia (BBC documentary) - The theme is "International Sports Relations". L. Riefenstahl. Olympia (documentary, fragment) - the theme is "International Sports Relations". Elections of the Olympic capital - 2012 (video report from the meeting of the IOC Session, fragment) topic "International Sports Relations"; "The problem of images, images and stereotypes in international relations". Opening Olympic Games in Athens 2004 (documentary, fragment) - the theme is "International Sports Relations". L. Parfenov. The other day (materials on holding international music competitions, the International Music Olympiad, film festivals, Eurovision contests) topic "International musical, theatrical relations" Nobel laureates are Russians. The Nobel Prize Ceremony (documentary, fragment) - the theme is "International Scientific Relations". Fragments of feature films and documentaries on the problems of images and stereotypes - the theme "The problem of images, images and stereotypes in international relations". L. Parfenov. From the history of international cultural relations: P. Tchaikovsky's speech in the USA, Diaghilev's seasons in Paris (fragment) - the theme “History of the development of cultural relations. Russia in international cultural exchange.

Technical equipment of the course . As part of the course, the authors use video materials on the development of the international sports movement, international scientific and educational activities. The course also includes DVD materials on formation and development of international festivals, competitions.

DVD collection and video materials is copyrighted and collected by the course developers from various original sources.

Active learning methods

As part of the seminars, students analyze the international status event held in St. Petersburg, and they are invited to develop their own concept and program for such an event.

Methodological recommendations for teachers. Teachers should actively involve the latest materials on the main problems of the course, use the current one. Operational information illustrating the main trends in the development of international cultural cooperation. During the presentation of the course, international class A film festivals, sporting events, and international music competitions are traditionally held. Discussion of these events can become a separate topic within the framework of lectures and seminars.

Material support of the course. In order to successfully present the course to the authors-developers, it is necessary DVD player and laptop

Methodical instructions to students. To successfully master the course materials, students need to get acquainted with the legal documents for this course, as well as with the current documentation and the latest events in international cultural interaction.

Response Requirements stem from its main goals and objectives:

The student must show a certain level of knowledge on the studied material, master the basic concepts and categories of the course,

The student should have an idea of the most important sources of the issue being studied, have knowledge of modern factual material,

The student has an idea of the most important debatable issues within the framework of the problems under consideration,

The student has the skills to conduct a discussion, be able to express and motivate their own judgment.

Exam preparation tips . When preparing for the test, the student must familiarize himself with the proposed volume of compulsory literature, read at least five titles of works from the list of additional literature, and also get acquainted in an independent form with modern published material on the topic of the course.

What is cultural exchange. » The role of the political factor in international cultural exchange - International humanitarian relations

Tutoring

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

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1.1.Globalization as a socio-cultural reality

1.2. The problem of correlation of value systems

1.3. Intercultural exchange in international communication flows

2.1. Formation of the cultural policy of Russia

2.2. Cultural exchange programs as a mechanism for overcoming contradictions between value systems

Real and financial investments Making real and financial investments

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What is cultural exchange. » The role of the political factor in international cultural exchange - International humanitarian relations

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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

Social dynamics of intercultural communications between Russia and China 2010, Candidate of Cultural Studies Lan Xia

Transformation of Modern Russian Education in the Context of the Dialogue of Cultures of Russia and the USA 2011, Doctor of Cultural Studies Kucheruk, Irina Vladimirovna

Intercultural Communication as a Factor of Sociocultural Changes 2006, Candidate of Cultural Studies Zhanna Alexandrovna Verkhovskaya

Modern Intercultural Dialogue in the Context of Network (Information) Interactions in the Educational Space of the CIS 2013, candidate of philosophical sciences Kim, Maria Vladimirovna

The work of Rainer Maria Rilke in dialogue with the cultures of Russia and France 2006, candidate of cultural studies Gulyaeva, Tatyana Petrovna

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

1.1.Globalization as a socio-cultural reality

1.2. The problem of correlation of value systems

1.3. Intercultural exchange in international communication flows

2.1. Formation of the cultural policy of Russia

2.2. Cultural exchange programs as a mechanism for overcoming contradictions between value systems

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