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Features of modern youth culture. Culture of modern youth: values, norms, meanings Mass culture influence on youth

Introduction …………………………………………………………………………… ..… ................. 3

Historical conditions and stages of formation mass culture…………4

Social functions of mass culture ……………………………… ............... 5

The negative impact of mass culture on society ... ... ... ... ... ... ... ... ... ... .6

Positive functions of mass culture ……… ... …………………………… .7

Conclusion ……………………………… ... ………………………………………………………… 8

References ………………… ... ………………………………………………………… ..9

Introduction

Culture is a set of industrial, social and spiritual achievements of people. Culture is a system of means of human activity, which is constantly being improved, and thanks to which human activity is stimulated and realized. The concept of "culture" is very ambiguous, has different content and different meanings not only in everyday language, but also in different sciences and philosophical disciplines. It must be disclosed in differential-dynamic aspects, which requires the use of the categories “social practice” and “activity”, linking the categories “social being” and “social consciousness”, “objective” and “subjective” in the historical process.

If we recognize that one of the main features of genuine culture is the heterogeneity and richness of its manifestations, based on national-ethnic and class-class differentiation, then in the 20th century it was not only Bolshevism that turned out to be the enemy of cultural “polyphony”. In the conditions of an “industrial society” and scientific and technological revolution, humanity as a whole has shown a clearly pronounced tendency towards stereotypes and uniformity to the detriment of any kind of originality and identity, whether it is about an individual or about certain social strata and groups.

The culture of modern society is a combination of the most diverse layers of culture, that is, it consists of a dominant culture, subcultures and even countercultures. In any society, high culture (elite) and folk culture (folklore) can be distinguished. The development of the mass media has led to the formation of the so-called mass culture, simplified in semantic and artistic terms, technologically accessible to all. Mass culture, especially with its strong commercialization, is capable of displacing both high and popular cultures. But in general, the attitude towards mass culture is not so unambiguous.

The phenomenon of "mass culture" from the point of view of its role in the development of modern civilization is not assessed by scientists unambiguously. A critical approach to "mass culture" comes down to its accusations of neglecting the classical heritage, that it is allegedly an instrument of deliberate manipulation of people; enslaves and unifies the sovereign personality, the main creator of any culture; contributes to her alienation from real life; distracts people from their main task - "the spiritual and practical development of the world" (K. Marx). The apologetic approach, on the contrary, is expressed in the fact that "mass culture" is proclaimed as a natural consequence of irreversible scientific and technological progress, that it contributes to the rallying of people, especially young people, regardless of any ideologies and national-ethnic differences into a stable social system and not only does not reject the cultural heritage of the past, but also makes its best examples the property of the widest popular strata through their replication through the press, radio, television and industrial reproduction.

The debate about the harm or beneficialness of "mass culture" has a purely political aspect: both democrats and supporters of authoritarian rule, not without reason, strive to use this objective and very important phenomenon of our time in their own interests. During the Second World War and in the post-war period, the problems of "mass culture", especially its most important element - mass media, were studied with equal attention in both democratic and totalitarian states.

Historical conditions and stages of the formation of mass culture

The peculiarities of the production and consumption of cultural values ​​allowed culturologists to distinguish two social forms of culture existence: mass culture and elite culture. Mass culture is a type of cultural product that is produced in large quantities every day. It is assumed that popular culture is consumed by all people, regardless of place and country of residence. It is a culture of everyday life, presented to the widest possible audience through various channels, including the media and communication.

When and how did mass culture appear? There are a number of points of view regarding the origins of mass culture in cultural studies.

Let us give as an example, the most frequently encountered in the scientific literature:

1. The preconditions of mass culture have been formed since the birth of mankind, and, in any case, at the dawn of Christian civilization.

2. The origins of mass culture are associated with the emergence of an adventure, detective, adventure novel in European literature of the 17th-18th centuries, which significantly expanded the audience of readers due to huge circulations. Here, as a rule, the work of two writers is cited as an example: the Englishman Daniel Defoe, the author of the well-known novel "Robinson Crusoe" and 481 more biographies of people of the so-called risky professions: investigators, military men, thieves, etc. and our compatriot Matvey Komarov ...

3. A great influence on the development of mass culture was exerted by the law on compulsory universal literacy, adopted in 1870 in Great Britain, which allowed many to master the main type of artistic creation of the 19th century - the novel.

And yet, all of the above is the prehistory of mass culture. And in a proper sense, mass culture showed itself for the first time in the United States. The famous American political scientist Zbigniew Brzezinski liked to repeat a phrase that became commonplace over time: "If Rome gave the world the right, England gave parliamentary activity, France gave culture and republican nationalism, then the modern USA gave the world a scientific and technological revolution and popular culture."

The phenomenon of the emergence of mass culture is as follows. The turn of the 19th century was characterized by a comprehensive massification of life. She touched upon all her spheres: economics and politics, management and communication of people. The active role of the masses of people in various social spheres has been analyzed in a number of philosophical works of the 20th century.

X. Ortega y Gasset in his work “Rise of the Masses” deduces the very concept of “mass” from the definition of “crowd”. The crowd is quantitatively and visually many, and the multitude from the point of view of sociology is the mass, explains Ortega. And further he writes: “Society has always been a mobile unity of the minority and the masses. A minority is a set of individuals singled out separately, a mass - not singled out by anything. Mass is the average person. Thus, a purely quantitative definition turns into a qualitative one. "

The book "The End of Ideology" by the American sociologist, professor at Columbia University D. Bell, in which the peculiarities of modern society are determined by the emergence of mass production and mass consumption, is very informative for the analysis of our problem. Here, the author formulates five meanings of the concept of "mass":

1. Mass - as an undifferentiated set (that is, the opposite of the concept of class).

2. Mass - as a synonym for ignorance (as X. Ortega y Gasset wrote about it).

3. The masses - as a mechanized society (that is, a person is perceived as an appendage of technology).

4. The masses - as a bureaucratized society (that is, in a mass society, an individual loses his individuality in favor of herd nature). 5. The masses are like a crowd. There is a psychological meaning here. The crowd does not reason, but obeys the passions. A person himself may be cultured, but in a crowd he is a barbarian.

And D. Bell concludes: the masses are the embodiment of herd, uniformity, stereotyped.

An even deeper analysis of "mass culture" was made by the Canadian sociologist M. McLuhan. He also, like D. Bell, comes to the conclusion that the mass media give rise to a new type of culture. McLuhan emphasizes that the starting point of the era of "industrial and typographic man" was the invention of the printing press in the 15th century. McLuhan, defining art as the leading element of spiritual culture, emphasized the escapist (i.e., diverting from reality) function of artistic culture.

Of course, the mass has changed significantly these days. The masses have become educated and informed. In addition, the subjects of mass culture today are not just the masses, but also individuals united by various ties. In turn, the concept of "mass culture" characterizes the characteristics of the production of cultural values ​​in a modern industrial society, designed for the mass consumption of this culture.

Social functions of mass culture

From the social point of view, mass culture forms a new social stratum called the “middle class”. The processes of its formation and functioning in the field of culture are most concretized in the book of the French philosopher and sociologist E. Morena "The Spirit of the Time". The concept of "middle class" has become fundamental in Western culture and philosophy. This “middle class” has become the backbone of the life of an industrial society. He also made popular culture so popular.

Popular culture mythologizes human consciousness, mystifies real processes taking place in nature and in human society. There is a rejection of the rational principle in the mind. The goal of mass culture is not so much to fill leisure and relieve tension and stress in a person of industrial and post-industrial society, but to stimulate consumer consciousness in the recipient (i.e., the viewer, listener, reader), which in turn forms a special type - passive, uncritical perception of this culture in humans. All this creates a personality that is quite easy to manipulate. In other words, the human psyche is manipulated and the emotions and instincts of the subconscious sphere of human feelings are exploited, and above all feelings of loneliness, guilt, hostility, fear, self-preservation.

The mass consciousness formed by mass culture is diverse in its manifestation. However, it is notable for its conservatism, inertia, and limitedness. It cannot cover all the processes in development, in all the complexity of their interaction. In the practice of mass culture, mass consciousness has specific means of expression. Popular culture is more focused not on realistic images, but on artificially created images (image) and stereotypes. In popular culture, the formula is the main thing.

Mass culture in artistic creation performs specific social functions. Among them, the main one is the illusory-compensatory one: the introduction of a person into the world of illusory experience and unrealizable dreams. And all this is combined with open or hidden propaganda of the dominant way of life, which has as its ultimate goal the distraction of the masses from social activity, the adaptation of people to existing conditions, and conformism.

Hence the use in mass culture of such genres of art as detective story, melodrama, musical, comics.

The negative impact of mass culture on society

The culture of modern society is a combination of the most diverse layers of culture, that is, it consists of a dominant culture, subcultures and even countercultures.

34% of Russians believe that mass culture has a negative impact on society and undermines its moral and moral health. The All-Russian Center for the Study of Public Opinion (VTsIOM) came to such a result as a result of the conducted in 2003. poll.

The positive influence of mass culture on society was stated by 29% of Russians surveyed, who believe that mass culture helps people to relax and have fun. 24% of respondents believe the role of show business and mass culture is greatly exaggerated and are convinced that they do not have a serious impact on society.

