The importance of the political factor in international cultural exchange. Basic principles and forms of cultural exchange. The selection of participants for the program is carried out on the basis of an open competition and includes consideration of a questionnaire, assessment of the reviewer’s scientific project

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Kuzmin E.I. Cultural policy in Europe: choice of strategy and guidelines. – M.: 2001.

Topornin B. N. European law: textbook. – M.: 2001.

www.europa.eu.int - website of the European Union

europa.eu.int/pol/index-en.htm – description of the main activities (policies) of the European Union.

Lectures 9. Main directions of socio-cultural exchange and cooperation between countries Lecture plan

Introduction

1. Cultural exchange in the system of international relations:

1.1. Concept of international cultural exchange

1.2. The main forms and directions of international cultural exchange at the turn of the XX-XXI centuries

2. International connections in the field of education:

2.1. Theory of international relations in education

Introduction

Today, at the beginning of the 21st century, cultural ties and humanitarian contacts are acquiring special importance in international relations. New challenges of the time, problems of globalization, cultural expansion give issues of international cultural exchange undeniable significance and relevance.

At the present stage, international cultural exchange is not only a necessary condition for the movement of humanity along the path of progress, but also an important factor in international relations in the conditions of democratization and integration of world society.

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

In addition, many issues of cultural interaction are now being actively discussed by authoritative international organizations, more and more intergovernmental associations are emerging, where the problems of cultural interaction, dialogue - cultures are given great importance.

The purpose of the lecture is to study the main directions of sociocultural exchange and cooperation between countries.

The objectives of the lecture are to consider the main directions and forms of international cultural exchange at the turn of the 20th-21st centuries, and to analyze international relations in the field of education.

1. Cultural exchange in the system of international relations

1. Concept of international cultural exchange

In modern international relations, issues of international cultural cooperation are of particular importance. Today there is not a single country that does not pay close attention to the issues of building strong cultural contacts with the peoples of other states 49 .

Culture, being a process of spiritual, creative, intellectual communication, implies the mutual enrichment of new ideas in the context of cultural exchange and thus performs an important communicative function, uniting groups of people different in their social, ethnic, and religious affiliation. It is culture that today becomes the “language” on which the entire system of modern international relations can be built.

The centuries-old experience of cultural contacts, which date back to ancient times, is of great importance in the development of the main directions, forms and principles of international cultural interaction.

The theoretical and practical significance of cultural connections in the modern political space, active processes of integration and globalization in the modern world, problems of cultural expansion dictate the need to address issues of international cultural exchange in the system of international relations.

Cultural exchange in the system of international relations has a certain specificity, which is dictated by the basic content of the concept of culture and the essence of the definition of international relations. International cultural exchange includes all the features of culture and reflects the main stages of its formation, which are directly related to contacts between peoples, states, civilizations and are part of international relations. Cultural ties have a significant difference from international relations in that cultural dialogue between countries continues even when political contacts are complicated by interstate conflicts.

Thus, taking into account the specifics of international cultural relations, we can come to the following definitions of this concept - general and specific.

Cultural exchange in the system of international relations is a complex, complex phenomenon that reflects the general patterns of international relations and the world cultural process 50 . This is a complex of diverse cultural ties along state and non-state lines, including the entire spectrum of different forms and areas of interaction, reflecting both modern international relations and historically established forms, with significant stability and breadth of influence on political, economic, social, and cultural life.

COURSE WORK

PROBLEMS OF GLOBALIZATION IN THE SYSTEM OF INTERNATIONAL CULTURAL EXCHANGE

CONTENT:

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

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

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

1.2. The problem of the relationship between value systems................................... 10

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

Chapter 2. Practice of organizing international cultural exchange.................................... 19

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

2.2.Cultural exchange programs as a mechanism for overcoming contradictions between value systems.................................................... ............................... 24

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

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

Cultural exchange between peoples is an integral attribute of the development of human society. Not a single state, even the most politically and economically powerful, is able to satisfy the cultural and aesthetic demands and needs of its citizens without turning to the world cultural heritage, the spiritual heritage of other countries and peoples. At the same time, it should be taken into account that cultural exchange has two interconnected sides: cooperation and competition. Rivalry in the field of cultural relations, despite its veil, manifests itself in an even more acute form than in politics and economics. States and peoples are just as selfish as individuals: it is important for them to preserve and expand the influence, first of all, of their culture, and to use the achievements of other cultures in their own interests. In the history of human civilization there are enough examples of large and small nations passing into the past without overcoming internal and external contradictions. The problems of acculturation, assimilation, and integration acquired particular urgency during the period of globalization, when changes in all spheres of life of human society received a noticeable acceleration.

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

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

IN work tasks includes:

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

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

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

1.1.Globalization as a socio-cultural reality

Globalization by the beginning of the 21st century. no longer just a subject of theoretical debate and political debate, globalization has become a social reality.

In it you can see:

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

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

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

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

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

Technological revolution with numerous social consequences;

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

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

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

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

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

Cultural isolation. XX century gave numerous examples of the isolation and self-isolation of individual countries, regions, political blocs, and the means of political and cultural isolation (Sanitary Cordons) or cultural self-isolation (Iron Curtain) were resorted to in order to consolidate social systems against external and internal enemies. The sources of isolationist tendencies in the coming century will be: cultural and religious fundamentalism, environmental, nationalist and racist movements, the rise to power of authoritarian and totalitarian regimes that will resort to measures such as sociocultural autarky, restrictions on information and humanitarian contacts, freedom of movement, tightening censorship, preventive arrests, etc.

The main axes along which the civilizational shift occurs at the end of the 20th - beginning of the 21st centuries. appear as follows:

A) Vlculture Axis” - a shift from cultural imperialism to cultural pluralism.

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

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

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

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

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

Competition culture implemented in the forms of random organizational systems that involve contractual relations between interested participants. Such systems are characterized by an entrepreneurial organizational culture, in which forms of organizing joint and individual activities predominate.

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

Culture of confrontation characteristic h closed (hierarchical) organizational systems with bureaucratic management forms and a bureaucratic organizational culture, in which forms of organizing joint and consistent activities predominate. Each higher level of the organizational hierarchy is called upon to resolve conflicting relationships that arise at the lower level. Therefore, the area of ​​goal determination inherent in this culture turns out to be the interests of the Supreme Commanders.”

Culture of cooperation assumes open organizational systems with democratic management forms. Participatory organizational culture with a predominance of forms of organizing joint creative activities. The area of ​​goal determination is the legitimate interests of the majority of the people with mandatory consideration of the interests of the minority.

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

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

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

Actually globalization can be considered as a mega-trend of cultural assimilation (according to I. Wallerstein, it corresponds to the forecast scenario of the “Democratic Dictatorship”), which found its expression in the universal neoliberal doctrine.

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

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

1. MC participants should perceive each other as equal parties, freed from any sense of self-superiority.

2. You should listen to each other carefully, carefully understanding the arguments.

3. To deny yourself many things.

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

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

1.2. The problem of the relationship between value systems

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

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

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

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

For example, regarding the term geoculture, then in its first meaning it is a synonym for “cultural imperialism”, the cultural power of the industrialized World North over the economically backward countries of the South. The concept “Vlgeoculture” became widespread in science after the publication of the book “VlGeopolitics and Geoculture” by the American scientist Immanuel Wallerstein in 1991. “VlGeoculture”, according to Wallerstein, is the cultural basis of the capitalist world-system that formed at the beginning of the 16th century. and now - after the collapse of the socialist experiment - experiencing the most significant crisis in its history. The basis of geoculture, Wallerstein believes, is made up of three beliefs: (a) that states that are present or future members of the United Nations are politically sovereign and, at least potentially, economically autonomous; (b) that each of these states has in fact only one, at least one predominant and original, national culture"; (c) that each of these states can, over time, separately “develop” (which in practice apparently means achieving the standard of living of current OECD members).

“VlGeoculture” of the world-system, an ideological justification for the inescapable inequality between the rich center and the poor periphery in the 20th century. there was liberalism, the general belief that a politically free nation, having chosen the correct (capitalist or socialist) economic course of development, would achieve success and power. Now humanity is experiencing the collapse of former liberal hopes, so in the very near future the world-system must change significantly.

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

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

At the same time, it is obvious that information revolution, changed the traditional balance of power in society, forced people to talk about a single global information community - a society in which, at first glance, there seems to be no place for ethnocultural characteristics, nations and national relations, national traditions, about a single information space, about a new civilization without national borders. And as if in contrast to the emerging new cultural reality, from the second half of the 20th century in American and then in European science, the growth of the ethnic factor in social processes was recorded. This phenomenon was even called the “Ethnic Revival.” Ethnic values ​​again began to acquire special significance. Year after year, the struggle of ethnic minorities for the expansion of their ethnocultural rights in America and Europe became more active, and in the 1980-90s this process swept over Russia. And such social activity does not always take place in a calm manner; sometimes it is expressed in the form of open social conflicts, accompanied by a wave of violence.

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

Contradiction between modernism and traditionalism;

The contradiction between “one’s own” and “another’s”, which is especially characteristic in the dialogue of two cultures - European and Asian, more precisely, Western and Eastern;

The contradiction between global and local forms of culture, which in the light of the Information Revolution takes on a special meaning;

The contradiction between the technical and humanitarian aspects of culture.

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

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

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

The above allows us to conclude that the era of globalization in the cultural aspect carries at least two trends: on the one hand, it is a change in the traditional way of life of a person, on the other hand, it stimulates the adaptive defense mechanisms of culture; this process sometimes becomes acutely conflicting in nature.

1.3. Intercultural exchange in international communication flows

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

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

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

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

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

Moreover, by "international exchange" UNESCO means any transfer of ownership, use or storage of cultural property between states or cultural institutions of different countries - be it in the form of loan, transfer for storage, sale or gift of such property - carried out in conditions which can be agreed upon between the interested parties.

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

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

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

There are also other types of asymmetry that make communication fundamentally unequal. For example, there is a so-called external asymmetry, when transnational companies begin to capture the content of cultural and entertainment programs in developing countries. The incentive to produce home-produced programs, films, and books is gradually disappearing. The result is a monotony of tastes, styles and content of cultural life.

