Deputy Minister

education

Russian Federation

State registration number

43gum/sp_______________________

STATE EDUCATIONAL

HIGHER PROFESSIONAL EDUCATION

Specialty 020600 CULTURE

Qualification CULTURALIST

Entered from the moment of approval

1.1. The specialty is approved by order of the Ministry of Education of the Russian Federation

No. 686___ of_02.03___2000

1.2. Graduate qualification - culturologist

The normative term for mastering the main educational program for training a culturologist in the specialty 020600 Culturology in full-time education is 5 years.

1.3. Qualification characteristics of a graduate

1.3.1. Areas of professional activity of a specialist:

* research and design organizations related to the study of culture, the preservation and development of cultural and natural heritage,

* government agencies and public organizations involved in the management of culture and the protection of historical and cultural monuments,

* cultural and educational institutions.

1.3.2. The objects of professional activity of a certified specialist - culturologist are:

* fundamental problems of the theory and methodology of culture,

* experience of the history of world culture,

* forms of culture and the cultural process,

* features of the functioning of culture in modern society,

* scientific and practical programs for the preservation of cultural and natural heritage by society.

1.3.3. Types of professional activity

Certified specialist - culturologist prepared for implementation the following types professional activity:

* specific research;

* cultural and educational;

* teaching;

* organizational and managerial;

* design and analytical.

1.3.4. Generalized tasks of the graduate's professional activity.

The culturologist is prepared to solve the following tasks:

* study of problems of theory and cultural history,

* knowledge of modern cultural forms and processes.

* work to identify, preserve and use cultural and natural heritage

* cultural and educational work in state and non-state institutions and organizations

* work in educational institutions,

* work in design organizations related to the study of culture, the preservation and development of cultural and natural heritage,

* work in state institutions and public organizations involved in the management of culture and the protection of historical and cultural monuments, the preparation and implementation of scientific and practical programs,

* consulting in the field of culture.

* sociocultural modeling.

1.4. Opportunities to continue the education of a graduate - a culturologist who has mastered the main educational program of higher professional education in the specialty 020600 Culturology.

The graduate is prepared to continue education in graduate school.

Total hours of theoretical training 8450 hours

5.3. The maximum amount of a student's study load is set at 54 hours per week, including all types of classroom and extracurricular (independent) study work.

5.4. The volume of classroom studies of a student in full-time education should not exceed an average of 27 hours per week for the period of theoretical education. At the same time, the specified volume does not include mandatory practical classes in physical culture and classes in optional disciplines.

5.5. In case of part-time (evening) form of education, the volume of classroom lessons should be at least 10 hours per week.

5.6. In case of distance learning, the student must be provided with the opportunity to study with a teacher in the amount of at least 160 hours per year.

5.7. The total amount of vacation time in the academic year should be 7-10 weeks, including at least two weeks in the winter.

Chairman of the UMO Council Yu.N. Afanasiev

Deputy Chairman of the UMO Council V.V. Minaev

Head of Humanitarian Education Department

The employee in charge of this area M.G. Platonov

I am responsible for the accuracy of the paper and electronic versions.

Chairman of EMC, specialty 020600 Culturology

… culture is increasingly being promoted as one of the most important factors in the modern economy, politics and public life. This is reflected in the popularity of topics such as the creative economy, cultural industries, and the creative class. In the mass consciousness, culture is gradually ceasing to be associated with some isolated area of ​​high art that exists in museums and other closed spaces, it spills over into everyday life in the form of a request for the aestheticization of our experience, turns into an economic resource, into a key element in the development of the urban environment.

— Vitaly Anatolyevich, what is culturology in modern Russia?

- Culturology is a discipline that emerged in Russia in the post-Soviet period, before that we did not have any cultural studies. In its genesis, Russian culturology is very heterogeneous. On the one hand, it focused on individual prominent scientists - Sergei Sergeevich Averintsev, Yuri Mikhailovich Lotman and, in general, that intellectual phenomenon called the Moscow-Tartu semiotic school, and so on. Here I can also mention our colleagues in the department - Galina Ivanovna Zvereva and Alexander Lvovich Dobrokhotov. On the other hand, an intellectual contingent who, due to new political circumstances, found themselves "out of work" - for example, party historians - joined en masse. Therefore, I would say that today cultural studies in Russia are very heterogeneous: there are separate strong centers, but to a large extent this is not a completely prosperous area. In terms of content, some original concepts are still widely flourishing here, which have almost nothing to do with the international context of cultural studies.