80% of the respondents are extremely negative towards the use of profanity in public speeches of show business stars, considering the use of obscene expressions an unacceptable manifestation of promiscuity and mediocrity.

13% of respondents admit the use of profanity in cases where it is used as a necessary artistic means, and 3% believe that if it is often used in communication between people, then attempts to prohibit it on stage, in cinema, on television is just hypocrisy ...

The negative attitude towards the use of profanity is also reflected in Russians' assessments of the situation around the conflict between journalist Irina Aroyan and Philip Kirkorov. 47% of the respondents sided with Irina Aroyan, while the pop star was supported by only 6%. 39% of respondents showed no interest in this process at all.

47% of Russians surveyed believe that bright characters on TV screens, being models and idols for a significant part of young people, should meet higher moral requirements than those that are imposed on ordinary people. 41% consider show business stars to be the same people as everyone else, and 6% of respondents believe that certain elements of defiant behavior on the part of pop characters as creative and extraordinary people are acceptable.

The development of the mass media has led to the formation of the so-called mass culture, simplified in semantic and artistic terms, technologically accessible to all. Mass culture, especially with its strong commercialization, is capable of displacing both high and popular cultures.

Contemporary Russian culture is also characterized by a phenomenon that sociologists have called the Westernization of cultural needs and interests, primarily of youth groups of the population.

For many Russians, and again, first of all, young people, the absence of ethnocultural or national self-identification is characteristic, they cease to perceive themselves as Russians, they lose their Russianness. The socialization of young people takes place either on the traditional Soviet or on the Western model of education, in any case, non-national. Russian folk culture (traditions, customs, rituals) is perceived by most young people as an anachronism. The lack of national self-identification among Russian youth is precisely what leads to an easier penetration of Westernized values ​​into the youth environment.

In many ways, the youth subculture simply repeats, duplicates the television subculture. It should be noted here that since the beginning of the 1990s. mass culture in its screen and television forms is acquiring an increasingly negative character. For example, out of 100 films most popular in Leningrad video salons, 52% had all the signs of action films, 14 horror films, 18 karate films. At the same time, according to film experts, there was not a single film with artistic and aesthetic value, and only 5% had certain artistic merit. 80-90% of the cinemas' repertoire consists of foreign films.

No less negative consequences can be noted in the development of musical culture. This kind of mass culture, like rock music, was first banned at the official level in our country, and then just as immoderately extolled and idealized. Why oppose that rock music, which is associated with folk traditions, traditions of political and author's song? There are also such directions as punk-rock, heavy metal, etc., which undoubtedly bear a countercultural, vandalist character. Many musical styles are distinguished by syndromes of pessimism, motives for death, suicide, fear and alienation. The loss of humanistic content occurs in rock music due to the distortion of the natural human voice with all sorts of wheezing and squeals, deliberately broken by mocking intonations, substitution of female voices for male voices, and vice versa.

Positive functions of popular culture

The most important, if not decisive, feature of "mass society" is "mass culture".

In keeping with the general spirit of the times, unlike the social practice of all previous eras, from about the middle of this century it has become one of the most profitable sectors of the economy and even receives the corresponding names: "entertainment industry", "commercial culture", "pop culture", " leisure industry ", etc. By the way, the last of the given designations reveals one more reason for the emergence of "mass culture" - the emergence of an excess of free time and "leisure" among a significant layer of working citizens. More and more people have a need to “kill time”. For its satisfaction, naturally for money, “mass culture” is designed, which manifests itself mainly in the sensory sphere, ie. in all types of literature and art. Cinema, television and, of course, sports (in its purely spectator part) have become especially important channels for the general democratization of culture in recent decades, gathering huge and not too picky audiences, driven only by the desire for psychological relaxation.

To fulfill its function - to relieve strong industrial stresses - “mass culture” must be at least entertaining; addressed to people often with an insufficiently developed intellectual beginning, it largely exploits such spheres of the human psyche as the subconscious and instincts. All this corresponds to the prevailing theme of "mass culture", which receives large profits from the exploitation of such "interesting" and understandable to all people as love, family, career, crime and violence, adventure, horror, etc. It is curious and psychotherapeutic positive that, in general, “mass culture” is cheerful, shuns really unpleasant or depressing stories for the audience, and the corresponding works usually end with a happy ending. It is not surprising that, along with the “average” person, one of the consumers of such products, there is a pragmatic part of the youth, not burdened by life experience, not losing optimism and still pondering little about the cardinal problems of human existence.

Mass culture today is also able to play a positive role, introducing the masses to the most complex spiritual and moral problems in an adapted form. But whether an individual will abandon further searches for cultural musical values, or will be content with the acquired surrogates of mass culture - this already directly depends on the personality itself. An exceptional role here belongs to upbringing, art and aesthetic education.

Conclusion

The attitude towards mass culture is most often ambiguous: it is arrogantly despised, expressed concern in connection with its onslaught, in a mild version they are condescending, but no one has yet escaped contact with it.

Of course, popular culture has its positive aspects. Entertaining, delivering sensual pleasure, it gives a person the opportunity to forget about their problems, to relax. However, works of mass culture are momentary and only imitate the techniques of true art, are designed for external effect.

The spread of mass culture does not mean the disappearance of an elite culture. It would be an oversimplification, however, to represent popular culture only negatively, as a monster devouring everything human in a person. Analyzing popular culture, one should not consider it exclusively in an ideological vein, as it was quite recently.

In the works of modern researchers, you can find various indications of the time of the emergence of mass culture: some believe that it existed even in the most ancient civilizations. We believe, however, that mass culture is a product of modern civilization with its characteristic features of urbanization and universal education. Almost until the beginning of the 20th century, there were quite clearly divided elite and folk cultures. The first was widespread in cities, among those who had the opportunity to receive an appropriate education and upbringing. The second was often created by people who are illiterate, but who are carriers of traditions.

The process of urbanization, which resettled significant masses of peasants and the petty bourgeoisie to cities, led to the fact that people, cut off from nature that fed the popular culture, were unable to join the urban culture, which required not only elementary reading and writing skills, but much more education, time and material opportunities. The new urban masses needed forms of culture accessible to them.

Thus, mass culture is a multifunctional, objective phenomenon of the modern stage of culture, in which all strata of the population are inevitably involved, and the problem lies in managing the dynamics of mass culture, that is, developing effective mechanisms for selecting the necessary and promising its directions and rejecting those that lead to irreversible degradation of cultural values ​​and samples.

Bibliography

1. Parkhomenko I.T., Radugin A.A. "Cultural Studies in Questions and Answers", Moscow "Center" 2001

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Traditional culture... Perspectives mass culture both in Russia and all over the world they are both joyful and sad. Basically mass culture and mass society ...

Mediatization is an indisputable fact not only of modern culture, but of the world as a whole, where the mass media really act as one of the main social institutions that shape consciousness. However, you should not demonize them by over-exaggerating their role in creating our perceptions of reality. Alla Chernykh in her book "The World of Modern Media", characterizing the role of the media in the sphere of culture and their impact on society as a whole, identifies two main characteristics: 1) media are the primary sources of definitions (meanings) and images social reality and expressing (representing) a common identity; 2) media in the broadest sense, including both traditional (press, literature, theater, cinema, radio, television and sources of reproduction and replication of their products related to the latest broadcasting media - tape recorders, players, etc.), and new, primarily networked, including the Internet, sources of information are the most important focus of leisure interests, forming a common cultural environment for most people in comparison with any other social institution. [Alla Chernykh. 2007 p. 145]

It is assumed that, like any social group, young people create their own subculture. However, is it possible to use the term "subculture" when describing youth, and what should be understood by it? In the scientific literature, there are at least four interpretations of this concept.

• 1. Subculture is considered as a set of some negatively interpreted norms and values ​​of traditional culture, functioning as the culture of the criminal stratum of society (the so-called delinquent subculture).
• 2. A subculture is understood as a system of values ​​of traditional culture transformed by professional thinking, which has received a kind of ideological coloring.
• 3. Subculture is a somewhat limited culture of a social community, conditioned by the poverty of its social ties, incompleteness or difficulty of access for it to the cultural heritage. In fact, this definition limits the concept of subculture and allows it to be used only to designate "inferior", "simplified forms of cultures."
• 4. Subculture as a system of values, attitudes, models of behavior, lifestyle, etc. any social group, which is an independent holistic formation within the dominant culture. [Y. Epanova. 2006]

As T.B. Schepanskaya notes, “the very concept of“ subculture ”was formed as a result of the awareness of the heterogeneity of the cultural space, which became especially evident in an urbanized society.” The term appeared in scientific literature in the 30s of the twentieth century, but its really widespread use was associated with the study of youth movements in the 1960s - 1970s. Initially, the meaning of the term emphasized the importance of the prefix sub- (sub-), which indicated the subordinate nature of such a phenomenon. The system of worldview of the ruling elite was considered as a “culture”, while “subculture” denoted hidden, unofficial layers of culture, which were perceived as inferior forms of cultural creativity and as a potential source of social instability. This concept was used along with the "underground" and "counterculture". [Schepanskaya T.B. 2003]