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

2.1. Formation of cultural policy in Russia

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

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

In the field of formation of Russia's foreign cultural policy, it should be noted that in the last decade Russia has gained the opportunity to redefine its internal and external cultural policies, develop the legal framework for international cultural interaction, conclude agreements with foreign countries and international organizations, and formulate a mechanism for their implementation . The country has begun the process of transforming the previous system of international cultural cooperation, which developed under the administrative-command system, into a new democratic system based on universal human values ​​and national interests. The democratization of international relations contributed to the elimination of strict party-state control over the forms and content of international cultural exchanges. The Iron Curtain, which for decades had hampered the development of contacts between our society and European and world civilization, was destroyed. Professional and amateur artistic groups and cultural institutions were given the opportunity to independently establish foreign contacts. Various styles and trends in literature and art have gained the right to exist, including those that previously did not fit into the framework of official ideology. The number of government and public organizations taking part in cultural exchanges has increased significantly. The share of non-state financing of events held outside the country (commercial projects, sponsorship funds, etc.) has increased. The development of foreign relations between creative teams and individual artists on a commercial basis not only helped to increase the international prestige of the country, but also made it possible to earn significant foreign currency funds necessary to strengthen the material base of culture. Political and bureaucratic obstacles in processing travel of Belarusian citizens abroad have been reduced.

Guided by the Foreign Policy Concept of the Russian Federation
and in accordance with the Decree of the President of the Russian Federation of March 12, 1996 No. 375 Vlo on the coordinating role of the Ministry of Foreign Affairs of the Russian Federation in pursuing a unified foreign policy line of the Russian Federation, the Ministry of Foreign Affairs of Russia carries out a great deal of work on the formation of cultural cooperation between Russia and foreign countries.

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

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

International cultural cooperation includes connections in the field of culture and art, science and education, the media, youth exchanges, publishing, museums, libraries and archives, sports and tourism, as well as through public groups and organizations, creative unions and individual groups of citizens .

The basis of ties in the field of culture are artistic and artistic exchanges in their traditional forms of touring and concert activities. The high authority and uniqueness of the domestic performing school, the promotion of new national talents to the world stage ensure a stable international demand for the performances of Russian masters.

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

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

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

Roszarubezhtsentr has the following main tasks: developing, through Russian centers of science and culture (RCSC) and its representative offices abroad in 68 cities in Europe, America, Asia and Africa, a wide range of international relations of the Russian Federation, as well as promoting the activities of Russian and foreign non-governmental organizations in developing these connections; promoting the formation abroad of a comprehensive and objective understanding of the Russian Federation as a new democratic state and an active partner foreign countries on interaction in cultural, scientific, humanitarian, information spheres of activity and the development of world economic relations.

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

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

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

Despite the state's attention to issues of cultural exchange, in recent years the cultural sphere has been within the strict framework of market relations, which significantly affects its condition. Budget investments in culture have sharply decreased (both in percentage and in absolute terms). Most of the regulations adopted by the authorities regulating relations in this area are not implemented. The financial situation of both the cultural sector in general and creative workers in particular has deteriorated sharply. Increasingly, cultural institutions are forced to replace free forms of work with paid ones. In the process of consuming the services provided by society

They look at it together.

International cultural exchange -- the most important process interaction and mutual enrichment of cultures of the peoples of the world, contributing to the progress of human civilization over many centuries. In the past, the exchange of information in the cultural sphere was random, often acquiring barbaric forms during conquests. There was not only the interpenetration of cultures of peoples, but sometimes also the decline of civilizations, the disappearance of entire cultural layers. Humanity as a whole was thus losing the invaluable experience accumulated over centuries of creative search and hard work.

At the dawn of human history, more civilized forms of cultural exchange were associated with the development of trade relations. But they often depended on chance, were even more often limited to a narrow region and were very unstable. Individual peoples developed as closed cultural systems. Over time, relations in the world became more systematic and widespread. The successes of navigation, the geographical discoveries of Europeans, the development of trade - all this created conditions for the dissemination of knowledge about the culture of various peoples. This process was accompanied by European colonization and the creation of colonial empires, which led to unbridled robbery and destruction of the culture of the peoples subject to the Europeans.

Only with the creation of large-scale industry in Europe and the increased export of capital to dependent countries did their peoples become acquainted with the elements of industrial civilization and partly became familiar with European education. Conditions arose for the development of sustainable cultural exchange: the entire economic, political and spiritual life of mankind began to acquire an increasingly international character; new incentives for exchange in the field of culture and the acquisition of advanced experience appeared.

The destructive consequences of world wars and the emergence of weapons of mass destruction in the 20th century led to the strengthening of the anti-war movement and the development of broad communication between peoples based on an understanding of the need to rebuild the entire system of international relations. International cooperation in this area has increased awareness of the integrity modern world, the dangers of its division into closed ethnocultural and military-political groups. Overcoming barriers created during historical development, has become an urgent need of our time.

International cultural exchange not only continues to demonstrate a steady trend towards expanding the scope and forms of mutual influence of the cultures of the peoples of the world, but is also becoming a necessary condition for any movement along the path of progress. Wide contacts between peoples and the development of modern means of communication greatly simplify the possibility of exchanging information. Nowadays it is difficult to imagine even a small corner of the Earth that would be completely separated from communication with the outside world and would not, to one degree or another, experience the influence of world culture. Thanks to the fact that the achievements of human thought and spirit can be used for the benefit of all mankind, it is possible to resolve the most difficult problems of the world community. The realization of this opportunity depends on how quickly international cooperation in the intellectual sphere is established.

International cultural exchange has acquired a global, interconnected, progressive character; it has a deep internal motivation for development. However, at the end of the 20th century, it still depends on a number of external factors that have a huge impact on all aspects of our lives.

In modern conditions, integration in the intellectual and spiritual spheres significantly accelerates the process of solving vital problems facing humanity. Moreover, international cooperation, as a rule, leads to intensive and widespread implementation of the results of scientific research and other generally recognized manifestations of creativity in daily life peoples International cultural exchange promotes the intensification of creative processes, ensuring the inclusion of significant spiritual potential of representatives of many nations, increasing the level of competition between them, and strengthening the role of moral incentives. From a historical perspective, thanks to international cultural exchange, it becomes possible to overcome the division of the world into so-called “civilized” and “uncivilized” peoples, to ensure a genuine solution to the problems of human civilization on a truly democratic basis, which allows us to hope for sustainable progress in the world.

In the second half of the 20th century. The creative process has become significantly more complicated. Activities in this area sometimes require large capital investments and complex organization, affecting social structures on a national and international scale. This is the effective organization of the economic life of society, which will allow a steady increase in investment in the cultural sphere, and the organization of modern education, providing a high level of training at all its stages, and the continuity of advanced training, and the organization of cultural life, regulating the harmonious development of all elements of a person’s spiritual life. All this inevitably requires the combined efforts of specialists from various fields of knowledge and representatives of various layers and areas of science and culture, often from different countries. The organization of such work involves the need to coordinate efforts at the international level, overcome narrow national interests, and attract significant resources from the world community.

After the Second World War, the task of promoting international cooperation in the field of science and culture was entrusted to the United Nations (its charter explicitly refers to this function). The XIV session of the General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in November 1966 adopted the Declaration of Principles for International Cultural Cooperation, which declares that “cultural cooperation is the right and duty of all peoples and nations, which must be shared with a friend with gapes and art.” The Declaration determined the main directions of cooperation between states in the field of culture Melekhin B.I. Cultural and scientific communication of peoples. Voronezh, 1968. However, the activities of international organizations within the UN show that to date it has not been possible to establish an effective system of international cooperation in this area.

At the end of the 20th century, it became increasingly obvious that for many peoples of the world (but not all) the stage of development when “ national idea"was the only creative basis for the formation of national culture.

A modern alternative to national isolation is the process of integration of the cultural environment of peoples. Unfortunately, this objective process sometimes takes on the character of “cultural intervention” on the part of economically more stable states. Unification inevitably leads to the loss of “their identity” by many peoples, to the erosion of the deep roots of national culture and the superficial, imitative assimilation of elements of mass culture. Negodaev I.A. On the path to the information society. Rostov-on-Don, 2001 p.51. All this leads to the impoverishment of culture as a whole. Often, such a process as a response causes the growth of nationalism and the desire for autarky, and even destabilizes international relations. World culture is developing as complete system only when it includes in its arsenal the centuries-old experience of peoples possessing gigantic historical layers of culture and the originality of spiritual ideals.

International cultural exchange is not only creative, but also social in nature. This is determined by the fact that during the exchange of cultural values ​​there is a process of communication between representatives of national cultures, which over time becomes more and more widespread. For many representatives of the creative intelligentsia, cultural exchange becomes part of social activity; their national and international associations arise, which aim to expand the scope and deepen the forms of international cooperation. In addition, state and international organizations are involved in the process of organizing cultural exchange, which also have a significant impact on the nature of international cultural relations.

Involving intellectual circles with diverse knowledge and a broad view of the world community as a whole in discussing the most pressing interstate problems sometimes makes it possible to find unconventional solutions to problems that suit all parties involved in the negotiation process. The authority of the international intellectual elite can encourage statesmen change the system of priorities in the political course of individual countries and the world community as a whole. This circumstance makes international cultural exchange a factor in international politics.

The political determinism that characterizes research on the history of international cultural exchange in the 20s and 30s was determined mainly by the circumstances under which these works were written. In the conditions of the Cold War, the atmosphere of confrontation between two military-political groups inevitably left its mark on the consciousness of scientists. In addition, the very subject of the study - international cultural relations in the period between the two world wars - was characterized by a high degree of politicization. Finally, culture, by its nature, inevitably reflects the ideological and political trends dominant in society. Therefore, the objective basis for political determinism in research on this issue certainly remains today. But along with this, a broader understanding of the content of international cultural exchange in accordance with the diversity of culture itself is becoming more and more obvious, and, consequently, a further expansion of the scope of research on this topic. This presupposes the need, based on the indisputable achievements of historiography, to attract new sources and comprehend what is happening, taking into account the objective content of the process of mutual influence of national cultures.

The increasing role of spiritual interaction between peoples is a long-term trend in world development. Awareness of the significance and specificity of international cultural exchange becomes a necessary prerequisite for the stabilization of international relations and a factor in the use of this very complex and subtle instrument of human communication in the interests of the progress of civilization.