And yet it cannot be said that the formation of cultural studies in our country was in complete isolation from the main world trends in humanitarian knowledge. The emergence of culturology in Russia formally and disciplinaryly fixed the “turn to culture” that took place intensively throughout the world during the second half of the 20th century. The already mentioned Moscow-Tartu school, in its general direction of activity, also corresponded to the general humanitarian "linguistic turn", and to some extent to those advanced intellectual trends that were unfolding at that time in the Western humanitarian environment - for example, French structuralism. In addition, it should not be forgotten that it was during the Soviet period that concepts were formulated that had a noticeable impact on various Western programs of cultural studies. First of all, it is necessary to name the works of Russian formalists, as well as the works of Mikhail Bakhtin and Valentin Voloshinov. True, I can hardly exaggerate if I say that they were perceived more productively abroad than in Russia.

If we talk about today's cultural studies on an international level, then I would say that this is one of the most mobile research areas. This, of course, is by no means about some kind of homogeneous discipline, some kind of "Science of Culture" with a capital letter, as someone tries to present it. It would be more correct to talk about the presence of various research programs and projects that have different life cycles, but are being developed very actively.

Until now, this area has been significantly influenced by the British program of cultural studies (Cultural Studies), which arose in the 1960s, a left-wing direction in its political bias in critical studies of culture.

There are many areas associated with historical semantics (“history of concepts”), in recent times- these are visual studies, performative studies, various types of urban studies, media and popular culture studies, receptive studies, and more. As for visual culture research, I would like to note that my colleagues and I are just intensively working on the corresponding project of our second master's program - at the moment this is a very promising area both in research and applied terms.

In addition, classic humanitarian disciplines over the past decades, to a large extent, they have made, so to speak, their own turn to culture. Neither modern economics, nor sociology, nor political studies can be imagined without recourse to the analysis of culture, which finds its expression in the appearance, for example, of cultural sociology, in various versions of institutional economics, and so on. In some areas of research, I would now even find it difficult to draw a line between sociology and cultural studies. Interdisciplinary research is also unthinkable without cultural studies.

But changes in science do not appear by themselves, they respond to a request coming from our social experience. It is easy to see that culture is increasingly being promoted among the significant factors of the modern economy, politics and public life. This is reflected in the popularity of topics such as the creative economy, cultural industries, and the creative class. In the mass consciousness, culture is gradually ceasing to be associated with some isolated area of ​​high art that exists in museums, conservatories and other closed spaces, it spills into everyday life in the form of a request for the aestheticization of our experience, turns into an increasingly noticeable economic resource, into a key element of development urban environment.

— What should change in order for our culturology to merge into the global context and become more practical, closer to life?

— The strategies here are clear, but they require significant efforts to renew the entire field of Russian cultural studies.

The first is the emphasis on modern theory and overcoming conceptual backwardness. The theoretical apparatus of Russian cultural studies is closer to the 19th than to XXI century. It is necessary to include whole layers of methodological and theoretical research tools in educational and scientific circulation, to update the conceptual apparatus, to introduce new description languages.

The second is active research work, including integration into large international cultural research programs. By the way, a very large number of specialists with a Western PhD degree teach at the HSE Department of Cultural Studies, and some simply alternate work at Western universities and here we solved the issue of international integration immediately and without any provincial discounts. Of course, unlike, say, mathematics or scientific approaches with a pronounced quantitative component, cultural studies inevitably have a national and local registration. But we must not be isolated in the theoretical or methodological realm.

Let me add one more thought to this. Critical to Russian research culture to overcome a kind of "philologism". This is not a reproach to philology, it's just about reorienting cultural studies to the current socio-cultural reality, and not being limited to the space of a desk, practicing a kind of cultural escapism. We have a colossal gap in knowledge about modern Russian culture- and no less, by the way, about her recent past. The Soviet years left an imprint on modernity in the sense that in the USSR access to the study of actual reality was always strictly limited and controlled, which, of course, prompted researchers to retire to the ivory tower and deal with issues that are far from the reality around them. As a result, within the framework of cultural studies, an obvious shortage of field, cultural and anthropological work was formed. Today's journalists are often better able to describe what is happening in the country than scientists, who, it would seem, should be at the forefront here. That is why, by the way, we pay so much attention to our research practices - for the second year we have been holding a summer research practice in Torzhok. If such efforts are not made systematically, a situation will be reproduced in which students are better informed about the latest intellectual fashions in France than about what is happening just on the street - outside the library window.