According to Stuart Hall, a British theorist in the field of cultural studies, director of the Center for Cultural Studies at the University of Birmingham, the concept of culture has significantly democratized, even art has ceased to be seen as the quintessence of spiritual and cultural experience: in the paradigm of "cultural studies" it is just one of the forms of social practice ... The concept of "culture" has come to be associated with the word "everyday". Culture is something that “permeates through and through”, permeates all social practices in society, it personifies their communicative core. To explore culture is to understand the “structure of feeling” inherent in a given society. [A.R. Usmanov. 2003]

M.R.Zhbankov in the "Encyclopedia of Sociology" gives a fairly precise definition of the term "mass culture". “Popular culture creates modern mythology by constructing its own world, which is often perceived by its consumers as more real than their own everyday existence. The element of innovation in mass culture is insignificant, since its creators are mainly engaged in the creation of simplified versions of the achievements of "high" culture adapted for the mass consciousness. At the same time, it is inappropriate to consider popular culture a reserve of vulgarity and bad taste, having nothing to do with genuine art. In reality, mass culture serves as a kind of mediator between the generally accepted values ​​of elite culture, the avant-garde "underground" and traditional folk culture. " [M.R.Zhbankov. 2003]

How can you distinguish between the concepts of "youth culture" and "culture for young people"? I believe that youth culture is still not aimed at mass distribution, it is closed in nature and is created by the youth themselves for themselves. It can be characterized as non-conformist and the place of its formation can be determined - large cities. A culture for young people, oriented towards mass consumption, is created for young people, but not for themselves. In this case, a new type of publication can act as the creator of a culture for young people.

Original document?

Introduction 3

2. Youth and "mass culture" 11

3. Youth "elite culture" 12

6. Youth and scientific knowledge 13

7. Household culture of youth 13

9. Youth subculture 14

Conclusion 22

Introduction

The modern stage of rethinking cultural values ​​and further destiny Russian culture largely depends on the spiritual state, social and civic position of every Russian, as well as on the development of the wealth of domestic and world culture by Russian youth.

Culture refers to beliefs, values ​​and means of expression that are common to a particular group of people and serve to streamline the experience and regulate the behavior of members of that group. Reproduction and transmission of culture to subsequent generations are at the heart of the socialization process.

In the context of economic and political changes in the life of society, the role of a young person who is capable of self-realization, self-expression and self-development, who is able to make decisions on his own, is increasing. It is the youth that bears the historical responsibility for the preservation and development of national cultural traditions and values, for the civilized integration of Russia into the world community.

Today there is a need to talk about a fundamentally new understanding of the role of youth, about considering it not only as a generation determined by age characteristics, but also as a desire for active self-determination and self-affirmation. At present, self-determination of young people is taking place without a pronounced paternalistic and ideological tutelage on the part of the state and political parties, and, as it seems, without its special hope for state aid.

The relevance of studying the problems of youth culture, sharply aggravated by the end of the 20th - beginning of the 21st centuries, on the one hand, is associated with a sharp drop in the cultural level, the loss of national and cultural self-identification of an increasingly significant part of the younger generations of Russians. On the other hand, this is due to the special historical and social significance of the state of youth culture for the fate of the state and society. It is the qualitative characteristics of the culture of youth that largely determine the social and state development of Russia, the national mentality, as well as the place that our country and the Russian nation will take in the world community.

Russian youth, like society as a whole, is experiencing a crisis of values. A spiritual vacuum has formed in the public and individual consciousness.

Young people distinguish their culture and their subculture, which is associated with the uncertainty of their social roles, uncertainty in their own social status.

1. Features of modern youth culture

The concept of "youth culture" was created to describe a special type of social space inhabited by people in a relatively powerless and dependent position. Indeed, the generation entering society lacks real access to significant resources... The dependence of young people is also manifested in the fact that at all times they were considered by "socially mature" adults not as an intrinsic group, but only as a natural resource of the future society, which must be socialized, educated and used.

In the description of "youth", the earliest was a biopolitical construct, and it remains the most tenacious. We list basic principles this approach, implying a view of youth as a social problem and giving rise to intervention in the life of young people by government officials and professionals (“youth specialists”) both in the West and in modern Russia.

1. Young people are recognized as a homogeneous age group with common psychological characteristics and social needs.

2. Youth is considered a special stage in the development of personality. Behavioral patterns and values ​​assimilated by young people during this period become ideological guidelines that do not change in the future.

3. The transition (transition) from child dependence to adult autonomy includes the so-called “rebellion” phase, which is part of a cultural tradition passed from one generation to another.

4. Recently, this transition has been complicated by new conditions of social transformation and modernization, therefore, young people need control and support from professionals.

An ideology that substantiates the necessity and "naturalness" of adult superiority and domination directly follows from these principles, which in practice leads to open and hidden discrimination based on age. It must be admitted that discriminatory ideas have "grown" into theoretical constructs so deeply that it seems impossible to write and think about young people without using the words "adolescents", "transitional age", "puberty", "youth transition", "youth problem". It's time, if not to part with these stereotypes, then try to critically rethink them.

T. Parsons associated the concept of "youth culture" with the idea of ​​stability and expediency of the development of social systems. This concept reflected the post-war revival of Western societies, the belief in the possibility of the well-being and prosperity of all its members. Youth culture was presented as an independent social space in which young people can find authenticity, while in a family or school they are deprived of real rights and are completely controlled by adults. In traditional (pre-industrial) societies, the family fully performed all the necessary functions of social reproduction - biological, economic and cultural. In modern industrial societies the family, according to the scientist, loses its traditional functions in the field of culture (education and professionalization). Young people occupy the most vulnerable position in them, being between two value worlds, between patriarchal models of family socialization and adult roles, which are set by market rationality and an impersonal bureaucratic structure.

Any difference from the “Other” becomes valuable, highlighting one's own unique style: manner of play, intellectual hobby, in rare cases, in clothes. As for clothes, there is no place for shocking and loudness, rather it is either intentional and emphasized neglect fashion trends in clothes and denial of glamor, or the choice of a sports style.

If many modern young people lack a clearly expressed personal self-identification, then there are strong behavioral stereotypes that cause depersonalization of attitudes. The position of alienation in its existential refraction is seen both in relation to society and in intergenerational communication, the countercultural orientation of youth leisure. Social alienation manifests itself most often in apathy, indifference to the political life of society, figuratively speaking, in the position of an “outside observer”.

Another characteristic feature of modern youth culture is the predominance of consumption over creativity. This is a very negative feature, because a real introduction to cultural values ​​occurs only in active independent cultural activity. This qualitatively changes the situation with self-identification. People are accepting or abandoning certain components of their identity faster than ever.

In modern conditions of extreme mobility of all social processes in Russian society the culture of young people should be considered in several planes, equally determining the level and direction of cultural self-realization, which is the content side of the cultural activity of a young person.

The state of youth culture, according to V.Ya. Surtaev, due to the following factors:

1. Contemporary Russian culture, both at the institutional and at the subject-activity level, is in a state of crisis today, just like society itself. On the one hand, the significance of the cultural development of the population for the successful implementation of social projects and overcoming the crisis is not fully understood by the governing bodies, on the other hand, the commercialization of the cultural process, an increasingly noticeable departure from the norms and values ​​of "high" culture to average samples of aggressive mass culture , which is most clearly manifested in the electronic media, also cannot but affect the system of attitudes, orientations and cultural ideals of a young person.

2. Attempts to implement a holistic program of humanitarian socialization on a national scale have not been crowned with success. Today, there is practically no unified system of humanitarian socialization, and private initiatives in this area, carried out in experimental or non-state educational institutions, cover only a few groups of young people in large Russian cities. In most schools, humanitarian socialization is limited to a standard set of humanitarian disciplines and the so-called “extracurricular work”, which does not so much familiarize young people with cultural values ​​as discourage them in favor of recreational and entertaining self-realization.

3. Adolescence (15 - 18 years old), and to some extent the entire period of growing up, are distinguished by the features of impetuosity, instability of desires, intolerance, insolence, aggravated by feelings of ambivalence of social status (not a child, not yet an adult). It is this specificity that brings young men into groups of peers that are homogeneous in age and social belonging, who satisfy typical youthful needs in behavior style, fashion, leisure, and interpersonal communication. peer groups perform a socio-psychological therapeutic function - overcoming social alienation. naturally, in such groups, their own cultural norms and attitudes are formed, due primarily to the emotional-sensory perception of reality and youthful non-conformism.

4. The features of a generation have a significant impact on the youth subculture, which has not so much age as generational characteristics; in this phenomenon, youth forms of consciousness and behavior are most clearly manifested.

Nevertheless, some stable, unchanging features of youth culture exist, although each new generation of young people enters life with a slightly different attitude towards the culture of society and their own cultural behavior and self-expression.

There is a reason in youth psychology for the fact that young people prefer the spectacular arts (cinema, television), because even fiction is perceived by young people as if in pictures (how long have they read fairy tales - the most spectacular of the verbal genres).