International cultural relations can be classified not only from the point of view of exchange participants, but also from the point of view of directions and forms of interaction. Turning to this issue, one can find examples of multilateral and bilateral cooperation at the state and non-state level.

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

In all the diversity of cultural exchange today, several directions and forms of cultural interaction can be distinguished, most clearly and fully reflecting the features of modern international relations and the specifics of cultural development at the present stage.

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

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

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

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

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

2. International relations in the field of education

1. Theory of international relations in education

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

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

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

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

Today we can note the following trends in the field of higher education and international educational relations: 54

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

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

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

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

Egalitarianism of higher education, that is, ensuring access to it for everyone, regardless of social origin, national, religious and other differences.

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

Thus, we can propose the following definition of international education:

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

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

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

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

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

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

European Center for Higher Education (CEPES);

International Bureau of Education (headquarters in Geneva);

International Association of Universities;

UN University;

International Association of Francophone Universities;

Permanent Conference of Rectors, Presidents, Vice-Presidents of European Universities;

International Association of University Professors and Teachers;

Association of European University Teachers;

Council for Cultural Development of the EU;

International Center for Educational Research and Innovation;

World Institute for Environmental Development Research (Helsinki).

Introduction

cultural exchange massification

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

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

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

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

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

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

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

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

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

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

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

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

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

The purpose of this work is as follows:

Determine the place of cultural exchange in the modern world.