The third is the constant attention to updating the research strategies of related scientific disciplines. Without modern sociology, economic and political theory, culturology quickly turns either into an esoteric "glass game" or into optional speculation about Mickey Mouse - this is well known from the sad experience accumulated both here and abroad.

Fourth, it is necessary to develop applied cultural studies. The implementation of projects in the field of culture - in the modern, broad sense of the word - requires a special set of competencies and skills: organizational, managerial, informational. We have a huge field of work ahead of us. This can be called the sphere of cultural entrepreneurship, and our master's program "Applied Cultural Studies" is aimed at the development of this direction. But, of course, productive activity here is impossible without certain analytical skills, without knowledge and understanding of the processes of modern culture.

In fact, when the HSE Department of Cultural Studies was created, we proceeded precisely from this concept of cultural studies. At the same time, we, of course, proceed from the specifics of our university, the advantages that cooperation with the scientific and educational departments that exist here provides us.

— What do people with cultural studies usually do in Russia, and how is the training of such specialists at HSE different?

- Culturologists can work in the field of education and engage in research work. But researchers are piece goods, it is rather a vocation, not a profession. However, the task of updating this scientific and educational environment is very urgent, and research in this area is promising.

The second professional opportunity is the modern cultural industries; a mobile environment for cultural projects that develop primarily in large cities and are connected, roughly speaking, with the commercialization of cultural and creative activities. The rapidly emerging labor market is marked by increasing activity to update cultural heritage primarily at the regional level. People with relevant competencies and professional skills are extremely in demand. So are the traditional institutions of culture - museums, libraries and other institutions. Today they are in a completely new situation for themselves, when they are not provided with a guaranteed audience, formed under the pressure of the state educational policy, but must actively form their own audience. Management competencies alone are not enough for this. It is important to understand the main trends of modern culture, the needs of the audience - our graduates are well prepared to solve such problems.

Finally, the third sphere of professional employment, I would include the sphere of media, which is only expanding with time and requires, among other things, professionals who are able to work in the cultural segment of the information field.

Our masters successfully enter labor activity- work as editors, start publishing as critics, work in galleries, are actively involved in cultural projects in the capital. So, at the beginning of this year, the largest exhibition of contemporary art dedicated to the twentieth anniversary of the collapse of the USSR - "The Art of Memory" was held at the Artplay site. It was organized and accompanied by our teachers, students and alumni. By the way, it was supervised by Valerian Valerianovich Anashvili - coordinator master's program"Applied Cultural Studies".

The training of specialists in these areas is currently of particular complexity associated with the inertial system vocational training. The fact is that the traditional nomenclatures of professions - such as "club worker" - do not fit into the mobile design sphere of the modern cultural industry at all. Therefore, we are focused not on the training of narrow specialists with a fixed baggage of knowledge, but on a competency-based approach. The latter provides our graduates with the necessary mobility and competence competitive advantages. To implement this program, university training must be provided with what can be called a "living link with the city." Therefore, at our department, especially in the magistracy, many leading organizers of cultural entrepreneurship teach - curators, publishers, editors of specialized media, heads of exhibition companies, representatives of Moscow museums. So we receive a request from the labor market, as they say, first-hand.

— After all, journalism and organizing exhibitions are very different fields of activity. How to help a future culturologist determine what is closer to him?

“We need to create opportunities for students to try themselves in different roles. We have built a multi-level system of practical activities for this. So, a whole incubator operates directly at the department various projects, "tied" to our project seminar. There is also a press service and a photo service: if you walk around the building, you will see that thematic photo exhibitions are regularly held here - both by our students and invited artists. Clubs organized. The oldest one is the "Creative Class" club, which has existed since the first year of our department's work. Within its framework, meetings are regularly held with well-known experts from various cultural industries, with writers and directors, and discussions of the most relevant cultural events are held.