And in a broader sense, the context of cultural life, the cultural atmosphere become for young people an opportunity for emotional self-realization and an object of sensual adoration. This is one of the reasons for the extreme, unacceptable from the point of view of social norms, behavior of a part of the youth audience at concerts of rock stars or at stadiums (after all, visiting sports shows is a kind of emotional release for a young fan). All this is a psychologically natural feature of the youth subculture, perceived by mature people (often quite rightly) as an expression of counterculture and a kind of social challenge.

Sensual perception of culture, striving for an unambiguous opposition of "good" and "evil", the expectation of an indispensable and unconditional victory of "us" over "strangers" lead among young people, especially in adolescence, to the predominance of moral assessments over artistic ones, to an extra-aesthetic perception of art. A young man sometimes consciously, and more often unconsciously, opening a book or going to the cinema, wants to cleanse himself morally, to become better, nobler, freer.

The search for emotional and moral content, on the one hand, and entertainment content, on the other, in the cultural sphere is accompanied by the phenomenon of group stereotype and group behavior within the boundaries of their generation.

How often can you hear from young people the passionate: "You do not understand us", and this "us" acquires a generative meaning: us - means "all my peers." Of course, this phenomenon has a more universal character than just one attitude to the artistic or even cultural sphere.

Here the fear of loneliness, alienation from peers is manifested (it is no coincidence that regular visitors to discos call them "a remedy for loneliness"), and finally, a distorted idea of ​​collectivism - the feeling of "crowd", "company", "team" is quite sincerely understood as a sense of the collective. but first of all, the group stereotype is explained by the insufficient level of formation of the personality itself during the period of socialization, the individual has not yet acquired personal certainty and completeness. And this "blur" in the crowd is not so noticeable.

The paradox of this phenomenon is that, opposing himself to the world of adults, a young man still remains essentially “the same”, only this “sameness” is within his generation and therefore is not perceived by him. Youth fashion is the best example of this. In choosing clothes, a young man is guided, first of all, by his surroundings, in order to match, not to be worse or not dressed fashionably enough.

Young people are characterized by group stereotypes of behavior, which are based on the desire for age identification, environmental communication with the simultaneous rejection of everything "alien", opposing oneself to the rest - the adult world, which includes parents and teachers.

The main characteristic feature of modern youth cultureis its isolation, detachment, often demonstrative, shocking from the cultural values ​​of older generations, national traditions. In the mass consciousness, the perception of the youth subculture often has negative character... Against this background, youth culture with its specific ideals, fashion, language, art is increasingly often falsely assessed as a counterculture.

Another characteristic feature of modern youth cultureis the predominance of consumption over creativity. This is a very negative feature, because a real introduction to cultural values ​​occurs only in an active, independent cultural activity.

The third characteristic feature of youth culturewe can call it avant-garde, striving for the future, often extreme. Often these features are combined with the absence of a serious foundation of historical and cultural traditions.

So, youth culture as a culture of a certain age group is characterized by the emotional and moral self-affirmation of youth, along with the search for entertainment content, under the influence of group stereotypes of attitudes, attitudes and interests.

2. Youth and "popular culture"

"Popular culture" has long and habitually been perceived as a symbol of something low-grade, stupefying. However, it relies on the most advanced technology of our time: printing, lighting, audio and video equipment, computer graphics, etc. Dynamism, "clip-like" have become integral features of the psychology of perception of modern youth. Therefore, those who consider cultural influence on young people their business should take care that cultural events of any kind grow up to modern technical capabilities and take into account the peculiarities of youth perception.

We need to boldly invade the territory of show business and win from him the opportunity to speak with young people in their usual language, but about things that are immeasurably more significant. "Popular culture" should not be just leisure and everyday life. She should lead far beyond the usual show business.

3. Youth "elite culture"

The culture of the 21st century is gradually ripening among the youth. For ordinary consciousness, largely shaped by the tastes and habits of a rather distant past, "avant-garde", "absurdism", "postmodernism", "conceptualism" in the art of young people seem to be something incomprehensible, perverted and infinitely far from "real life." But it is precisely in these "isms" that the real acute problems of being at the turn of the millennium are difficult to refract, which, moreover, are burdened in our country by a painful change social order and value systems.

Exhibitions, creative evenings, festivals of contemporary art, moral and material support for the creativity of young people are extremely necessary. No matter what the young declare, no matter how they shock the public, young culture needs public attention, qualified criticism. Just as, however, we all need a youth creative elite, although this does not lie on the surface.

4. Youth and Spiritual Quest

Only a small part of young people have spiritual aspirations formed in the bosom of the family. For the majority, freedom of conscience and religion is a kind of "carte blanche", which, however, may not be played out.

Therefore, it seems most reasonable to render assistance to young people in acquaintance with the spiritual experience of mankind and, first of all, with the Orthodox culture traditional for Russia, in fostering religious tolerance, in active protection of young people from the influence of totalitarian sects and aggressive, fascist right-wing and left-wing radical political movements masquerading as certain religious denominations.

5. Youth and cultural heritage

The cultural heritage of past eras should not simply be imposed on young people. We all have before our eyes the sad experience of the obligatory schematized and ideological teaching of literature, which has "brought up" in many a persistent dislike of serious reading.

The culture of the past should be presented as something alive, interesting and important for a modern young person. In particular, local history should and can rise from a purely exploratory practice to a lively and bright enlightenment. Otherwise, there is no need to disturb the "shadows of forgotten ancestors".

6. Youth and scientific knowledge

Thanks to one-sided propaganda, young people associate science primarily with global threats to humanity and with the unwillingness of "official science" to turn to the sphere of the supersensible, mysterious, to "subtle and parallel worlds." And this despite the remarkable successes of science in biology, psychology, cosmology, informatics, synergetics, etc.

Against the background of the total economic crisis the traditionally strong educational activity of scientists has practically dried up. But this condemns science to an influx of young talents, and youth to ignorance. Society must find the strength to break this tragic vicious circle.

7. Household culture of youth

The everyday environment of young people worries about the growing negative manifestations: harmful destructive habits (drug addiction, substance abuse, alcoholism), promiscuity, superficiality of relations in the sexual sphere, practically legalized prostitution, vulgarity, the triumph of brute force in relationships, the criminalization of a significant part of young people, a decline in interest in sports, low sanitary culture, impoverished language, primitiveness of leisure, perversion of relations with "ancestors".

In these conditions, the curtailment of the education system is unacceptable, because this will aggravate the already threatening unemployment among the youth. It is necessary to create effective mechanisms of public influence on the media, not to regulate their activities, but to create a kind of "public mirrors".

8. Education of youth educators

It is necessary to develop effective mechanisms for raising the cultural level of teachers and educators from kindergartens to universities, present and future parents, and the adult population in general. This natural idea, repeatedly compromised in "people's universities of culture", "universities of health", "universities of Marxism-Leninism", etc., still remains key and awaits a worthy embodiment. Otherwise, our society has no future.

9. Youth subculture

9.1 General concepts youth subcultures

In a broad sense, a subculture is understood as a partial cultural subsystem of the "official" culture, which determines the lifestyle, value hierarchy and mentality of its carriers. That is, a subculture is a subculture or a culture within a culture.

In a narrower sense, a subculture is a system of values, attitudes, ways of behavior and life styles of a certain social group, which differs from the culture prevailing in society, although it is associated with it.

Frolov S.S. proposed the following typology of subcultures:

1.Romantic escapist subcultures - focused on avoiding real life, building their own philosophical systems (hippies, Tolkienists, Indianists, bikers).

2. Anarcho-nihilistic groups - rejection of generally accepted standards, a critical attitude towards many phenomena of life (anarchists, punks).

3. Entertainment-hedonistic - focused on providing leisure ("golden youth", ravers, snowboarders, rappers).

4. Criminal subculture - focused on opposing law and order (goths, skinheads, gangs, gopniks, lyuber).

9.2 Characteristics of individual subcultures

The social composition of hippies is heterogeneous, but first of all it is creative youth: novice poets, artists, musicians.

Appearance, dress code: regardless of gender - long hair parted, a special ribbon around the head ("hairatnik" from the English. Hair - hair), on the hands - "baubles", that is. homemade bracelets or beads, most often made of beads, wood or leather, often a disproportionately large knitted sweater, decorated with beads or embroidery, a denim pouch around the neck for storing money and documents ("ksivnik": from ksiva - document, thieves' jargon), color of clothing mostly light-colored (seasoned hippies never wear black), but not flashy. The latest generation of hippies is distinguished by such attributes as a backpack and three or four rings in the ears, less often in the nose (piercings). Characterized by the frequent use of diminutive suffixes and words that have no analogues in the literary language to denote specific concepts inherent only to hippies (for example, the already mentioned "bauble", "ksivnik", etc.). Entertainment: hippies prefer wines and ports from alcoholic beverages. Frequent use of drugs (usually light) has been noticed. Part of the hippie ideology is "free love" - ​​with all the ensuing consequences. Hippies are not belligerent, they tend to be pacifists. One of the first was the slogan "Make love, not war". (Make love, not war.) Ideology: hippies themselves often express it with the words "Peace, friendship, chewing gum." Disregard for material values ​​such as money and expensive things is typical; there was a sincere indignation of hippies when someone tried to buy expensive things instead of cheap ones.