• Identify the main forms and directions of cultural exchange in Russia.
• Identify the main Russian and international legal acts regulating cultural exchange.
• The objective of the work is to identify the main international and national legal documents regulating cultural exchange.
• The paper analyzes government modeling of cultural exchange using the example of the USA and Canada.
• The practical significance of the work is to ensure the collection of sufficient legal information on the basis of which legitimate cultural exchange is possible.
• Cultural exchange and its role in the modern world. Impact of the globalization process on cultural exchange
• Globalization is a process that results in a worldwide binding of structures, cultures and institutions. In the field of economic sciences, globalization is associated primarily with the idea of ​​a free world market, global mass culture and the global information community. The growing role of informatization in the life of society gives scientists reason to talk about the “information space,” which represents the sphere of production. transmission, assimilation and use of information. Information space is a physical space in which information flows circulate - moving in time (information transmission) and space (information storage).
• The globalization of culture is associated with two phenomena. The first represents the spread of Western individualistic values ​​among an increasingly large part of the world's population. These values ​​are promoted by social institutions that recognize individual human rights and attempts to protect human rights at the international level. The second trend can be called the borrowing of Western “rules of the game” throughout the world. Bureaucratic organization and rationalism, materialistic views, values ​​of economic efficiency and political democracy have been spreading throughout the world since the European Enlightenment. At the same time, the special role of cultural consensus in the world should be recognized. Although world system has always been and is multicultural, one cannot turn a blind eye to the growing influence of Western values: rationality, individualism, equality, efficiency - in other parts of the world. One of the consequences of cultural globalization as Americanization is the harsh suppression and emasculation of national cultures, which, without a doubt, leads to the impoverishment of world civilization. In the future, such a situation can lead to the establishment of spiritual totalitarianism, where people who are deprived of the values ​​of national cultural and religious identity live in a one-dimensional unified world. These trends may also provoke a harsh reaction from non-Western nations and give rise to a clash of civilizations.
• But if globalization is objective and inevitable, then how can humanity overcome these threats? The answer, in our opinion, should be sought in terms of changing the nature of globalization. Thus, A. Dugin identified two options for globalization. According to the first, which he called the “conciliar model” of globalization, “projects and theses that generalize the historical, cultural, economic, social, political, national, and religious experience of various peoples and states are introduced into the common treasury of humanity.”
• The second option, called “particular” or “unipolar” globalization by Dugin, assumes that “all of humanity chooses (voluntarily or not entirely voluntarily, under pressure) as a universal development scheme one civilizational model, which becomes a generally binding standard in politics, social structure, economy, culture. Some part of humanity, a certain people or state, develops a civilizational scheme and offers it as universal to everyone else.”
• However, the implementation of the first option of globalization requires serious efforts from the world community, including Russia, aimed at consolidating national cultures and building a polycentric world order based on a dialogical way of thinking. A worldwide trend is attention to national cultures. National culture as a defense against the expansion of mass culture. In many regions of Europe, a movement has emerged in defense of regional values, including ethnic and national cultural traditions and values ​​that will help people preserve their unique identity in the face of the threat of the depersonalizing effects of international mass culture, urbanization, globalization and technological progress. The unification of culture is a consequence of globalization. What is needed is equal cultural exchange instead of cultural globalization. Cultural exchange is a deeply dialectical process in which the differences between national cultures are not mutually exclusive, but are perceived in indissoluble unity.
• Anthropological component of the information process
• The crisis of industrial society lies in the fact that existing technologies for ensuring human life can inevitably lead to the destruction of human living conditions and the person himself. This crisis cannot be overcome in a short time without a qualitative increase in human intelligence. Reasonableness to the level at which he will be able to resolve the most complex global problems that have arisen within an acceptable time frame. This requires a significant strengthening of human intellectual capabilities and the unification of the intellects of individuals into a “single collective mind of humanity, which is impossible without the presence of an appropriate information space. In the process of informatization, there is a rapid growth of the human information space. At the same time, the information space of the individual reaches the size of the information space of society, and the latter becomes a single information space with a powerful, highly developed information infrastructure and a single information fund.
• It is necessary to take into account the impact that information technology has on the very process of human thinking. The harmony of the rational and emotional that has developed during the process of human evolution is gradually lost as labor becomes computerized, when the left hemisphere is primarily loaded. This leads to technocratic thinking, which in spiritual values ​​emphasizes the criteria of rationality, efficiency, and expediency to the detriment of the ideals of goodness and beauty. The contemplation of a refined natural science approach is replaced by an artificial-technical, information approach. In this case, what comes first to a person’s attention is not the material-energy characteristics that are familiar to him, but the information given in the form of symbols and the person communicates with the machine (and it acts as an objective reality) in an artificial language. A person symbolizes himself in information technology, the computer acts as a system symbolically isomorphic to man. A person becomes more and more pragmatic and less and less emotional; he is driven in pursuit of information and material values. This creates a state of mental discomfort, loss of individuality and a decrease in the general cultural level of the individual, moreover, it leads to the dehumanization of work and manipulation of people, entailing many negative forms of human behavior - embitterment, aggressiveness, conflict, etc. The problem of humanization arises as the return of man to his natural state and harmonious development.
• Passive consumption of information on a computer, television, audio, radio, telephone is increasingly displacing active forms of leisure, creativity, cognition, forms rigidity of thinking, and deprives people of direct communication with each other. “Narrowing of personal space, alienation from living nature causes an involuntary desire to simplify the picture of the world, fear of making decisions, fear of responsibility.”
• Contradictory processes are taking place in the cultural sector of society. They begin to find themselves in an increasingly tense relationship with the economy, which is subject to the influence of technocratically regulated social structures. Culture itself becomes hostile to existing social institutions and laws; it is turned against omnipotence and standardization of political, technical and economic tendencies of social development. Adhering to the negative impact of technology on culture, H. Ortega y Gasset notes that “technology itself, appearing to man, on the one hand, as a certain, in principle, limitless ability, on the other hand, leads to unprecedented devastation of human life, forcing everyone to live solely by faith in technology, and only in it... That is why our time - more than ever technical - turned out to be extremely meaningless and empty.”
• The problem of preserving and developing the human personality as a biosocial structure is the most important problem in the formation of the information society. This problem is sometimes referred to as the modern anthropological crisis. Man, complicating his world, increasingly brings into being forces that he no longer controls and which become alien to his nature. The more it transforms the world, the more it generates unforeseen social factors that begin to form structures that radically change human life and often worsen it. Back in the sixties, G. Marcuse stated as one of the significant consequences of modern technogenic development the emergence of a “one-dimensional person” as a product of mass culture. Modern culture, indeed, creates ample opportunities for manipulation of consciousness. With such manipulation, a person loses the ability to rationally comprehend existence. Moreover, “both the manipulated and the manipulators themselves become hostages of mass culture.”
• Technical means of cultural exchange
• In modern society, cultural exchange is greatly facilitated thanks to modern means of communication, the Internet. The impact of modern information technology on art goes in two directions. On the one hand, this technology is used in the creative work of artists and sculptors, actors and composers. On the other hand, modern information means make high culture accessible to everyone.
• Information technology plays a much larger role in the process of introducing people to works of art, thanks to which high culture becomes publicly accessible. It was she who made the unique achievements of world culture accessible to the masses. To see the Sistine Madonna, you no longer need to visit the Dresden Art Gallery; you can admire the paintings of Rubens and Kramskoy and the operas of the Bolshoi Theater at home through your TV. You can visit the Louvre or the Hermitage, visit the theater or watch a ballet, listen to the symphonies of Beethoven, Bach fugues or the best vocalists in the world by turning on the video player or multimedia computer via the Internet. A new mass culture is emerging. At the same time, the individual information system becomes the basis for the demassification of culture and its individualization. Massification and demassification are two real trends in the development of modern culture.
• There is increasing awareness of the need to strengthen dialogue between different civilizations in the current international situation. Human civilizations are diverse, it is necessary to respect the civilizations of other nations and strengthen mutual understanding through dialogue. In this situation, the role of cultural exchange can hardly be overestimated. In the era of globalization, cultural exchange is extremely important. The era of globalization contributes to the spread of mass culture in its American version. Cultural exchange between countries prevents the unification of culture, saturating the information space with various ethnocultural components.
• Cultural exchange in modern Russia
• The social effect of cultural activities delayed over time and the often lack of immediate results oblige society to treat these truly strategic resources with particular diligence, protecting the accumulated cultural potential as one of the highest values ​​of the country. At the same time, wealth Russian culture truly huge.
• If we talk only about the system of the Ministry of Culture of the Russian Federation, then (as of January 1, 1999) there are 55 million storage units in 1,868 state museums. The collection of 49 thousand libraries is approaching a billion books. Millions of historical and cultural documents are stored in 15 thousand archives of the country. There are about 85 thousand immovable historical and cultural monuments under state protection and, according to estimates, approximately the same number remain unaccounted for. The system of the Russian Ministry of Culture includes more than 50 thousand club institutions, over 500 theaters and about 250 concert organizations.
• The new stage of Russian history turned out to be associated with difficulties in the state budget, crisis phenomena in the banking system, and a steady downward trend in real incomes of the population. All this led to a not very favorable situation for the functioning of national culture. This situation predetermined the cultural policy of the period of radical transformations of Russian statehood: its main goal was to preserve the rich cultural heritage of the peoples of Russia, the previously established system of institutions of the cultural life of the country. The federal target program “Preservation and Development of Culture and Art” (1993-1995), extended by decree of the Government of the Russian Federation for 1996, was also aimed at achieving this goal. In the last five years of the outgoing century, there was a change in the priorities of state cultural policy and the main emphasis was transferred from the tasks of preserving cultural potential to its development.
• In 1996, the Russian Government adopted the federal target program “Development and preservation of culture and art” (1997-1999). At the same time, the program itself was aimed at solving the following problems:
• -support and development of professional artistic creativity, creation of conditions for the development of professional art organizations and expansion of their audience, support of individual talents;
• -preservation of cultural heritage, conservation, restoration and introduction into cultural circulation of immovable cultural and historical monuments, unique historical, cultural and natural territories, preservation and efficient use museum and library collections;
• implementation of the principles of federalism in cultural construction, preservation and development of the national cultures of the peoples of Russia, support for interregional cultural exchange;
• international cultural cooperation, integration of contemporary Russian art into the current world artistic process, support for the cultural activities of our compatriots abroad, development of international cultural cooperation in accordance with the general geopolitical priorities of Russia;
• stimulation of folk art, revival and development of folk artistic crafts and the historical and natural environment of their habitat, support of new forms of cultural and leisure activities;
• support for young talents and the development of a system of artistic and cultural education, improving the quality of training of specialists, organizational reorganization of the network of educational institutions and the principles of their functioning;
• -formation of an industry system social support cultural workers;
• -development of the material base and technical re-equipment of the industry, construction and reconstruction of cultural and art facilities, introduction of new technologies into their activities;
• -legal and information support for the cultural sphere;
• -development of the science of culture in the field of economics, law and management.
• The process of forming a legal framework for cultural activities, begun in 1992 with the adoption of the “Fundamentals of Legislation on Culture in the Russian Federation,” was continued at both the federal and regional levels. In 1996, the Federal Law “On the Museum Fund of the Russian Federation and Museums in the Russian Federation” was adopted, which, together with the previously adopted Law of the Russian Federation “On the Export and Import of Cultural Property” and the Fundamentals of the Legislation of the Russian Federation “On Archival Funds and Archives”, became part of the general legislation on the preservation of the cultural heritage of the peoples of Russia. In accordance with the laws adopted in 1998, the Government of the Russian Federation approved the “Regulations on the Museum Fund of the Russian Federation”, “Regulations on the State Catalog of the Russian Federation” and “Regulations on licensing the activities of museums in the Russian Federation”, providing for real mechanisms of state regulation in this area .
• At the same time, the laws adopted in recent years do not fully provide legal guarantees for the preservation and development of national culture and the reproduction of its strategic resources. This work continues. At the preparation stage are laws on the protection and use of historical and cultural monuments, on museums-reserves, on theater and theatrical activities, on creative unions and creative workers, a new edition of the Fundamentals of Legislation on Culture and a number of other important legislative acts.
• On the other hand, many Russian cultural figures are actively involved in world artistic life. Singers and ensembles perform on the largest music stages in the world. Our films have penetrated Western markets. Painting is in demand. Directors, conductors, musicians. Representatives of Russian musical culture living abroad have become frequent guests in Russia.
• Festivals, competitions, and exhibitions have become forms of unification of cultural workers and cultural exchange. Patrons appeared. Political and economic transformations in Russia are making cultural cooperation - cultural exchange - increasingly visible. This phenomenon is of extreme importance for the development of the country, not only culturally, but also socially and economically.
• Commercial structures are actively involved in the process of international cultural exchanges. An example is the agreement signed on June 19, 2004 by the Minister of Foreign Affairs of the Russian Federation Igor Ivanov and the President of Alfa-Bank Petr Aven on the general conditions of cooperation in the field of international cultural exchanges between the Russian Ministry of Foreign Affairs and Alfa-Bank. The agreement provides for broad opportunities for interaction between the Russian Foreign Ministry and one of the largest domestic banks in the interests of developing external cultural relations of the Russian Federation. Alfa-Bank has expressed its readiness to provide sponsorship assistance for the implementation of certain international cultural cooperation projects that have foreign policy implications.
• International cultural exchange
• “Every person has the right to freedom of opinion
• And to free expression; this right includes freedom to hold opinions without interference and freedom to seek, receive and impart information and ideas through any media and regardless of frontiers.”
• International Declaration of Human Rights
• Today, international cultural exchange is acquiring qualitatively new features and is characterized by a sharply increased scale and unprecedented intensity. For the first time, intellectual and artistic creativity at the level of international relations outgrows the national framework and acquires an international character. Evidence of this new quality of cultural exchange was the creation of a significant number of international scientific associations, the emergence of international associations of creative intelligentsia and the organization of international intellectual cooperation. For the first time, international cultural exchange is becoming the subject of targeted policy. This largely predetermines its higher level of organization and increased material opportunities for cooperation in the field of spiritual creativity.
• Close public attention is focused on the process of creating intellectual and artistic values. The most outstanding achievements in this field become an event not only for specialists, but also acquire the character of a world sensation. Major scientists, engineers, writers and artists attract the attention of the international community as outstanding personalities. Science, literature and art began to be perceived not only as spheres of individual creativity, but also as phenomena of a social nature, due to their influence on accelerating the processes of changing human conditions.
• For the first time, the idea that people’s lives, and the fate of humanity as a whole, depended not only on the “powers of this world,” but also on the ability of the intellectual elite to adequately solve problems arising in society, became widespread. A reflection of this process was the realization by part of the creative intelligentsia of moral responsibility for the results of their activities. International cooperation in the field of culture has acquired the character of a public activity, and some prominent representatives of science and art see this as their public duty.
• Equal interaction between national cultures is always fruitful and contributes to their mutual enrichment, and the cooperation of their representatives, as a rule, is more characterized by loyalty and tolerance than contacts between representatives of political elites.
• It should be noted that international cultural exchange also contributes to the progress of human civilization in the intellectual sphere. This is especially evident in the field of science and technology. This allows us to determine the most promising areas of research, identify unsolved problems, and establish interdisciplinary connections.
• International congresses, conferences, and other forms of information exchange have become systematic. Global coordination of scientific activities has become a regular practice.
• With growing demands for the practical significance of research results, international forms of cooperation in the field of development, medical and other applied fields of knowledge have intensified. It is becoming common to hold international forums for the exchange of information, organize on a commercial basis the transfer of best practices, and invite foreign specialists to work. All this contributes to a significant acceleration of scientific and technological progress in industrial development, largely determining the high level of involvement of the planet’s resources in the economic circulation and ensuring the mass production of complex equipment.
• International cultural exchange is gaining great importance in the field of humanitarian knowledge. Its content is determined by the desire to humanize humanity, to unite people on the basis of universal human values.
• The organization of international cultural relations in Russia has been given the status of state policy, which is determined by the need to provide favorable conditions for the accelerated economic and cultural development of the country. Participation in international cultural exchange is also considered as a means of implementing the state’s foreign policy, which allows influencing the formation of the world public opinion, since the content of domestic culture ultimately determines the content of our country’s international policy. All this allows us to assert that, most importantly, Russia’s international relations in the field of culture ensure the country’s progress and allow representatives of domestic science, literature, and art to fruitfully cooperate with representatives of the world intellectual and artistic elite.
• From the history of cultural exchange
• International cultural exchange is the most important process of interaction and mutual enrichment of cultures of the peoples of the world, contributing to the progress of human civilization over many centuries. In the past, the exchange of information in the cultural sphere was random, often acquiring barbaric forms during conquests. There was not only the interpenetration of cultures of peoples, but sometimes also the decline of civilizations, the disappearance of entire cultural layers. Humanity as a whole was thus losing the invaluable experience accumulated over centuries of creative search and hard work.
• At the dawn of human history, more civilized forms of cultural exchange were associated with the development of trade relations. But they often depended on chance, were even more often limited to a narrow region and were very unstable. Individual peoples developed as closed cultural systems. Over time, relations in the world became more systematic and widespread. The successes of navigation, the geographical discoveries of Europeans, the development of trade - all this created conditions for the dissemination of knowledge about the culture of various peoples. This process was accompanied by European colonization and the creation of colonial empires, which led to unbridled robbery and destruction of the culture of the peoples subject to the Europeans.
• Only with the creation of large-scale industry in Europe and the increased export of capital to dependent countries did their peoples become acquainted with the elements of industrial civilization and partly became familiar with European education. Conditions arose for the development of sustainable cultural exchange: the entire economic, political and spiritual life of mankind began to acquire an increasingly international character; new incentives for exchange in the field of culture and the acquisition of advanced experience appeared.
• The destructive consequences of world wars and the emergence of weapons of mass destruction in the 20th century led to the strengthening of the anti-war movement and the development of broad communication between peoples based on an understanding of the need to rebuild the entire system of international relations. In the course of international cooperation in this area, awareness of the integrity of the modern world and the danger of its division into closed ethnocultural and military-political groups has increased. Overcoming barriers created during historical development has become an urgent need of our time.
• International cultural exchange not only continues to demonstrate a steady trend towards expanding the scope and forms of mutual influence of the cultures of the peoples of the world, but is also becoming a necessary condition for any movement along the path of progress. Wide contacts between peoples and the development of modern means of communication greatly simplify the possibility of exchanging information. Nowadays it is difficult to imagine even a small corner of the Earth that would be completely separated from communication with the outside world and would not, to one degree or another, experience the influence of world culture. Thanks to the fact that the achievements of human thought and spirit can be used for the benefit of all mankind, it is possible to resolve the most difficult problems of the world community. The realization of this opportunity depends on how quickly international cooperation in the intellectual sphere is established.
• International cultural exchange has acquired a global, interconnected, progressive character; it has a deep internal motivation for development. However, at the end of the 20th century, it still depends on a number of external factors that have a huge impact on all aspects of our lives.
• In modern conditions, integration in the intellectual and spiritual spheres significantly accelerates the process of solving vital problems facing humanity. Moreover, international cooperation, as a rule, leads to intensive and widespread implementation of the results of scientific research and other generally recognized manifestations of creativity in the everyday life of peoples. International cultural exchange promotes the intensification of creative processes, ensuring the inclusion of significant spiritual potential of representatives of many nations, increasing the level of competition between them, and strengthening the role of moral incentives. From a historical perspective, thanks to international cultural exchange, it becomes possible to overcome the division of the world into so-called “civilized” and “uncivilized” peoples, to ensure a genuine solution to the problems of human civilization on a truly democratic basis, which allows us to hope for sustainable progress in the world.
• In the second half of the 20th century. The creative process has become significantly more complicated. Activities in this area sometimes require large capital investments and complex organization, affecting social structures on a national and international scale. This is the effective organization of the economic life of society, which will allow a steady increase in investment in the cultural sphere, and the organization of modern education, providing a high level of training at all its stages, and the continuity of advanced training, and the organization of cultural life, regulating the harmonious development of all elements of a person’s spiritual life. All this inevitably requires the combined efforts of specialists from various fields of knowledge and representatives of various layers and areas of science and culture, often from different countries. The organization of such work involves the need to coordinate efforts at the international level, overcome narrow national interests, and attract significant resources from the world community.
• After the Second World War, the task of promoting international cooperation in the field of science and culture was entrusted to the United Nations (its charter explicitly refers to this function). The XIV session of the General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in November 1966 adopted the Declaration of Principles for International Cultural Cooperation, which declares that “cultural cooperation is the right and duty of all peoples and nations, which must be shared with a friend with gapes and art.” The Declaration determined the main directions of cooperation between states in the field of culture. However, the activities of international organizations within the UN show that to date it has not been possible to establish an effective system of international cooperation in this area.
• At the end of the 20th century, it became increasingly obvious that for many peoples of the world (but not all) the stage of development when the “national idea” was the only creative basis for the formation of national culture was passed.
• A modern alternative to national isolation is the process of integration of the cultural environment of peoples. Unfortunately, this objective process sometimes takes on the character of “cultural intervention” on the part of economically more stable states. Unification inevitably leads to the loss of “their identity” by many peoples, to the erosion of the deep roots of national culture and the superficial, imitative assimilation of elements of mass culture. All this leads to the impoverishment of culture as a whole. Often, such a process as a response causes the growth of nationalism and the desire for autarky, and even destabilizes international relations. World culture develops as an integral system only when it includes in its arsenal the centuries-old experience of peoples with gigantic historical layers of culture and originality of spiritual ideals.
• International cultural exchange is not only creative, but also social in nature. This is determined by the fact that during the exchange of cultural values ​​there is a process of communication between representatives of national cultures, which over time becomes more and more widespread. For many representatives of the creative intelligentsia, cultural exchange becomes part of social activity; their national and international associations arise, which aim to expand the scope and deepen the forms of international cooperation. In addition, state and international organizations are involved in the process of organizing cultural exchange, which also have a significant impact on the nature of international cultural relations.
• Involving intellectual circles with diverse knowledge and a broad view of the world community as a whole in discussing the most pressing interstate problems sometimes makes it possible to find unconventional solutions to problems that suit all parties involved in the negotiation process. The authority of the international intellectual elite can encourage government officials to change the system of priorities in the political course of individual countries and the world community as a whole. This circumstance makes international cultural exchange a factor in international politics.
• The political determinism that characterizes research on the history of international cultural exchange in the 20s and 30s was determined mainly by the circumstances under which these works were written. In the conditions of the Cold War, the atmosphere of confrontation between two military-political groups inevitably left its mark on the consciousness of scientists. In addition, the very subject of the study - international cultural relations in the period between the two world wars - was characterized by a high degree of politicization. Finally, culture, by its nature, inevitably reflects the ideological and political trends dominant in society. Therefore, the objective basis for political determinism in research on this issue certainly remains today. But along with this, a broader understanding of the content of international cultural exchange in accordance with the diversity of culture itself is becoming more and more obvious, and, consequently, a further expansion of the scope of research on this topic. This presupposes the need, based on the indisputable achievements of historiography, to attract new sources and comprehend what is happening, taking into account the objective content of the process of mutual influence of national cultures.
• The increasing role of spiritual interaction between peoples is a long-term trend in world development. Awareness of the significance and specificity of international cultural exchange becomes a necessary prerequisite for the stabilization of international relations and a factor in the use of this very complex and subtle instrument of human communication in the interests of the progress of civilization.
• International cooperation in the field of cultural property, their legal protection
• Cultural cooperation actively influences the growth of mutual understanding between people, countries and peoples, which leads to stability in international relations, reducing the risk of armed conflicts. International relations in the field of culture are carried out in certain directions and in appropriate forms. The following areas of cooperation can be indicated:
• cultural exchanges;
• -protection of cultural property (in peacetime and during war, various forms and methods of protection are used);
• -joint activities to create cultural values ​​(film, television and radio industries, publishing, etc.);
• research activities;
• holding festivals, competitions and so on;
• export-import activities.
• restitution.

