264
oshirish, qaror toptirish, tashkil etish, shuningdek, pedagogik fan va amaliyot istiqbolini
bashorat etishni r
o‘
yobga chiqarish vazifalarini hal qiladi.
Foydalanilgan adabiyotlar r
o‘
yxati:
1.
Антонов А.В. Системный анализ. − М.2002.
2.
Бендерская Е.Н., Колесников Д.Н., Пахомова В.И. и др. Системный анализ и
принятие решений // Учебное пособие.
-
СПб.: СПб ГТУ, 2001.
3.
Голубков В. В. Методика преподавания литературы. –
М., 1962.
FACTORS OF CULTURAL DYNAMICS AND TYPES OF CULTURAL CHANGES
Abdujabbarova M.L. cand. ped. sciences, a.professor,
State Institute of Arts and Culture of Uzbekistan
New historical approaches to understanding the interpenetration of the history of
culture, history of art, history of science, ethics, religion were proposed by the
authoritative French School of Annales, which worked since the twenties of the last
century. Representatives of this school actively break the tightness of individual forms of
spiritual activity, discover the continuous and mutually enriching filiation of ideas in
culture, and, thanks to this, recreate a holistic picture of the forms of human mental
plasticity in history.
Traditional cultural approaches, which limited their subject matter only to the
analysis of events of one series - artistic, scientific, social, political - after the approval of
the methodology of the Annales School in science, inevitably became like a “chest for
storing facts”, doomed themselves to backwardness and provincialism. Thus
, the view of
art as a cultural phenomenon was established through the difficult vicissitudes of the
efforts of art historians and cultural scientists. Over time, a research direction has
emerged that reveals the general cultural origins of the processes of artistic creativity,
artistic perception and the historical existence of a work of art. In modern art history
one can find different understandings of the role played by external (cultural mentality,
picture of the world) and internal (artistic tradition, self-movement of art, renewal of
language techniques) factors in the historical destinies and mental content of art. At the
same time, many times, in an effort to distance itself from vulgar sociological methods of
analyzing artistic evolution, the scien
ce of art insisted on the decisive role of “intra
-
artistic mutations” designed to explain the reasons for the emergence of new forms in
art.
External and internal factors in the dynamics of individual cultural phenomena:
art, education, everyday life, etc. The direction and nature of changes in any cultural
forms and phenomena are determined by the dynamics of cultural eras, changes in the
cultural and historical situation. A certain type of cultural era corresponds, for example,
to an adequate system of art education, which fits into the worldview, cultural and value
meanings, and mentality of a given era. The question of the integrity and unity of the
cultural era was resolved ambiguously in the humanities. On the one hand, G. Hegel, I. V.
Goethe and others noted that the internal unity of the era is ensured by values, the spirit
of the times, and the general atmosphere , the imprint of which lies on all areas of
culture. H. Sedlmayr believed that on the basis of known art it is possible to reconstruct
the
religion, philosophy or science corresponding to it. “The spirit of an era is formed
under the influence of the culture of the corresponding era as a whole and is a factor
mediating the influence of culture on any human activity,” emphasizes I. P. Nikitina
.
265
On the other hand, there is a discrepancy in the practice of synchronous
development of economics, politics, science, and art. There are periods of flourishing of
art during an economic decline in production. Often one type of art develops at a faster
pace, clearly expressing the spirit of the era, while other types continue to exist in their
previous forms. M. M. Bakhtin called this property the “differentiated unity” of a cultural
era. The scientist emphasized the indirect influence of socio-economic factors on the
development of cultural phenomena: “These factors influence culture as a whole and
only through it and together with it on literature.” A more radical position was taken by
S. L. Frank, who denies the unity of culture: “We often notice a weak
ening of spiritual
activity under the dominance of feverishly intense economic, technical, political activity,
internal emptiness and poverty among the kingdom of material wealth”
. How can one
explain the discrepancy between cultural processes and phenomena of one era? It is
obvious that the atmosphere is set by the behavior of close-knit groups of people,
individual spiritual leaders. As the value, cognitive, and behavioral attitudes of people in
different countries diverge, the inconsistency of the era increases. However, in the
variety of attitudes and behavior of people, one can note invariants, the totality of which
constitutes the mentality that determines the “face” of the era. “The world of culture
forms in a given society in a given historical era a certain globality - it is, as it were, the
air that all members of society breathe, that invisible all-encompassing environment in
which they are immersed,” says A. Ya. Gurevich. However, the scientist is not a supporter
of establishing direct correlations between changes in mentality and shifts in socio-
economic relations, believing that mental structures “change, obeying their own specific
rhythms.” Thus, the era is simultaneously characterized by homogeneity and
heterogeneity, constancy and movement, which indirectly determine the development of
cultural forms and phenomena. The problem of the typology of cultural and historical
eras is represented by various approaches to its solution. An era as a unit of historical
time was defined through a “socio
-eco
nomic formation” (K.Marx), “period of human
history” (K.Jaspers), “type of social organization” (D. Bell). Many researchers have noted
the problem of discrepancies in time between artistic, general cultural and civilizational
cycles.