In the youth culture of the 90s. the Tolkienist movement and the Tolkienist subculture associated with it appeared. Tolkienists and role-playing in general (lovers of role-playing games) were originally part of the hippie subculture, but recently their movement has grown so much that they began to include many non-hippies in their ranks. Tolkienists are fans of the famous English philologist and writer John Ronald Ruel Tolkien, (in Tolkien slang - Professor), he was born in 1892 and died in 1973. Books by J.R.R. Tolkien's "The Lord of the Rings", "The Silmarion" and others belong to the fantasy genre - fantastic fiction. Tolkien created in his works Magic world Middle-earth, inhabited by wonderful creatures, one of which was borrowed by him from the folklore of various peoples of the world (elves, trolls, gnomes, etc.), others were invented by the writer (for example, the hobbits, a hybrid of man and rabbit), each with its own history, geography and even the rudiments of their language (say, elvish). Tolkienists get used to this world imagining themselves to be its inhabitants. Hence the unusual patterns of behavior in everyday life.

It can be stated that the subculture of Tolkienists and role-players is developing in last years most active and dynamic.

Punks (from the English Punk - garbage, rot, something unnecessary) to some extent are antagonists of hippies, despite the fact that they have a lot in common with them. Social Composition: Unlike elite hippies, most Punks are children of working-class districts, although, of course, there are exceptions.

Appearance, dress code: the “mohawk” was considered the standard punk hairstyle - a strip of long, upright hair on a bobbed head, but shaved half-head with long hair and even just shaved temples with long hair are also common. Punks prefer ragged, dirty clothes. You can often see punk in jeans, where strips of fabric alternate with holes fastened with pins and chains (in general, the Punk love for safety pins is extremely great, they are inserted everywhere - in jackets, T-shirts, jeans and even in ears). As for footwear, punks mostly wear high combat boots.

Musical style: the British group "Sex pistols" is considered the founder of punk culture. Language, jargon: typical use of words from thieves' jargon ("maza", "hawat", "labat") and the marginal use of "smart" words ("parallel" in the meaning of "all the same", "purely" in the meaning of "indifferent") ... Entertainment: unlike hippies, punks from alcoholic drinks prefer vodka, willingly use drugs. One more entertainment is interesting - "to walk on nishtyaks", that is. to eat up the remnants of food that has not been eaten by someone, to pick up and smoke cigarette gobies.

The Punk ideology is quite close to the hippie ideology in everything related to the neglect of material values, however, if the idea of ​​the hippie is expressed as “why money, the world is so infinitely beautiful”, then for the Punks it’s more likely “the world is still g ... oh and nothing will help him ".

Extremely close to hard rock (hard punk) musical style "oh", favorite music not so long ago appeared skinheads, or skins (from the English. Skin head - skinhead, literally. Skin-head).

Appearance: according to their self-name, skins stand out primarily with a clean-shaven head. The skin's standard clothing is high combat boots, camouflage pants or high-rolled jeans with suspenders and another jacket ("bomber").

Ideology: almost all Russian skins profess extremely aggressive nationalism and racism. The ideal regime is German National Socialism. In the West, there are "sharps", "sharp-skinns" (from the English. Sharp - sharp, sharp), acting under the slogan "skins against racial prejudice" and are an extreme left, pro-communist, experimentalist organization, also "gay skinns" (from the English . Gay - homosexual), although ordinary skins hate sexual minorities even more than racial ones. Entertainment: The skins 'frequent entertainment is fighting with blacks in the vicinity of the Peoples' Friendship University named after Patrice Lumumba, as well as beating up representatives of other national and racial minorities, wherever they meet.

One of the most "harsh" subcultures, both in our country and in the West, has always been considered bikers (from English. Bike - bicycle, motorcycle), who, with the light hand of Soviet propaganda, were often called rockers. However, almost all rock fans consider themselves to be rockers - punks, metalheads and many others. Therefore this definition cannot be considered correct.

Appearance: widely replicated Soviet films depicting the depraved West. In this form, he came to Russia, where he underwent significant changes: long hair, combed back, and, as a rule, tied in a ponytail, a scarf on his head ("bandana", "bandana" or even "bandana") beard, leather jacket with oblique zippers ("leather jacket"), leather pants, cowboy boots ("Cossacks").

Music style: hard rock. In general, bikers are distinguished by a rather wide variety of musical preferences, which is noticeable at least from the annually held bike show in the Moscow region, where completely different performers perform: Garik Sukachev and the Bachelor Party, Time-Out and IFK. Language, jargon: apart from words denoting specific concepts related to a motorcycle or "outfit", the language of bikers has no other specificity, except, perhaps, significant interspersed with obscene language.

Ideology: The main concept in the ideology of bikers is a motorcycle. The whole world is divided into those who travel on it, and those who prefer any other way, and the latter do not cause any interest to themselves among bikers. Meeting points: bikers are divided into members of a motorcycle club and singles. Of all the motorcycle clubs, the most famous are undoubtedly the "Night Wolves" (the leader is nicknamed "The Surgeon").

Outwardly, metalworkers are close to bikers, or metallers, perhaps the most famous of the current youth subcultures (metalworkers themselves protest against this term, considering it, like the name of a musical style, "metal"). In their opinion, there are at least three main directions of "metal" (in fact, much more): thrash, doom and dead (from the English thrash - to beat, doom rock, fate and dead - the dead, respectively) and, therefore, thrashers, doomers and dead metal guys. Appearance: Virtually the same as that of bikers. Of all the colors, black is preferred. Methylists of the late 80s - early 90s are characterized by the presence of a large number of metal rivets and chains in their clothes, but now it is mostly “pioneers” who dress like that. Ideology: Of all the movements, the metalworkers are the least ideological. In some ways they are close to punks, but without contempt for material values. Places of meeting: the main place in Moscow is the "pipe", an underground passage from the "Arabskaya" metro station to the "Prague" restaurant, where, up to mid-1996, heavy music concerts were held every day off.

Hackers (computer fans) are a youth subculture in the process of formation. The number of characters is still insignificant - they are mainly students of technical universities, high school students with a physical and mathematical bias. It is also difficult to establish the exact number of characters because they communicate mainly through computer networks. In addition, not all computer fans are aware of themselves as some kind of community with their values, norms, and specific style. This is probably a matter for the future.

In the mid-90s. a new generation of "gopniks" is emerging, uncontrolled by organized crime or controlled to a lesser extent. They quickly proved to be the "cultural enemies" of most youth subcultures: bikers, ravers, roller skaters, etc. Any teenager, not only belonging to a different subculture, can be beaten, sexually abused, robbed. The confrontation between youth gangs also did not go down in history, but moved to the periphery.

Football fans. A group close to criminal subcultures is made up of fans (fans) of football teams. Football fans are a complex community to organize. Among the fans of the Moscow "Spartak" there are, in particular, such groups as "Red White Hooligans", "Gladiators", "Eastern Front", "Northern Front" and others. ... It consists mainly of young people who have served in the army. "Right" go to all matches of the team, their main function is to start the stadium, organize the reaction of fans ("wave", etc.), but also command "military actions" - battles with fans of hostile teams and the police. Trips to other cities are very often associated with fights - often already at the station square. On the whole, the hooligan mass of young people is well controlled by the leaders (leaders) from the "Right".

Subculture of Satanists. Back in the 80s. a group of "black metalworkers" separated from the heavy-metal subculture and became close to the adherents of the Church of Satan. By the mid-90s. we can already talk about the formation of a Satanist subculture in Russia. From time to time, interviews with the leaders of the Satanists appear in the process; the latter, of course, try to deny or obscure the antisocial and antihuman nature of the rituals and values ​​of Satanism.

The rave subculture (from the English. Rave - delirium, incoherent speech) emerges in the USA and Great Britain. It has been spreading in Russia since 1990-91. Musically, the rave style is the successor to the techno and acid house styles. An integral part of the raver lifestyle is night discos with powerful sound, computer graphics, laser beams. The basic values ​​underlying this subculture: an easy, carefree attitude to life, the desire to live in the present day, to be dressed in the latest fashion ... The development of the rave subculture went parallel with the spread of drugs, in particular, ecstasy. The adoption of hallucinogens for the purpose of "expanding consciousness" has become, unfortunately, almost an integral part of the raver subculture. At the same time, many figures of youth culture, including DJs - key figures in the rave subculture - expressed and are expressing an extremely negative attitude towards drug use.

Among the relatively recently emerging subcultures in Russia, the following four should be noted: rollers, rappers and skateboarders.

Rollers are the name for fans of roller skates. They prefer sportswear in bright colors: they can also be identified by the multi-colored patches on the knees. The ideology of rollers is similar to that of bikers, with the difference that the motorcycle is replaced by rollers. Mostly skaters are high school students (13-16 years old), but there are also students junior schoolchildren... Interestingly, roller companies are run by girls.

Subculture of skateboarders, fans of skateboarding (board on wheels). Ideology and appearance are similar to Roller's.

Rap subculture. Rapp is the music of black Americans. Russian rappers dress like black American rappers (mostly sporty with a predominance of bright colors), borrow many words from them, and sometimes even do their own hairstyles that are peculiar only to African Americans. The rap subculture overlaps with the rollerblading and skateboarder subcultures in many ways, as many rollerbladers and skateboarders listen to rapp, and rappers ride rollerblades and skateboards.