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

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

General principles cultural cooperation are enshrined in the Declaration of Principles of International Law concerning Peaceful and Friendly Relations between States, approved by the UN General Assembly in 1970. The seven principles listed in this document fully apply to the field of international cultural cooperation. All activities in this area must be carried out on the basis of the following requirements:

Prohibition of the threat and use of force;

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

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

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

mutual benefit of cultural cooperation: that is, the development of connections that enrich their participants with knowledge and contribute to the mutual enrichment of cultures;

obligation to protect cultural values ​​in times of peace and in times of war: each state itself takes care of the preservation and development of the culture of each nation, people, national and ethnic groups, protects cultural values ​​located on its territory. In peacetime, the operation of this principle is expressed in the obligation to preserve existing cultures and cultural values, to provide the necessary support for the development of these cultures, for the restoration of cultural objects, the return of illegally exported cultural values, etc. During war, states are also obliged to protect cultural values ​​so as not to allow them to be destroyed, damaged, or disappeared.

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

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

The member states of the countries of the Commonwealth of Independent States (CIS) entered into an Agreement on Cooperation in the Field of Culture on May 15, 1992, which reflected a broad program of cultural cooperation. This is: a general obligation to create favorable conditions for the development of cultural ties (Article 1), for organizing tours of artistic groups and individual performers (Article 4), to promote the creation of a single information space (Article 5) and the organization of international touring and exhibition activities (Article 7) etc.

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

All states pay considerable attention to the protection of cultural property. Such protection is always necessary. International treaties on the protection and protection of cultural property can be divided into: those regulating the protection of cultural property in peacetime and treaties placing these values ​​under protection during war.

In the first group, the Convention on Measures to Prohibit and Prevent the Illegal Import, Export and Transfer of Ownership of Cultural Property of November 14, 1970 occupies a primary place.

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

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

a) cultural values ​​created by citizens of a given state and cultural values ​​that are important for a given state;

b) cultural values ​​discovered on the national territory;

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

d) cultural values ​​acquired as a result of voluntary exchanges;

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

The Convention obliges the parties (Article 5) to create on their territory national services protection of cultural heritage to carry out such functions as:

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

b) compile and update, on the basis of the national protective register, a list of important cultural values, public and private, the removal of which would mean a significant impoverishment of the national cultural heritage;

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

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

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

A) take all necessary measures to prevent museums and other cultural property from acquiring stolen and illegally exported from another state;

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

The Convention was ratified by Russia in 1988. In the Russian Federation, in accordance with Art. 35 of the “Fundamentals of the Legislation of the Russian Federation on Culture”, responsibility for identifying, recording, studying, restoration and protection of historical and cultural monuments rests entirely with the state.

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

The system for recording cultural property is constantly being improved. Federal Law of the Russian Federation of May 26, 1996 “On the Museum Fund of the Russian Federation and Museums in the Russian Federation” provides for the creation of a State Catalog of the Museum Fund of Russia, which will unite cultural values ​​located in state museums and in private ownership.

In addition to the law on museum funds, the protection and protection of cultural property of Russia is also the customs legislation of the Russian Federation. Law "On the export and import of cultural property" of April 15, 1993. This law underlies all activities of customs services in this direction. It provides a list of cultural values ​​that fall under its scope (Article 6), defines values ​​that are not subject to export outside the Russian Federation (Article 9), and indicates the need to export illegally imported cultural values. The specially authorized body of state control over the export and import of cultural property is the Federal Service for the Preservation of Cultural Property. However, it is necessary to note that the issue regarding the import of cultural property is unclear. August 7, 2001 The Law “On the Export and Import of Cultural Property” was revised by the Government of the Russian Federation and the Ministry of Culture and supplemented. True, without significant changes. The normative basis for the legal protection and protection of cultural property at the national level is the Constitution of the Russian Federation, resolutions of the President and Government, International treaties and Conventions ratified by Russia, regulations of ministries and departments, current civil, administrative, criminal, customs and other legislation. That. Russian legislation also provides for various types of liability for violation of the rules for the protection and preservation of cultural property.

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

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

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

The wider Pact movement was cut short by World War II. After the war, Nicholas Roerich again put forward the idea of ​​the Pact and in 1954. on its basis the final act was signed International Convention- “On the protection of cultural property in the event of armed conflict.” After the Second World War, which brought enormous damage to world culture, the Hague Convention of 1954 united a number of international norms providing for the protection of cultural property in the event of an armed conflict, introducing two forms of protection - general and special. Special protection is provided only to particularly important objects, the preservation of which is of value to humanity. All objects considered by the Convention as cultural property fall under general protection. The main thing in this document is the issues of restitution of cultural property that ended up on the territory of other states as a result of the war.

Legal support cultural exchange

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

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

Regulations that specifically regulate various forms and areas of cultural exchange in the field of art make it possible to prevent illegal trade and damage to cultural property, and are a means of strengthening mutual understanding and mutual respect between peoples, especially since mutual exchange between countries still largely depends on commercial activity, and therefore promotes speculation, which leads to an increase in the prices of artistic values, making them inaccessible to countries in the least favorable conditions.