There is also a serious discussion platform - jointly with the UFO publishing house and the "Nontouchable Stock" magazine - "Humanitarian Disputes Club": these are, as a rule, virtuoso intellectual discussions to which bright modern researchers are invited.

Together with the cult bookstores Phalanster and Tsiolkovsky, we have just launched the Gutenberg book club.

One of the popular projects is the cultural travel club "Ulysses", which organizes not at all trivial trips - this is such a complex alternative to mass sightseeing tourism, which combines research, play, and educational components.

There is also a cinema club "Blue Key" - with its own completely original concept. Some new initiatives constantly arise - students try, experiment. At first glance, it seems that this is some kind of side activity of students. But actually it is not. Here we hear a lot of talk about the creative class. And what is it, how can people be taught creativity? - Yes, it turns out that it is impossible to teach, the classical university is not particularly adapted for this. It is possible only within the framework of such projects - the guys organize everything themselves, invest in them. And, I note, this is a completely spontaneous activity - we do not bureaucratize it in any way, we do not ask for special resources for them, we do not hang up some kind of formal sign - here in this office we have a "cultural projects incubator". Cultural industries develop through the personal initiative of small groups, which is why it is important that students show their creativity in conditions that are close to real.

Another level of inclusion in practical activities- practice system. Students themselves find work - in specialized research institutes, in museums, in magazines, at festivals, and so on. We organize some space of possibilities, and then they act independently.

And once again I will say that we have a large number of real practitioners teaching and we are making special efforts to attract the best of them. This is a kind of system of mini-basic departments. Especially in the magistracy, these are urbanists, musicians, and curators. This gives masters an extraordinary increase in both professional and social capital - in fact, they immediately deal with potential employers or may be directly incorporated into the relevant professional environments.

During their studies, our culturologists deal with various cultural industries - whether it be a publishing house, a magazine, a gallery or a recording studio. After all, if we are talking about the applied component, then a modern culturologist is a cultural entrepreneur, that is, a person who can create interesting project and bring it from the stage of conception to implementation, providing the necessary resources.

— And what are the main principles of education in the field of cultural studies abroad?

Perhaps it would be more correct to speak separately about different countries. But I will make one general point. An important social feature of the European and American analogue of cultural studies is that "Liberal Arts" is a prestigious, elite education. Behind this is a deeply rooted in tradition and highly complex concept of liberal arts education. "Liberal Arts" is an education focused not on the fact that a person turns himself into some kind of tool for earning money, but on the ideal of full-fledged free development. I am not inclined - with all the difficulties - to assess the state of modern domestic culture in an alarmist way, but it is quite obvious that for a number of specific reasons this tradition has not been developed in Russia, has not taken root sufficiently so that we can focus on this model.

Yes, in Europe, and, above all, in the United States, this is an elite education - and there they really bring up an elite with a broad outlook, reproducing a certain system of values, with a deep and comprehensive understanding of both tradition and modern culture. We have not yet developed such an elite - children are rather sent to receive "useful" professions, which are then reproduced in caricature forms by other social strata - hence we have the flourishing of various kinds of "fake" education, obtaining "bread" professions. But this is a question of the maturation of culture - I hope someday we will come of age here too.

— What mistakes could you warn aspiring cultural entrepreneurs in Russia against?

- I would say differently: they learn from mistakes, there is no need to be afraid of them. John Hawkins, a leading expert on the creative economy, once called the creative economy the economy of failure during one of his lectures. This is important to understand: not all creative projects succeed and you need to be prepared for this. But perseverance, work and creativity still win. Domestic cultural industries are waiting for those who are ready to take the initiative and are not afraid of possible failures.

Interviewed by Ekaterina Rylko

22.01.2013

Vitaly Kurennoy, Head of the Department of Cultural Studies, National Research University Higher School of Economics:… culture is increasingly being promoted as one of the most important factors in the modern economy, politics and public life. This is reflected in the popularity of topics such as the creative economy, cultural industries, and the creative class. In the mass consciousness, culture is gradually ceasing to be associated with some isolated area of ​​high art that exists in museums and other enclosed spaces, it spills over into everyday life in the form of a request for the aestheticization of our experience, turns into an economic resource, a key element in the development of the urban environment..jpg "data-yashareQuickServices="yaru,vkontakte,facebook,twitter,odnoklassniki,moimir,lj">

A culturologist is a scientific specialist who studies the features, history of development and formation various kinds art, architecture and life of various peoples.