Conclusion

Youth culture is primarily age-related assimilation, the processing of the general culture inherent in society at this stage of social development, it is the culture of a certain young generation, but at the same time it is also the culture of a certain age stage in the life of each person, when personality formation, self-determination and self-realization take place individual, which cannot but include the cultural aspect.

At the same time, youth culture is also conditioned by the society in which it functions, social psychology, norms, needs, and ideals of the social organism. Thus, youth culture is both temporary and timeless, reflecting the social and psychological makeup of its time and society.

List of used literature

1. Volkov Yu.G., Dobrenkov V.I. and other Sociology of youth. 2001.

2. Markova T.I. Cultural intervention., - M., 2005.

3. Omelchenko E. Youth cultures and subcultures. M., 2000.

4. Pilkington H., Omelchenko E. Looking at the West: Cultural Globalization and Russian Youth Cultures / Per. from English O. Oberemko and U. Blyudina. Saint Petersburg: Aleteya, 2004.

5. Polishchuk V.I. Culturology., - M., 1998.

6. Rozin M.V. Psychological reasons for the demonstrative behavior of members of informal youth groups.// Public, amateur movements., - M., 2004.

7. Sergeev V.K. Youth subculture in a megalopolis // Institute of Social and Political Research RAS. M., 2001.

8. Surtaev V.Ya. Youth culture. 2002.

Word the culture comes from Latin cultivate or cultivate, and it was in this sense ("the art of agriculture") that it was used until the beginning of the 18th century. Later, he began to be attributed to people who were distinguished by elegant manners, erudition, musicality, etc. In the everyday lexicon, "culture" is still associated with good upbringing, visiting theaters and museums.

The modern scientific definition of culture is much broader. Culture refers to beliefs, values ​​and means of expression that are common to a group of people and serve to streamline the experience and regulate the behavior of members of this group.

As a social group, youth in the context of the cultural level appears as follows. Youth is a social age group of young people (sometimes up to 30 years old), on the one hand, they bear the results of the influence of various factors, in general they are formed personalities, and on the other hand, their values ​​remain flexible, subject to various influences. The life experience of this group is not rich, the idea of ​​moral and ethical values ​​is often not definitively defined. Today, a young man ceases to be a child early (in terms of his physiological development), but for a long time he does not belong to the world of adults in terms of social status. Adolescence is a time when economic activity and independence have not yet been fully achieved. Youth as a phenomenon and a sociological category born of an industrial society, it is characterized by psychological maturity in the absence of significant participation in the institutions of adults. Psychologically, young people belong to the world of adults, and sociologically - to the world of adolescence. If, in terms of saturation with knowledge, a person matures much earlier, then in terms of his position in society, the ability to speak his own word, maturity is postponed by it.

Young people distinguish their culture and their subculture, which is associated with the uncertainty of their social roles, uncertainty in their own social status.

Adolescence (15 - 18 years old), and to some extent the entire period of growing up, are distinguished by features of impetuosity, instability of desires, intolerance, insolence, aggravated by the feelings of ambivalence of social status (no longer a child, not yet an adult). It is this specificity that brings young men into groups of peers that are homogeneous in age and social belonging, who satisfy typical youthful needs in behavior style, fashion, leisure, and interpersonal communication. peer groups perform a socio-psychological therapeutic function - overcoming social alienation. naturally, in such groups, their own cultural norms and attitudes are formed, due primarily to the emotional-sensory perception of reality and youthful non-conformism.

A young man strives for a deep personal perception of artistic information, when he, as it were, identifies himself with the heroes of works, transfers to himself the events that happen to them, in reality experiences the illusory life of characters created by the author's imagination.

Empathy with simultaneous imitation is a sign of today's youth rock culture. And as in the 60s, when everyone was composing songs for B. Okudzhava, A. Gorodnitsky, so now teenagers gather in their teams and try to play pop rapp or rock. Each generation has its own popular culture and its own idols, which it imitates. The search for emotional and moral content, on the one hand, and entertainment content, on the other, in the cultural sphere is accompanied by the phenomenon of group stereotype and group behavior within the boundaries of their generation.

youth subculture

In a broad sense, a subculture is understood as a partial cultural subsystem of the "official" culture, which determines the lifestyle, value hierarchy and mentality of its carriers. That is subculture Is a subculture or culture within a culture.

In a narrower sense, a subculture is a system of values, attitudes, ways of behavior and life styles of a certain social group, which differs from the culture prevailing in society, although it is associated with it.

The values ​​of the subculture do not mean rejection of the national culture, adopted by the majority, they reveal only some deviations from it. However, the majority, as a rule, refers to the subculture with disapproval or mistrust.

Youth subcultures are a phenomenon of western-type urban culture. It reflected the various processes taking place in the religious, ideological, political spheres, the sphere of economics and fashion.

The main factor that attracts young people to subcultures is the desire to acquire external, formal characteristics that allow them to stand out from the general depersonalized mass of the population of the megalopolis. Therefore, despite the declaration by the representatives of the subculture of their adherence to any ideological, religious, political concepts, they usually do not really delve into them and are mainly united by external characteristics - clothes, hairstyles, music, places of communication, etc. Frolov S.S. proposed the following typology of subcultures:

Romantic escapist subcultures - focused on avoiding real life, building their own philosophical systems (hippies, Tolkienists, Indianists, bikers).

Anarcho-nihilist groups - rejection of generally accepted standards, a critical attitude towards many phenomena of life (anarchists, punks).

Entertainment-hedonistic - focused on providing leisure ("golden youth", ravers, snowboarders, rappers).

Criminal subculture - focused on opposing law and order (goths, skinheads, gangs, gopniks, lyuber).

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Ministry of Education and Science of the Russian Federation

Federal State Budgetary Educational Institution

higher professional education

"Ulyanovsk State Pedagogical University named after I. N. Ulyanov"

Department of Cultural Studies and Museology

Topic: "Popular culture and its focus on youth."

Completed: student of group NA-13-2

Ovcharenko Ekaterina Igorevna

Accepted by: assistant of the department

Galkina Marina Vladimirovna

Ulyanovsk 2015

Content

• Introduction
• Main part
• Subcultures and counterculture
• Counterculture
• Subculture
• Conclusion
• Bibliography

Introduction

Popular culture plays a huge role in all spheres of society. The purpose of this essay is to study the factor of influence of mass culture on youth and youth subcultures.

This essay will consider the definitions of mass culture, counterculture, subculture, and how they interact with each other.

The work consists of an introduction, main part, conclusion and bibliography.

Main part

Youth culture is one of the most complex phenomena. This is evidenced by the fact that until recently its very existence was questioned. Nowadays, the number of those who doubt its existence has become insignificant, but the problems and difficulties associated with it remain.

The starting points in the study of youth culture are the concepts of youth and youth. Youth is a long phase or stage of life during which each person moves from childhood to adulthood. The content of this transition is the process of socialization. Since this transition is not carried out alone, all those who make such a transition are young people. The latter is a socio-demographic group, uniting features of which - age, social status and socio-psychological properties.

It should be said that these signs are very unstable and uncertain, they depend on the nature and level of development of society, culture and the characteristics of the process of socialization. In general, the stage of socialization is more and more stretched. So, even in the last century, the period of youth ended most often by the age of 20, since by this age a person began his labor activity and entered adulthood.

Today - in connection with a sharp increase in the period of obtaining an education - the upper limit of youth has risen to 30 and even more years. The same thing happens with the lower border, albeit in the opposite direction. Previously, it corresponded to 14 years. Now, due to the phenomenon of acceleration, it sometimes moves back to 10 years, especially if it comes about youth culture. However, most scientists agree that the age range of youth is between 14 and 30 years.

These boundaries indicate that young people constitute a huge social group - almost half of the population in society. Because of this, its role in social and cultural life is constantly growing. Largely for this reason, a completely new phenomenon has arisen in our time: if earlier young people strove to become adults as quickly as possible or similar to them, now there is a counter movement on the part of adults. They are in no hurry to part with their youth, strive to preserve their youthful appearance, borrowing from young people its slang, fashion, form of behavior and ways of entertainment. This phenomenon once again testifies to the fact that youth culture exists, that it forms, first of all, a phenomenon of our time.

At the stage of socialization, the noted signs of youth - age, social status and socio-psychological properties - undergo profound, qualitative changes. With increasing age, physical, physiological and sexual development and maturation. The practically absent social status acquires very specific features: at the age of 18, a person is officially recognized as an adult, which implies corresponding rights and obligations.

Socio-psychological properties also become quite definite and stable, forming a unique character. In addition, a person entering life receives an education, acquires a profession and qualifications, assimilates the traditions, customs, ideals and values ​​existing in society.

The main channels of socialization are family, school and higher education institution, peer society, funds mass communication... At the same time, cultural socialization itself constitutes a predominant part in terms of its volume and an extremely important part in its meaning.

Youth culture is one of the consequences of the process of socialization in general and cultural in particular. Its socio-psychological origins are in the striving of a young person and youth in general for self-awareness, self-affirmation, self-expression and self-realization. These natural aspirations do not always receive the necessary support. The fact is that almost all of the above channels of socialization, with the exception of peer society, consider a young person mainly as an object of influence.