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

I do not set out to review all international and national legal acts regulating cultural exchange. This is not possible within the framework of a thesis. Therefore, I will present the most important and interesting ones from my point of view.

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

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

The Declaration emphasizes that in carrying out international cultural cooperation, which has a beneficial effect on all cultures and contributes to their mutual enrichment, the identity of each of them must be respected. Relevant exchanges must be imbued with the spirit of maximum reciprocity, respect for the sovereign equality of States and abstention from interference in matters essentially within the internal competence of States.

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

To this end, one should actively contribute to the implementation of cultural events, the creation and dissemination of joint works, encourage various organizations, and participate in international cultural exchanges and their development. At the same time, we must proceed from the fact that familiarization with culture and cultural information are especially necessary when we are talking about the civilizations and cultures of other peoples.

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

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

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

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

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

The main functions of the Council are to study opportunities for further development of cultural cooperation, prepare and adopt multilateral programs in the field of culture, coordinate joint activities, study and summarize the experience of states in ensuring social protection creative workers, security intellectual property, copyright and related rights.

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

Moreover, the Recommendation suggests that exchange proposals be entered into the card index only when it is established that the legal status of the items in question corresponds to the original law, and that the institution that made the proposal has the rights necessary for these purposes (Articles 4.5).

Proposals for exchange should be accompanied by complete scientific, technical and legal documentation to ensure best conditions cultural use, conservation and possible restoration of the proposed items.

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

The Recommendation also addresses the issue of covering the risks to which cultural property is exposed during the entire period of temporary use, including transportation, and in particular should explore the possibility of creating systems of government guarantees and compensation for damages in cases where items of great value are provided for temporary research.

Legal environment for cultural activities

The process of forming a new legal framework for cultural activities, begun in 1992 with the adoption of the basic law “Fundamentals of cultural legislation in the Russian Federation,” was continued in subsequent years at both the federal and regional levels. We will try to systematize and analyze these legal acts.

Federal regulations The State Duma On April 24, 1996, she adopted the Federal Law “On the Museum Fund of the Russian Federation and Museums in the Russian Federation.” The need to develop and adopt this law was due to a fundamental change in property relations in Russia, an increase in the number and change in the nature of subjects in the field of cultural heritage, the unprecedented activation of criminal structures and their widespread internationalization. Together with the previously adopted law of the Russian Federation “On the export and import of cultural property”, the fundamentals of the legislation of the Russian Federation, “On archival funds and archives”, the law has become an integral part of the Russian legislation on the preservation of the cultural heritage of the peoples of our country. In accordance with the law, the Government of the Russian Federation, by Resolution No. 179 of 02/12/98, approved the “Regulations on the Museum Fund of the Russian Federation”, “Regulations on the State Catalog of the Museum Fund of the Russian Federation”, “Regulations on licensing the activities of museums in the Russian Federation”. The provisions provide for real mechanisms for the practical implementation of the main provisions of the law.

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

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

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

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

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

determining the principles of state cultural policy, state support for culture and ensuring guarantees of non-interference in creative processes.

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

The bill defines the financial resources of cultural institutions, ensuring their multi-channel financing:

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

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

the established receipt of funds from other sources should not reduce the amount of budget funding for cultural institutions.

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

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

paid forms of core activity are not considered entrepreneurial if the income from these types of activities is completely directed to the maintenance and development of these cultural organizations.