O.A.Krivtsun, studying the problem of inconsistency between these areas,
proceeded from the fact that each cycle has a different level of objectivity. “The general
cultural type is formed on the basis of human cognitive activity, realized in scientific
discoveries, corresponding pictures of the world, etc. The civilization cycle develops
depending on a particular system of power, the artistic cycle is based on the dominance
of one or another type of creativity and artistic forms.” . The maximum objective
character is inherent in general cultural activity, the least - in artistic activity;
figuratively speaking, only the artist is responsible for all changes in the stylistic forms
of the era. Spiritual culture is created by a certain type of person, who has creative
value-semantic foundations in the structure of his personality, a special artistic vision of
the world. Material culture is created by a different type of personality.
Art is the subject and result of the individual expression of a belief system in an
original artistic form. Therefore, the creation of a new work produces spiritual and
valuable meanings in forms that are sometimes capable of reorienting the psychology
and consciousness of the masses, as do cult books, films, and performances. Often works
of art exceed the level of the existing culture of society and are a catalyst for the
dynamics of cultural eras. It follows that the history of artistic culture is the history of
the transformation of the artist’s ways of thinking, his artistic consciousness, which
becomes the consciousness of the era. The basis for distinguishing cultural eras is, from
266
the point of view of O. A. Krivtsun, “more or less completed periods, during which stable
methods of human orientation in the world were noted, generally accepted ways of
t
hinking, perception and attitude became possible.” If artistic consciousness (i.e. ideas
about the nature and sociocultural role of art, its visual and expressive means, styles,
trends) determines the content of a cultural era, then its boundaries are associated with
the functioning of the “big styles”
- baroque, romanticism, classicism, modernism,
postmodernism. A complex of factors as a condition of the external environment, as a
driving force and cause of cultural change, triggers the mechanisms (sources) of
dynamics. In cultural studies, the following mechanisms are identified that form and
support changes in cultural phenomena: innovation, traditions, intercultural
interactions, cultural diffusion, synthesis. They initiate the direction and intensity,
nature and speed of the dynamics of cultural forms and cultural phenomena in historical
time.
Literature:
1.
Krivtsun O. A. Aesthetics. M.: Aspect-Press, 2001. 447 p.
2.
Flier A. Ya., Poletaeva M. A. Origin and development of culture. M.: MGUKI, 2008.
272 p.
3.
Gurevich A. Ya. Categories of medieval culture. M.: Art, 1984. 350 p.
ZАMОNАVIY OILADA SОG‘LОM MА’NАVIY MUHITNI SHАKLLАNTIRISH
TАMОYILLАRI
Dаvrоnоvа D.S., PhD, O‘zDJTU dоtsеnti, O‘
zbekiston
Annotatsiya.
Mаzkur mаqоlаdа
zamonaviy oilaning ma’naviy
-axloqiy asoslari
umuminsoniy va milliy qadriyatlargа muvоfiq tаshkil etish mаqsаdgа muvоfiq ekаnligi
ilmiy-
nаzаriy jihаtdаn tаhlil etilgаn. Shuningdеk mаqоlаdа, mа’nаviy tаrbiya tаrbiya
tizimining аlохidа unsuri sifаtidа, oila kompetensiyasi komponentlarini o‘
zida t
o‘
liq
namoyon etadigan, umuminsoniy va milliy, ma’naviy
-axloqiy qadriyatlar, zamonaviy
il
g‘
or tajribalar, baxtlilik indeksi talablari asosida davlat va jamiyat rivojiga
o‘
z tinchligi,
farovonligi va mustahkamligi bilan hissa q
o‘shadigan jаmiyat yadrоsi ekаnligi аlоhidа
e’tirоf etib o‘tilgаn.
Kаlit so‘zlаr:
mа’nаviyat, mа’nаviy tаrbiya, tаrbiya tizimi, оilа mа’nаviyati, оilаviy
qаdriyatlyar, kаdriyatlаr tаrbiyasi, fikr tаrbiyasi, оilа tаrbiya оb’еkti vа sub’еkti, milliy
mеrоs, tariхiy tajriba
.
Tехnоgеn tsivilizаtsiya, intеrnеt tаrmоg‘idаgi yoshlar diqqatini o‘ziga tоrtad
igan
“TIK TОK”larni, shuningdеk аxborotlashgan dunyoda mislsiz ilmiy kashfiyotlar, ulkan
texnikaviy imkoniyatlar, universal texnologiyalar, axborot tarqatishning globallashuvi
jarayoni kuchayib bоrаёtgаn bir vаqtdа ёshlаrning tаsаvvur dunёsi, ong va tafakk
uri
o‘zgaraёtgаnligi оilаdа tаrbiya jаrаёnidа sоg‘lоm mа’nаviy muhitni tаrkib tоptirish
mаsаlаlаrigа jiddiy e’tibоr qаrаtish lоzimligini ko‘rsаtmоqdа.
Ta’lim
-tarbiya masalasi jamiyatda insonning paydo b
o‘
lishi davridanoq shakllana
boshlagan va
o‘
zining turli-tuman shakllari va y
o‘
nalishlari asosida rivojlangan. Tarixga
nazar solsak,
o‘
zbek xalqi
o‘
zining axloqiy-estetik madaniyatini qadimdanoq afsonaviy
obrazlarda ifodalab kelganiga guvoh b
o‘
lamiz. Milliy qahramonlarimiz
–
Shiroq,
T
o‘
maris, Alpomish, Jaloliddin Manguberdi kabi obrazlar orqali
o‘
z xalqiga fidokorlik,
vatanga mehr-muhabbat, mardlik va fidokorlik, d
o‘
stlik va sadoqat kabi xislatlar hayotiy
tajribalar asosida xalqning ma’naviyatiga singdirib kelingan.