In this case, the latter is simply required to accept and assimilate the content and values ​​of the existing culture. However, a person entering the world does not agree to be a passive object, he does not accept everything in the proposed culture. His fresh look allows him to see more sharply that some elements of the culture of the older generation no longer correspond to the spirit of the times, while others need to be updated.

It is this process of critical comprehension and creative renewal of culture, which allows making it truly your own, in the end, that leads to the emergence of youth culture.

In Western literature, the origins of youth culture are often viewed in the light of the theory of "generational conflict", the conflict between "fathers" and "children." As a rule, such theories are based on the system of psychoanalysis of Z. Freud, the core of which is the well-known Oedipus complex. In the ancient myth of the tragedy of King Oedipus, who killed his father and married his mother, Freud saw a universal explanation of all interhuman relations, including relations between generations and peoples.

His modern followers see the conflict of generations as the main and universal driving force of history. In their opinion, all previous history was a history of struggle between old and young, fathers and children, mature craftsmen and young apprentices, old professors and young students. Student and youth movements and youth culture are pointed out as modern manifestations of the struggle between generations.

Although the concepts of youth culture, based on the theory of generational conflict, reflect some features of this phenomenon, in general they suffer from obvious exaggerations, simplifications and schematism. First of all, they contradict the facts of history. In a primitive society, the culture was homogeneous, there were no subcultures in it, as well as the conflict of generations. At subsequent stages of history, culture begins to differentiate, subcultures appear in it, in particular, urban and rural. However, young people do not yet make up a special socio-demographic group, which does not give grounds to talk about a generational conflict.

Only in our time, young people stand out as a relatively independent group and become the bearer of a special - youth subculture, which, however, exists along with others - women, urban, rural, etc. Now there are real opportunities for the emergence of disagreements and contradictions between generations.

Indeed, today the pace of social development is accelerating significantly. This leads to the fact that many of the principles of relations, norms and rules of behavior, knowledge, ideals and values, the very conditions and way of life of the older generation, who underwent socialization 25-30 years ago, and the new generation turn out to be so different that they conceal potential opportunities for disagreements and contradictions that can escalate into conflict. In addition, with age, a person's ability to adapt decreases, he can no longer perceive and assimilate new things on an equal basis with young people. Therefore, people of the older generation are increasingly lagging behind the accelerating pace of life. All this increases the likelihood of possible conflicts.

Nevertheless, in culture there is always a sufficiently strong and solid layer that ensures continuity between generations. But even if at a certain stage the culture does undergo deep, radical changes, their real source is not at all the "conflict of generations". The latter can act only as an external form of the ongoing changes, while the real reasons are hidden much deeper. In addition, cultural revolutions do not occur so often, which also does not support the theory of "generational conflict".

Young people most often do not diverge from the entire culture of previous generations, but about specific positions. First of all, she is not satisfied with the existing hierarchy of values. Usually, the elements that make up a culture are arranged in this order: education and intelligence, skill and skill, moral values, aesthetic values, etc. However, young people prioritize morality, followed by aesthetic, intellectual and other values. But even at aesthetic and other values, she often looks through the prism of morality. In art, she is primarily interested in moral issues. As sociological studies show, a cultured person for her is, first of all, a moral person.

In general, young people are characterized by an emotional and moral perception of the world. Her behavior is dominated by movements, actions and dynamics. It is equally characterized by a sharp opposition of good and evil, categorical and maximalism, intolerance to lies, injustice, hypocrisy, insincerity, indifference, etc. It is in this area that young people most often diverge from the culture of older generations.

Here it is most difficult for her to find mutual understanding and mutual trust. Therefore, peer communities, which can be both formal and informal, are often the best environment for her. The latter is given a clear preference, since they have less hierarchy, any rules and restrictions.

In them, young people feel most at home. Here it is easiest for her to find mutual understanding. They allow you to spend your leisure time with interest, discuss personal problems, and have fun. Through these communities, young people achieve emotional and moral self-affirmation. They turn out to be the main place for the creation of youth culture, which is the main form of self-expression and self-realization.

In a narrow sense, youth culture is a culture created by young people themselves. In this respect, it is similar to folk culture. In terms of its level, it is also often not too high, but this is compensated by genuine sincerity and honesty, frankness and captivating naivety. Like popular culture, youth culture in one way or another opposes itself to official, mass culture and, in part, to high culture.

At the same time, youth culture goes beyond what is created by young people themselves, and includes a culture specially created for young people, including the mass one. Much of the cultural industry is geared towards meeting the needs and tastes of young people. This is especially true for leisure and entertainment, as well as fashion, clothing, footwear, jewelry, cosmetics, etc.

The main types and forms of youth culture are determined by the world of feelings and emotions. The central place in it is music, since it is music that has the most powerful emotional impact. Only music can most deeply express feelings. She fills life with poetry, infects with energy, changes and lifts the mood. Music can become the main means of communication. She is the best way self-expression. The main genres are rock and pop music, and the whole culture is often called rock culture. Rock music in popular culture really transcends art and becomes a style or way of life.

Along with rock and pop music, elements of youth culture are also slang (jargon), clothing, shoes, appearance, demeanor, ways of entertainment, etc. Slang, or youth speech, differs from the generally accepted literary language in a special and small vocabulary, as well as in increased expressiveness and emotionality. Clothes and footwear include primarily sneakers, jeans and a jacket. In appearance, great importance is attached to the hairstyle, the length of the hair: for hippies they are long, for punks they are short and painted in bright colors. All elements of culture carry a symbolic meaning, they mean the community and unity of the bearers of culture and emphasize its isolation and isolation from the general culture.

Youth culture is a subculture that exists alongside others. It is a rather amorphous education that encompasses student, creative, workers, rural youth, all sorts of marginalized people, etc. A significant part of young people are either not associated with them, or this connection is very weak, purely symbolic. Youth culture splits into many groups and trends, the most active of which unite around various rock ensembles.

Some of them are fans (fans) of a sports team - football, hockey, basketball, etc. For some time, one of the leading groups becomes a leader, then yielding its leadership to another: after the beatniks and hippies, punks appeared, then rockers, metalheads, etc.

In general, the role and significance of youth culture, its influence on the general culture remain local. They are not comparable to the role and influence of popular culture. However, at certain historical stages, the role and influence of youth culture can dramatically increase both in scale and in importance. A striking example of this was the counterculture movement that took place in the West in the 60s, the main driving forces of which were student youth and the intelligentsia.

Initially, the movement emerged as a left-wing radical political. In the early 60s. it merged with the cultural movement and began to rapidly gain strength, becoming a powerful counterculture movement. Without abandoning political goals, it decided to go towards them not directly, but through culture and art, through a revolution in consciousness, lifestyle and value system. The movement was based on the ideas of J. - J. Rousseau, F. Nietzsche, 3. Freud. The guiding thread of the movement was the concept of the modern follower of Freudianism G. Marcuse, outlined by him in his book "Eros and Civilization" (1955).

Counterculture came out with a complete denial of all Western civilization and the dominant culture. According to its supporters, at the very beginning, Western civilization had two development trends, one of which was symbolized by Orpheus (Dionysus, Narcissus), and the second - by Prometheus (Apollo, Hermes). Orpheus embodies free play and pleasure, love and beauty, sensuality and bliss.

Prometheus, on the contrary, symbolizes labor and necessity, reason and domination over nature, refusal and suppression of freedom, rationalism and practical benefits, limitation and repression of natural, sensual drives of man. The Western world made a choice in favor of Prometheus, and its entire evolution can be viewed as a consistent oblivion of what Orpheus symbolizes - feeling, play and pleasure, and the assertion of what Prometheus embodies - reason, work and benefit. The result of this evolution was a "repressive civilization" based on the rule of soulless technology, hard forced labor, the conquest of nature and the suppression of man's sensual and aesthetic abilities. The counterculture came out with the rejection of the technocrat, reason and intellect, which fetters and restrains sensuality, with the denial of technology as a threat to art. The harshest criticism was directed against the cult of consumerism of mass society and mass culture. From all existing culture, according to supporters of counterculture, avant-garde art was declared worthy of preservation and further development, which represented a real "kingdom of freedom".

The counterculture proclaimed a new system of values, in which a special place was occupied by a "new sensibility" freed from any external restrictions, freedom of expression, play, imagination and fantasy, "non-verbal" ways of communication, etc. On the path to achieving new values, great importance was attached to the search for a "new community", the concrete forms of which were various kinds of "communes" that arose on the basis of natural, spontaneous relations of brotherhood and love, devoid of any hierarchy and subordination.

A special role was assigned to the "sexual revolution", which was supposed to make love truly free, to rid it of any restrictions of the old sanctimonious morality. The sexual revolution was one of the main ways to form a "new sensibility".

As the new values ​​were brought to life, the transition from the Promethean mind to the Orphic sensibility, from productive labor to carefree play was to take place. The highest and final goal of the counterculture movement is proclaiming society as a work of art. Art in such a society - in the spirit of avant-garde - would have to merge with life itself. In this society, the path to aesthetic pleasure and enjoyment will no longer be mediated by art. Pleasure and enjoyment will directly arise in every kind of activity understood as play.