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

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

• formation of mechanisms for protecting the constitutional rights of citizens to freedom of artistic creativity, participation in cultural life and use of cultural institutions;
• ensuring legal, economic and social conditions for preserving the country’s unified theatrical space, developing interethnic, interregional and international cultural ties;
• creation of legal guarantees for the support and preservation of stationary state and municipal theaters, as well as the development of theater organizational forms and forms of ownership, implementation of innovative projects related to the organization of theatrical business;
• protection of the rights to theatrical productions of its creators and participants;
• consistent approval of the policy of state protectionism in relation to theatrical art, its creators and theater organizations;
• ensuring a stable financial and economic position of theaters, a system of social protection for theater workers, creating conditions for updating the creative staff of theaters;
• The expert and his role in determining cultural and artistic values
• Expert (from Latin Expertus) is an experienced, knowledgeable person.
• Expertise is the study of any issue that requires special knowledge with the provision of motivated conclusions and conclusions. In museums, this is a combination of traditional art historical methods (historical and archival research, stylistic analysis) and natural scientific research methods (physical, chemical, physical-chemical, technological, computer).
• Leaving the term “cultural values” we will consider artistic values. Those. talk about artistic expertise. Artistic value is the totality of the visual qualities of a work of art that are significant to people. Each type of art has its own system of visual and expressive means and, accordingly, its own artistic values.
• Artistic examination is the determination of the artistic qualities of a work with proof of their merits. The need for artistic expertise is quite often determined by life: when selecting works for exhibitions, when completing private and museum collections, when selling or buying cultural property, when exporting or importing them from other countries, etc. And here it turns out that often the goals
• The criteria and parameters of assessments are different for different experts, and therefore the final conclusions about the cultural and artistic value of a work often turn out to be ambiguous, sometimes opposite and even mutually exclusive.
• Of course, for a professional judgment about artistic values, an assessment of this or that phenomenon is necessary. It concentrates the result of knowledge of the phenomenon, the main conclusions about its merits.
• Researchers dealing with the problem of values, as a rule, look for the specifics of the value approach to an object in comparison with the scientific-cognitive one. And the specificity of aesthetic judgment, as initially evaluative, in comparison with scientific-theoretical judgment, as “non-evaluative”. The conclusions drawn on this basis are far from indisputable. They lead to a contrast between scientific-theoretical and value judgments.
• Aesthetic evaluation is denied scientific objectivity, and the scientific-theoretical approach to the subject seems to exclude evaluation. At the same time, the fact remains in the shadows that the basis of scientific classification and conclusions is their assessment, and the basis value judgment lies the knowledge of the object. The very choice of an object, regardless of how it is going to be studied, is already a kind of assessment of it. There is always a certain value prism between the researcher and the object. Therefore, it seems that the scientific-cognitive and value approaches to determining cultural values ​​are in a close and obvious relationship.
• The uniqueness of establishing artistic value is due to the fact that its carrier is a work of art. Therefore, speaking about the establishment of artistic value, it should be noted that it is not identical to aesthetic value and is not its variety. Only in the history of artistic culture, on the basis of the collective experience of mankind, does it become possible to establish the objective artistic value of the work of each artist. It also determines the place he occupies in art. However, since each type of culture solves the problem of the value of artistic heritage, based on its ideals, a revaluation of values ​​constantly occurs in the history of art.
• In this regard, it becomes difficult to establish the artistic value of contemporary art. The art of past centuries has already received its appreciation in the course of cultural development. Contemporary art is less accessible to research, because A temporary distance has not yet formed that would separate and distance the object of study from the subject studying it.
• Particular difficulties arise during the artistic examination of works of decorative and applied art.
• The Law “On the Import and Export of Cultural Property” (Article VII - “Categories of items falling under the scope of the Law”, in the paragraph “artistic values”, in the section “works of decorative and applied art”) lists artistic products made of glass and ceramics , wood, metal, bone, fabric and other materials, products of traditional folk crafts. In accordance with this Law, an examination is assigned to exported and imported works to determine their artistic merit, as well as whether they are cultural value for the country.
• These difficulties arise, in most cases, because experts are required to have perfect knowledge about all the subjects presented to them, i.e. - universality of knowledge. The expert must be a practitioner in a specific type of decorative and applied art. And only then can his assessment be reliable and reasoned.
• In the broadest sense of the word, the examination of decorative and applied arts is a whole system of human relations to the objective world. In a narrow sense, it is a very complex and responsible type of scientific and creative activity. It follows from this that an expert in artistic examination should be not so much an “appraiser” of an item, but rather an expert in a specific type of decorative and applied art, but with a broad cultural and art historical outlook, the owner of many skills and abilities. The expert examines a material object as a unique witness to certain historical factors in the context of world culture. The examination is carried out by authorized specialists from the Ministry of Culture of the Russian Federation and the Federal Archive Service from museums, archives, libraries, restoration and research organizations, and other specialists who are freelance experts or members of expert commissions of the Ministry of Culture of the Russian Federation or its territorial bodies for the preservation of cultural property. The results of the examination are the basis for making a decision on the possibility or impossibility of exporting or temporarily exporting cultural property from the territory of the Russian Federation.
• Legal status of a customs expert
• The legal status of a customs expert is quite precisely defined by the Customs Code (2001). In accordance with Art. 346 - an examination is appointed if special knowledge in science, art, technology, craft, etc. is required to clarify emerging issues. The examination is carried out by employees of a customs laboratory or
• other specialists appointed by an official of the customs authority of the Russian Federation. The main requirement for an expert is to conduct an examination, the result of which will be an assessment that reveals the authenticity, monetary equivalent, artistic and cultural value of the item presented for examination.
• Art. 326: “Customs examination is carried out by an expert with a higher or secondary specialized education, who has received training in the relevant field of customs examination and is allowed to conduct customs examination based on the results of certification, the procedure for which is determined by the Regulations on the certification of customs laboratory employees.” The selection of specialists, approval of their composition and operating procedures are carried out by the head of the customs laboratory.
• The expert begins to carry out the examination only after a written instruction from the head of the customs laboratory, together with a resolution on the appointment of the examination and all materials received for examination. The resolution must indicate the basis for the examination and the issues that raised doubts.
• The expert’s conclusion consists of three parts: introductory, research, conclusions and justifications. The expert gives his conclusion only in writing, on his own behalf, with his signature and, accordingly, bears responsibility for it.
• So, without a doubt, the role of the expert in determining artistic cultural values ​​is dominant. It is up to the expert to determine the value of exported and imported works of art and many other items subject to current legislation. But, it should be noted that before any item is sent for examination, it is first attributed by a customs inspector, whose doubts allow you to contact an expert.
• The role, means, methods, status and characteristics of the expert are not fully disclosed in this work, because The purpose of this work is to develop an algorithm for the initial attribution carried out by customs inspectors. Cultural property declared for export or temporary export from the territory of the Russian Federation, as well as cultural property returned after temporary export, is subject to mandatory examination. The regulations on the examination and control of the export of cultural property were approved by Decree of the Government of the Russian Federation of April 27, 2001 N 322.
• State policy in the field of culture using the example of the USA and Canada
• US government policy in the field of arts and culture differs in many respects from the attitude of authorities in other countries to the same area of ​​public life. developed countries. Although many similarities can be found in some details and directions of cultural policies of all developed countries, the United States stands out from the rest, and this is especially evident in the forms and methods of financing the arts and culture. Here, more than in other countries, purely “market” approaches make themselves felt, as a result of which direct funding for individual areas of culture is distributed extremely unevenly: relatively little is spent on supporting creative activity itself, while the costs of various levels of government for such cultural institutions , like libraries or museums, can be quite large.
• The financing of creative areas is characterized, first of all, by the absolute predominance of various non-state sources. Finally, in the United States, completely different approaches are used to characterize government funding of such industries that are directly related in many respects to culture and art, such as education and science (which includes the training of arts and cultural workers or research in the history and theory of art, etc.). For the United States, a parallel consideration of the more or less complete economic relationship of the state with these three spheres of public life is absolutely necessary in view of the sharp differences in approaches to public funding of arts and culture, on the one hand, and science and education, on the other. Such an analysis, firstly, will help reveal the role of market postulates and traditions and the practice of American art; secondly, as a result, the scale and directions of the complementary influence of the state in the above three areas are clarified; in addition, important conclusions can be drawn about the contemporary nature of American capitalism and the role of government intervention in economic life, including the economics of art.
• The beginning of regular support by the American state for the cultural life and art of the country should be attributed to the period of F. Roosevelt’s “New Deal”, when artists were not only provided with assistance within the general framework of social events along with other representatives of the poor sections of the US population, but also special events were held , for example, to provide financial assistance to theaters from the federal government (the Federal Theater Project of 1935-39 remains the most significant of these activities).
• After the Second World War, the relationship between the state and American art entered a phase of gradual but increasing systematization; in 1965, during a period when there was an extremely active process of building the US government machine, accompanied by the debugging of its individual functions and the improvement of the interaction of its individual parts, the National Endowment for the Arts and Humanities (NFAH) was created in the executive branch system at the federal level. This institution became one of the so-called “independent departments,” which are a specifically American type of executive agency, organized, as a rule, to perform relatively narrow (though perhaps large-scale) tasks; such departments, to a greater extent, in comparison with ordinary ministries (departments), are accountable directly to the President of the United States, and their “independence” is determined primarily by autonomy in relation to other executive agencies; the size of such institutions varies from two or three dozen people to hundreds and thousands of employees - suffice it to say that “independent” departments include, for example, NASA or the Federal Reserve System - the “American Central Bank”.
• The NFIG included two functional funds - the National Endowment for the Arts (NFA) and the National Endowment for the Humanities (NFH); In addition, the NFIG includes the Federal Council for the Arts and Humanities and the Institute of Museum Services. Both functional foundations (NFI and NFG) are governed by boards whose members are appointed by the President of the United States, the main tasks of the boards, each of which consists of 27 people, are to advise the American President on policy issues in the field of arts, culture and humanities, as well as to analyze applications from applicants for financial support. The Federal Council for the Arts and Humanities (CSHA) consists of 20 people, including the directors of the NFI and NFG and the Institute of Museum Services; The duty of this Council is to coordinate the activities of the two functional funds, as well as the programs of other federal departments in similar areas.
• The NFI is designed to assist artists and organizations in the field of art at all levels (federal, state, local governments) by awarding grants and scholarships to talented artists, and to help students studying art receive an education. The main programs in which the NFI operates relate to such areas as dance, design art, folk crafts, literature, museums, opera and musical theaters, drama theatres, fine (“visual”) arts, and international contacts.
• The mission of the NFG is to promote education, research and general programs in the field of humanities (which primarily includes languages ​​and linguistics, literature, history, law, philosophy, archeology, religious studies, ethics, theory and history of art and art criticism, various aspects of the social sciences related to historical or philosophical analysis). NFG distributes grants to individuals, groups, or organizations, including colleges, schools, universities, television stations, libraries, and various private nonprofit groups through the offices of educational programs, research programs, seminars and fellowships, state programs, and other offices.
• The Institute of Museum Services was created by a decision of Congress in 1976 with the goal of helping the country's museums in providing, expanding and improving museum services to the population. The Director of the Institute is appointed by the President of the United States with the advice and consent of the Senate. The Institute distributes grants in accordance with the decisions of the 20-member Board of Governors. Grants can be intended for museums of all types - including art, historical, general, children's, natural science, technical, botanical, zoological, as well as planetariums, etc. The main task of the Institute is to help museums in preserving the historical, cultural, scientific heritage of the nation , support and expand the educational role of museums, and alleviate the financial burden placed on museums due to the increase in their attendance.
• From the information provided, the general integration nature of the approach of US government authorities to the scientific, educational and cultural aspects of public life is clear. The tools used to support or stimulate the relevant types and areas of activity are also fundamentally the same. This toolkit consists of three parts: direct financing from budget resources (most often in the form of grants); financing from private sources (individuals or organizations) and from non-profit (charitable) organizations created specifically for such purposes; tax benefits and the use of preferential (“protectionist”) tax regime.
• From the outside, the state’s interest in these areas of social and economic life seems to manifest itself almost equally: for each of the areas in the federal structure of power there are either ministries or departments of a different category; The federal budget regularly allocates funds for each of these areas and departments.
• Economics of Culture in the USA and Canada
• Below are some statistics on the economic side of arts and culture in the United States. Based, in particular, on these data, both supporters and opponents of state support for culture prove the correctness and economic feasibility of their positions.
• Thus, supporters of NFIs emphasize the important place of art in the American economy, saying that in the field of art in the United States, economic activity is generally estimated at about $36 billion per year, which brings approximately $3.4 billion in additional tax revenue to the budget .
• The state of the arts in the United States can be characterized by the following basic figures cited by the NFI leadership to justify its budget request for the fund's activities during the 1998 fiscal year: the number of non-profit professional theaters in the United States has grown over the past 30 years from 50 to more than 600; by the end of the 90s. there are more than 1,600 orchestras operating in the United States, and the budgets of 236 of them exceed $260 thousand per year - this is twice the number of orchestras with comparable annual budgets by the end of the 60s; these orchestras employ more than 20 thousand musicians and administrative staff, and many more support their stage performances; the total income of orchestras is more than 750 million dollars a year, the total attendance of their concerts is 24 million people; the number of professional dance groups, which was 37 in 1965, grew to 400 by the end of the 90s, with a total salary fund for dancers, administrative staff, and the cost of productions exceeding $300 million per year; in the United States there are now more than 120 professional opera companies, while in 1965 there were only 27; these groups employ more than 20 thousand artistic and administrative personnel with an annual total fund wages more than 293 million dollars; As a result of these and other changes over the past decades, including in such areas as literature, museology, folk dances and crafts, jazz and chamber music, there has been a decentralization of the distribution of the performing arts - from previous areas of concentration mainly along the western and eastern coasts and areas of large cities in the center of the country to smaller communities located throughout the United States.
• Attendance at cultural events also increased for almost all arts, although at a less rapid pace. So, for the period 1982-1992. jazz concerts showed an increase in attendance from approximately 16 to 20 million people; classical music concerts - from 21 to 23 million people; opera performances - from 4 to 5 million people; musicals - from 30 to 32 million people; ballet performances from 7 to 9 million people; dramatic performances - from 19 to 25 million people; and museums in various branches of art - from 36 to approximately 50 million people.
• Increased interest in the arts and cultural life has led to an increase in the number of people engaged in creative activities in the United States, as well as in the size of their income. From 1970 to 1990, the number of people in creative professions more than doubled, increasing from 737 thousand to 1.7 million people. In general, the share of people in the creative profession between 1970 and 1990 in the total active population of the United States increased from 0.92 to 1.36%, and in the total number of skilled (“professional”) workers - from 8.37 to 10.04%.
• During this period, the average income of representatives of creative professions also increased. By the beginning of the 90s. the average income of men in these professions was 8-9% higher than the average income of men across the entire professional spectrum, and the gap tended to widen; Among women, the corresponding gap was even larger, but grew at a less noticeable pace. It should be added that the unemployment rate for people in creative professions was either the same as for most other professions or lower than this level. The good state of the American economy contributes to the continuation of the emerging positive trends in income and employment for the artistic world. In addition, according to American experts, the increasing income of people in creative professions in the United States is facilitated by the increasingly high quality of education they receive.
• Unlike Russia, Canada is a young country: not so long ago, in 1967, the centenary of the formation of the Canadian Confederation was celebrated. It was only in 1931 that Canada became fully independent under Westminster status. Just 10 years ago - in 1995, the federal Ministry of Heritage was formed in Canada - an analogue Russian Ministry culture. As the respected economics newspaper Financial Post wrote in 1998: “Twenty years ago it was extremely difficult to get anyone to pay attention to a Canadian ballet troupe, theater group or novelist performing in one of the world's cultural capitals. Now everything has changed. In the 90s it became commonplace: Robert Lepage became the darling of Paris, Margaret Atwood became one of the most famous writers in the world, Etom Egoyan was welcomed in Berlin, and then he went to Hollywood, where he was nominated for an Academy Award as the best director/producer. Brian Adams, Celine Dion, Alanis Morisette and Blue Rodeo perform to sold-out crowds at some of London's best venues. Cirq du Soleil triumphantly tours America and Europe. Canada is no longer seen as a boring appendix to American culture.”
• The second factor that left a noticeable imprint on the development of culture in Canada was its proximity to the United States. An important element of Canadian cultural policy has become protection from American expansion, expressed in government support for measures aimed at increasing the so-called “Canadian content” in national television and radio broadcasts, the production of television and films, and regulating the influx of foreign capital into book publishing, production and film distribution, recording and telecommunications industries, etc.
• As a result, over the course of several decades, a unique model of “cultural self-affirmation” developed in Canada. It is based on the following principles: 1) respect for freedom of choice and expression; 2) encouraging the creation of “Canadian content”; 3) support for a “space” free for Canadian cultural production; 4) development of various measures of state support and regulation depending on the specific type of cultural activity; 5) establishing partnerships with creators of cultural values; 6) preservation of cultural heritage. For Russia, these problems are not yet as acute as they are for Canada. However, it is obvious that in the open and globalized world of the 21st century, the issues of preserving, developing and protecting national culture from the expansion of foreign, primarily American, culture will become increasingly important.
• Canada's experience may be of interest to Russia for another reason - the traditionally large role of the state in the economy in general and cultural life in particular. Just as the Canadian state once took upon itself the construction of railways, highways and communication systems, today it supports Canadian culture. Moreover, this experience is quite successful and impressive. Having started almost from scratch, and in the conditions of the “overwhelming” cultural, economic and political presence of the United States, the state managed to create its own culture in Canada in the post-war period, which has become a noticeable phenomenon in the world in recent decades.
• Organizational form of the Department of Canadian Heritage. It was created in 1995. Until then, cultural management was dispersed among various government departments. As I. A. Ageeva writes, “the formation of the Ministry of Canadian Heritage reflected the increasing importance of culture as the most important object of public policy in modern Canada, especially in light of deepening economic integration with the United States and the growing international prestige and authority of the country.” According to its mandate, the department assumed "responsibility for policies and programs in the areas of arts, culture, heritage, broadcasting, Canadian identity, multiculturalism, official languages and sports, as well as policies and programs regarding national parks, marine conservation areas and national historic sites.” The areas of responsibility of the ministry include:
• -Canadian Conservation Institute, Canadian Heritage Information Network, Cultural Property Export Authority, Monuments and Historic Sites Authority;
• -seven agencies under the ministry: Canadian Information Office, Canadian Broadcasting and Telecommunications Commission (an independent regulatory agency), National Archives, National Battlefield Commission, National Film Board, National Library, State of Women of Canada;
• -ten "crown" corporations: Canada Council for the Arts, Canadian (Radio) Broadcasting Corporation, Television Canada, Museum of Civilization, Museum of Nature, Canadian Foundation for Race Relations, National Gallery, National Arts Center, National Capital Commission, National Science Museum and technology;
• -The Public Service Commission also reports to Parliament through the Minister of Canadian Heritage.
• Financing programs
• The state supports cultural industries by adopting various programs, creating funds, and providing other incentives. For example:
• in 1972, the Canada Council created a grant program to support national book publishing;
• in 1979, the federal government launched the Book Publishing Industry Development Program, which provides financial assistance in three areas: assistance to publishing houses; assistance to associations and the book publishing industry; assistance in the field of foreign marketing;
• In 1986, the government launched the Sound Recording Development Program (SRDP) to support the production, marketing, marketing and distribution of Canadian music products, as well as the development of expertise. In 1997, the amount of funding under this program amounted to 9 million 450 thousand Canadian dollars. Doll.; Telefilm Canada operates two funds - the Feature Film Fund and the Film Distribution Fund, as well as the Loan Guarantee Program and the Revenue Sharing Program from television and film productions. In the 1996-97 financial year, funding under the first fund was CAD 22 million. dollars, within the second - 10.3 million Canadian. dollars.;
• The Canadian Television Fund has annual expenditures of CAD 200 million through two programs - the Royalty Program and the Investment Equity Program. dollars to encourage a strong Canadian presence in the broadcast market by supporting the production and distribution of Canadian plays, children's programs, documentaries, etc. Fund funds are paid only to companies owned or controlled by Canadian capital and only for films , meeting the requirements of sufficient presence of “Canadian content”, subject to the mandatory condition that these films will be shown on evening television on Canadian television within two years after the end of filming;
• Since 1997, the Canadian Radio-television and Telecommunications Commission has required broadcasting distribution companies, including direct-to-home satellite broadcast services, to contribute 5% of their annual gross revenues to the Canadian Television Fund;
• The federal Canadian Television and Video Film Tax Credit Program aims to create a stable financial environment and encourage long-term corporate development for film producers. additional tax incentives are also provided at the provincial level;
• The Cultural Industries Development Fund is involved in providing loans to the cultural industries. In 1997-98 the total volume of loans amounted to CAD 9 million. Doll.;
• In June 1998, the Multimedia Fund was established in the amount of CAD 30 million. dollars for a five-year period. The fund operates through Telefilm Canada and provides interest-free loans to help multimedia companies combat high production costs and difficulties in obtaining financing. The fund is intended to assist in the development, production, distribution and marketing of Canadian multimedia products; The government also provides support to Canadian periodicals. Under the Publications Assistance Program, the government provides mail subsidies to Canadian periodicals that are printed and distributed in Canada. Publications distributed in Canada but printed in other countries do not receive postal subsidies. In total, approximately 1,500 Canadian periodicals are beneficiaries of this program;
• In order to ensure the presence of Canadian culture on a global scale, the federal budget for the 2004-2005 fiscal year provided for the allocation of 30 million Canadian dollars. dollars to finance major projects on the Internet, such as the creation of a virtual museum that will electronically unite the collections and exhibitions of 1,000 real Canadian museums “made of glass and concrete.”
• In the field of television and film production, financial and material incentives gradually evolved from a system of grants towards equity participation in investments through the Canadian Television Fund, and then towards the provision of more objective tax incentives and additional payments in the form of licensing fees. These changes occurred against the backdrop of a general improvement in the financial position of national film and television companies, which were able to attract foreign investment, as well as secure the flow of funds and secure other financial commitments from partners to support their projects at the pre-release and sales stage. In a market where the share of American cultural products is large, the government, represented by the Canadian Radiotelevision and Telecommunications Commission, has established mandatory requirements for the presence of a certain percentage of “Canadian content” in the broadcast network. These rules apply to radio and television broadcasting corporations, as well as distribution systems (cable television, direct-to-home satellites), and multipoint distribution systems delivering services directly to the home.
• "Canadian content" is defined differently in radio and television. For radio broadcasts, the calculation of “Canadian content” is based on the so-called MAPL system, according to which the nationality of the authors of the music and lyrics, the nationality of the performer and the place of production of the recording matter. If at least two of these four criteria are relevant to Canada, then the sound recording meets the requirements for having “Canadian content.” As for television programs and feature films, the calculation of “Canadian content” is based on a points system. For example, two points are awarded if the director is Canadian, and one point if each lead actor is Canadian. The producer of the show or film must be a Canadian citizen. To be considered "Canadian", a show or film must score at least six points; A maximum of 10 points is required in order to be able to apply to the Canadian Television Foundation for financial support.
• The rules regarding “Canadian content” are relatively flexible. For example, the Canadian government has signed film and program co-production agreements with more than 30 countries. Under these agreements, even if a production has as little as 20% Canadian participation, it can meet the "Canadian content" requirement.
• Below are some specific examples:
• Under CRTC rules, television and radio stations are required to allocate a certain amount of airtime to broadcast “Canadian content.” In some cases, the CRTC even requires these stations to incur certain minimum expenses and/or allocate airtime during the year to broadcast certain categories of Canadian-produced programming, such as theater, music, variety shows, children's programming;
• Since 1989, private broadcasting corporations have been required to either allocate a specified number of hours each week to broadcast Canadian productions, music and variety shows, or spend a specified portion of their gross broadcast revenues on Canadian programming;
• companies operating in the field of pay television and special television services, which also receive licenses from the CRTC, must have “Canadian content” in the amount of 16 to 100% of broadcast time, depending on the specific type of service;
• Cable systems are required to include local Canadian Broadcasting Corporation stations or their affiliates, local commercial Canadian services and provincial educational services as part of their basic service package.
• State policy in the field of foreign investment in culture
• Like many other countries, Canada has legislated restrictions on foreign ownership in certain “sensitive” sectors of the economy, including cultural ones. The Foreign Investment Law adopted in 1985 plays a central role in this regard.
• This is because Canadian-owned cultural organizations are more likely than foreign ones to create, produce, distribute and exhibit “Canadian content”. For example, in 1994-1995. Canadian record companies, with only 16% of the domestic market, accounted for 90% of all Canadian music recordings. In book publishing, Canadian-controlled firms produced 87% of all book titles published in Canada. Under the Foreign Investment Law, all foreign investments in cultural industries are subject to inspection;
• According to Canadian rules, foreign-owned companies cannot engage in bookselling as their main activity; new enterprises arising in the cultural sphere must be under the control of Canadian capital; the acquisition by foreigners of existing Canadian cultural enterprises is permitted only in exceptional cases;
• in 1988, the government developed guidelines for foreign investors. The principles prohibit the purchase of Canadian-controlled rental companies and allow foreigners to acquire foreign-owned companies only if the new investors agree to invest a portion of the profits generated in Canada in the development of Canadian culture.