Wage

RUB 25,000–40,000 (worka.yandex.ru)

Place of work

Culturologists work in schools, research institutes, museums, reserves, universities.

Responsibilities

The activities of a culturologist are conditionally divided into four areas: research work, teaching, excursion activities, writing popular science articles and books.

Scientific work is the main one. A culturologist studies the history of the formation and features of the life of various nationalities: conducts research, sets up experiments, records the results in scientific articles and books. Being an expert in all areas is almost impossible. Therefore, culturologists specialize in the study of certain problems in the field of world culture.

Additional duties of culturologists are: conducting excursions in museums and ancient buildings, lecturing at universities, writing books.

Important qualities

In the profession, one cannot do without such qualities as: an analytical mind, a penchant for office work. research work, accuracy, care and responsibility.

Reviews about the profession

“Culture is bigger, more important, more systemic — stronger than the institutions of the state, which, of course, is the largest player in all spheres of life. It has many features. It is a customer, an appraiser, a censor, a manager, a defender. It can speed up or slow down, help or hinder, support or spread rot. But in the great Time, the state is not able to win, to completely overcome cultural prescriptions.

Daniel Dondurei,
culturologist.

stereotypes, humor

Culturologists are often engaged as experts and consultants on the culture of various countries. Their task is to identify and assess humanitarian risks in engineering, social, economic and political projects. Therefore, the profession can hardly be called boring and monotonous.

Education

To work as a culturologist, a higher specialized education is required. You can study, for example, at St. Petersburg State University, St. Petersburg State University of Water Communications, Leningrad State University named after A. S. Pushkin, Russian Christian Humanitarian Academy.

Humanities universities in Moscow: Moscow Pedagogical State University, Institute for Education in the Humanities and Information Technologies, Lomonosov Moscow State University.

A specialist who carries out research work in the field of cultural studies. He studies the development, formation of art and culture. In addition, a culturologist can study peoples and nationalities, the characteristics of their way of life, traditions, language, etc. Often culturologists go on business trips, ethnographic expeditions, where they use the widest range of tools: observation, polling, and so on.

Personal qualities

An integral quality of a culturologist is a love for history and art. Curiosity, a well-developed memory, the ability to competently express one's thoughts both orally and in writing, a developed aesthetic and artistic taste will also help a specialist in this field to successfully cope with the tasks. In addition, perseverance, attention to detail and a well-developed imagination will be important qualities in the work.

Where to study

Despite the fact that education in this area is quite rare, it is quite easy for an applicant to decide where to study as a culturologist. Many humanitarian universities in Moscow have faculties of cultural studies, some of them have the opportunity distance learning. The most famous of them are:

• Institute of Contemporary Art
• State Academy of Slavic Culture

Additional education in this area can be obtained in cultural studies courses. In Moscow, such courses are held in various art centers.

Pros and cons of professions

Culturologists are engaged in research work, write notes, articles, publish books. Therefore, the advantage of this profession can be called the possibility of conducting your own research and publishing them. For people who have a special love for art and culture, it will also, of course, be a plus to be able to come into daily contact with what really interests them. However, it is not easy to find a job as a culturologist. Only a few find their calling in scientific laboratories and scientific groups, while the rest work in museums, galleries, archives, and teach at universities. Work in these areas is not only low-paid, but it is also very difficult to find it in such institutions.

Career, places of employment

Specialists in the field of cultural studies can build a career in state and commercial cultural institutions: ministries, contemporary art centers, museums, exhibitions, festivals and other cultural projects. The area of ​​application of the knowledge and skills of a culturologist is very extensive: such specialists work in PR agencies, teach at universities, and work in the media. Since professionals in this field do not have a specific field of activity, then culturologist vacancies can be found quite infrequently, so their salary may vary depending on the place of work and position held.

A culturologist and an art historian are close in meaning to the profession. An art historian studies artistic cultures Keywords: literature, theatre, music, cinema, painting. A culturologist, on the other hand, studies culture as a whole, without focusing on its individual components. Cultural studies includes many subjects, and art history is its section, its integral part.