One of the notable phenomena of the counterculture was the "hippie", the lifestyle and behavior of which in a special way were vividly shown by some specific traits the whole movement. Their protest against the existing society and culture took the form of an escape from this life and culture. They chose Jesus Christ, Buddha, Gandhi, Francis of Assisi as role models. They left the cities, lived in communes. The symbols of love were flowers that hippies wore in their hair, on clothes or embroidered them on it, cut out of paper, braided into wreaths. Hence, their course was called the "flower revolution". Along with love, hippies were addicted to drugs.

In the early 70s. the counterculture movement is going through a crisis and is gradually dying out. It is giving way to neoconservatism, which proclaimed a new system of values, in many ways the opposite of counterculture. In the 70s. youth culture is returning to its status as one of the subcultures.

Youth culture is a transitional stage in the life of young people. Along with the completion of the process of socialization and inclusion in adult life, young people become either consumers of mass culture, or give preference to high culture, to one degree or another retaining loyalty to some elements of youth culture.

Subcultures and counterculture

Culture, taken in all its manifestations, is heterogeneous and contradictory. Even within a relatively holistic culture, for example, the culture of a particular people in a certain era, various groups of people (rural, urban, professional, age, etc.) can be distinguished with their own special attitudes, values, preferences, and customs. Consequently, all these groups exhibit relatively independent cultural tendencies. Such independent cultural spheres that are within the dominant culture are called subcultures.

Subcultures are characterized by a number of features that are reflected in the main areas of life of a particular group. For example, we can talk about the subcultures of young people, representatives of the art world or the underworld, which have their own special moral norms, language (jargon), manners, style of behavior.

Many of these subcultures not only differ from the official culture, but also directly oppose it. For example, the youth movements of the 1960s were characterized by a sharply critical attitude towards the values ​​accepted in the dominant culture. (hippies, rockers, punks, etc.) Taken together, these protest subcultures form a counterculture. Thus, a complex of attitudes directed against the official culture can be called a counterculture.

The whole process of cultural history is sometimes presented in the form of a struggle between official culture and counterculture. For example, Christian communities in the first centuries of the new era sharply opposed their values ​​to the dominant attitudes of the era of antiquity during the time of decline. In the Soviet Union, all attitudes directed against communist and state ideology were recognized as countercultural. In both cases, the counterculture, after many years of struggle, ousted the official culture and took its place.

Such global changes in culture occur extremely rarely - in times of crisis, when the prevailing values ​​cease to correspond to the changed reality. The rest of the time, they remain an unclaimed reservoir of innovation. Modern interest in countercultures both in the West and in Russia is due precisely to the fact that modern culture exhibits all the signs of a systemic value crisis. It is possible that the ways out of this crisis are now being formed in protest countercultures.

Counterculture

Counterculture is sociocultural attitudes that oppose the fundamental principles underlying a particular culture, characterized by a rejection of established social values, moral norms and ideals, standards and stereotypes of mass culture. The term "counterculture" appeared in Western literature in 1960. It was introduced by the American sociologist Theodore Rozzak (born 1933), who tried to combine various spiritual influences against the dominant culture into a relatively holistic phenomenon. The theory of counterculture set itself the goal of overthrowing modern culture, which was presented as organized violence against the individual. This protest took many forms, from passive to extremist.

The youth counterculture has become the most important in the life of modern mankind. It was originally directed against the technocratism of an industrial society. Property, family, personal responsibility, and other fundamental values ​​of modern civilization were declared prejudice, and their defenders were viewed as retrogrades.

The most famous example of counterculture was the youth movements of the 1960s and 1970s. beatniks and hippies, who concentrated anti-bourgeois ideas and opposed the Western way of life and bourgeois morality. In the mid-1940s. the founders of beatism D. Kerouac, W. Burroughs A. Ginsberg began to experiment with the concepts of friendship, a new vision and a new consciousness, and in the 1950s. their books appeared, where they tried to substantiate a new worldview associated with the poeticization of the masculine principle, masculinity and rebellion, the rejection of the puritanism and hypocrisy of bourgeois morality and traditions of the consumer society. This search led them to the East, instilling in subsequent generations an interest in Buddhism, psychedelic practices that hippies were especially fond of.

By the 1960s. the spectrum of youth movements in the counterculture has expanded, more and more often involving teenagers - adolescents from 13 to 19 years old.

Rockers are leather-clad motorcyclists who terrify ordinary people, cultivate a "masculine spirit", cruelty and directness of interpersonal relationships based only on physical strength. They are aggressive, rude, noisy and self-confident. Rock music became the epitome of their lifestyle, a heavy and simple rhythm that fits well into their life.

The punk movement became especially popular in the 1970s and 1980s. Punks shocked respectable people with mind-boggling color and design hairstyles and curses, as well as their outfits - old school uniforms, "decorated" with garbage bags, toilet chains, pins. They were opposed by Teds ("Teddy Boys"), who declared themselves to be the guardians of social order, and fashion ("modernists"), who strove to approach the middle class. Later, skinheads, or "skinheads", who were aggressively disposed towards all deviant, from their point of view, groups, split off from the "mods".

In other words, these movements arise, then decline, but new movements are born, which await the same fate. But they do not disappear without a trace. Their value orientations dissolve in the bosom of the dominant culture, which begins to change under their influence. We can say that countercultures have a powerful creative charge that contributes to the dynamics of culture.

The presence of a counterculture is not a specific feature of the 20th century. Opposition to the dominant culture, the birth of new values ​​occurs in world culture over and over again. As a counterculture, Christianity arose in the Roman Empire, secular culture during the Renaissance, romanticism at the end of the Enlightenment. Any new culture is born as a result of the awareness of the crisis of the culture of the previous period on the basis of existing countercultural attitudes.

Subculture

Subcultures are large constituent parts of integral local cultures (ethnic, national, social), differing in certain local specifics of certain features and arising from the fact that any society is heterogeneous in its composition and includes different social groups - national, demographic, professional and etc. Despite the differences between them, they have some common values ​​and norms determined by the general conditions of life - the dominant culture. But the differences between the groups at the same time form in each of them their own culture, which is called subculture. In fact, this is a part of the general culture of a people, in some aspects different from the dominant culture, but in the main outlines consistent with it. As a rule, subcultures are associated with large, compactly located and relatively isolated groups of people. Usually subcultures are located on the outskirts of the distribution area of ​​a holistic culture, which is associated with the specific conditions prevailing there. The formation of subcultures occurs according to ethnographic, class, confessional, professional, functional characteristics, based on age or social specifics. The social group that formed the subculture may differ from the representatives of the dominant culture in language, lifestyle, behavior, customs, etc. Although the differences can be very strong, the subculture is not opposed to the dominant culture and includes a number of values ​​of the dominant culture, adding to them new values ​​that are characteristic only of it. Rural and urban cultures are examples of subcultures. Thus, Russian Old Believers differ from the basic culture by the specificity of their religious beliefs; the specific way of life of the Cossacks is associated with their special professional functions as defenders of the country's borders; the subculture of prisoners arises due to their isolation from the bulk of the population; subcultures of youth and pensioners arise in connection with age differences, etc.

As a rule, subcultures strive to maintain a certain autonomy from other cultural strata and groups, do not claim the universality of their culture, their way of life. Due to this, they are distinguished by some locality and a certain isolation, but they remain loyal to the main value orientations of a given culture. Subcultures are only deviations from the main path of cultural development. They do not set themselves the goal of remaking the dominant culture, but in their own way adapt to it and in this they differ from a counterculture that seeks to remake the world.

popular culture youth subculture

Conclusion

"Popular culture" is called by various names: entertainment art, art of "anti-fatigue", semi-culture. Describing it, the American psychologist M. Bell emphasizes: "This culture is democratic. It is addressed to you people without distinction of classes, nations, levels of poverty and wealth. In addition, thanks to modern means of mass communication, many works of art of high artistic value have become available to people." ...

The fight against "mass culture" with its openly anti-democratic content has become one of the important tasks in the programs and practice of progressive, democratic forces in capitalist countries. Since the mid-60s, the analysis and criticism of "mass culture" in all forms of its manifestation has been successfully developing in the works of philosophers and sociologists - Marxists.

But, nevertheless, mass culture, taking into account all these features of consciousness, provides products that are easily perceived, allows one to plunge into the world of dreams and illusions, creates the impression of addressing a specific individual.

Bibliography

1. Belyaev, AND.A. Culture, subculture, counterculture / I.A. Belyaev, N.A. Belyaeva // Spirituality and statehood. Collection of scientific articles. Release 3; ed. I.A. Belyaeva. - Orenburg: Branch of UrAGS in Orenburg, 2002. - P.5-18.

2. Omelchenko E. Youth cultures and subcultures / Institute of Sociology RAS, Ulyan. state un-t. - I. Center "Region". - M .: Institute of Sociology RAS, 2000 .-- 262 p.

3. Omelchenko E. Youth cultures and subcultures / Institute of Sociology RAS, Ulyan. state un-t. - I. Center "Region". - M .: Institute of Sociology RAS, 2000 .-- 262 p.

4. Shabanov L.V. Socio-psychological characteristics of youth subcultures: social protest or forced marginality?

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