Some conclusions and prospects

The government plays an important role in creating a strong cultural infrastructure and achieving cultural policy goals in the United States and Canada.

Canada has managed to create a unique administrative system for cultural management, combining private and public elements. An important link in this chain are crown corporations, operating on the basis of the principle of “arm's length” from the executive branch.

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

Given the size and degree of openness of the Canadian market, it can be said that Canada has made some progress in creating a relatively developed cultural industry. Despite the “overwhelming presence” of the United States with its aggressive popular culture, Canadians to a certain extent own and maintain control over their cultural industries, create products with “Canadian content” and distribute them in the domestic market. In recent years, since the promotion of Canadian values ​​and culture was declared the third foreign policy goal (after promoting economic growth and security) in 1995, Canada has made a concerted effort to promote its cultural products abroad.

Canadian cultural industries will continue to be pressured by the optimal size market they have foreign manufacturers cultural goods and services and are not Canadian. As long as it is cheaper to import and distribute foreign cultural goods and services, there is little incentive for companies (especially multinationals) to produce and market Canadian goods and services. Given the dominance of the American entertainment industry and the weakness of Canada's, income, jobs and labor will continue to flow south. In addition to the Canadian creatives who traditionally flock to the United States to make a name for themselves, engineers and technicians are now flocking there to work in new multimedia and other knowledge-intensive industries. Therefore, the future fate of Canadian culture, despite its noticeable strengthening in the last two or three decades, will, as before, depend decisively on the volume of budget funding and other regulatory measures and support from the state.

Conclusion

Cultural exchange between countries is an integral condition of the world cultural process.

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

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

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

The work gives the main characteristics of cultural exchange, collects and systematizes legal acts aimed at the legitimate implementation of cultural exchange.

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

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

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