4DOI: 10.24412/2181-1385-2022-2-125-129
SELECTED AREAS OF THE COMPANY AND THEIR INTERACTION
G. Z. Esirkep
M.Auezov South Kazakhstan University, Shymkent, Kazakhstan
cool. isengalieva@mail .ru
Maqolaning mazmuni siyosat, madaniyat va san'atning o'zaro bog'lig'iga bag'ishlangan. Mazkur tahlil siyosiy ilm-fan va ma'naviy madaniyat nuqtai nazaridan ularning jamiyatdagi o'rnini baholash imkonini beradi. Bu ma'naviy madaniyatning siyosiy holatga davom etishini tahlil qilish va kuzatish usullaridan biri. Madaniyat, san'at va siyosat o'rtasidagi aloqalarni ko'rib chiqishda nazariy-metodologik jihatdan eng muhim hisoblanadi. Aynan shunday tahlil madaniyatni va uning jamiyatdagi o'rnini siyosiy ilm-fan pozitsiyasi bilan baholash imkoniyatini beradi va unga bir tomondan, bir tomonidan, siyosiy mafkuriyat va siyosiy hokimiyat yaratilayotgan omil sifatida qarash imkonini beradi. Mazkur hamkorlikni tahlil qilishga kirishmasdan oldin siyosat va madaniyat fenomenlariga o'zlariga murojaat qilish ma'nodir, chunki ularni tushunmasdan olib borilgan masalani hal etishga yo'l qo'yilmaydi. Bir ko'rinishda madaniyat va siyosat hayotimizning turli sohalariga o'xshaydi. Ammo haqiqat, madaniyat va siyosat dunyosi bir-birisiz mavjud bo'lmaydi. Siyosat va madaniyat nimaga intilayotgani va bu erda hamkorlik qilayotgani bilan tahlil qilish va tahlil qilish uchun avvalo ushbu fenomenlarning ma'naviy va mazmunini aniqlash zarur.
Kalitso'zlar: millat, madaniyat, urf-odat, din. jamiyat, determinatsiya, hokimiyat
The progress of social development is ensured by the interaction of politics with such an important sphere of human life as culture. Intelligence, spirituality, the nature of values largely determine the level of development of this society, and, therefore, the nature of politics.
The link between art and politics can also be discovered. This is the state's policy regarding art, this is the conduct of ideological attitudes of power through art, and the attitude of artists to political processes in the country.
The relations between politics and culture and art are manifested through State cultural policy - a set of principles and norms that guide the State
ANNOTATSIYA
in its activities for the preservation, development and
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DOI: 10.24412/2181-1385-2022-2-125-129
dissemination of culture, as well as the State's activities in the field of culture. Cultural policy is one of the functional areas of domestic policy of any state along with economic, social, etc. The problem of preserving historical and cultural heritage in the current conditions has become especially urgent. The state occupies a special role in a number of subjects of cultural policy. In accordance with its functions, it must shape the cultural life of society as a whole. On the one hand, it is obliged to pursue its own cultural policy, and on the other, to carry out the super task of harmonizing cultural needs and interests of all socially significant groups and segments of society.[1, p.15]
In the system of social governance, politics plays, above all, a guiding role, defining the vision of problems, as well as finding ways to solve them. Politics in general can be defined as a set of intentions and methods of action to implement them, formed by society through its institutions in relation to a particular sphere of
Cultural and art policies are implemented by a certain hierarchy of actors. First of all, political parties are such actors. Election programs of political leaders may contain intentions that affect the sphere of culture. Another important subject of cultural policy is the State. It forms and implements cultural policy through the legislative and executive branches of government.
The State also organizes legal protection of culture (protection of especially valuable objects, intellectual property, copyright), registers charters of creative organizations, adopts special programs (for example, support for especially gifted children), forms cultural infrastructure (construction of cultural objects), finances the sphere of culture, determines the peculiarities of tax policy in relation to cultural institutions, establishes public public holidays in which political and cultural aspects are combined.
The diversity of subjects and objects of cultural policy gives rise to the diversity of its directions. Classifying them is an extremely difficult issue. The general nature of intentions in relation to the sphere of culture is expressed in the priorities of its three social functions:
- protective (preservation of traditions, social memory, etc.);
- Creative (creation of new artistic values);
- instrumental (meeting the needs of certain actors).
The directions of cultural policy in content are diverse, depending on which sphere of culture it affects: science,
life.
education, art, religion, morality, etc.[2, p.13]
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DOI: 10.24412/2181-1385-2022-2-125-129
If we talk about the interaction between culture and art and the socio-political sphere, it should be borne in mind that political regimes, social processes taking place in society affect the quality and content of cultural life of society.
On the other hand, the level of the culture of society, its political leaders makes it necessary to make political decisions, conduct campaigns, resolve conflicts, etc.
Thus, this influence is bilateral and mutual, for both culture and politics are "everything in everything," certain power fields that cannot be firmly defined or unambiguously localized in their universality.
Recently, political art has become more and more part of fashion, and is in the center of attention of the art community. If now someone is invited to exhibitions in the West, then most often these are exhibitions of political art. Almost all symposia and conferences are devoted to the relationship between art and political radicalism.
The interaction of art with themes and figures that attract general attention is due to a change in the ratios of topics in art. In this case, the ratio of art to politics has changed. Naturally, art has always been in some relationship with politics and political, presenting (presenting) politics in various versions, primarily in the form of portraits, images of heroes or important political events, wars or revolutionaries... There has always been a political representation in art. In addition, art has traditionally acted as a decoration, an ornament of political power. Decorating palaces, republican meetings, and so on.
Culture is complex, its carriers are people of various social strata, different cultural orientations. During periods of dramatic social changes in art science, the question constantly arises about the place of art in public life, about its role in the formation of a certain social atmosphere. At the same time, the old question regarding artistic creativity is actualized: the ratio of universal and class in it is broader - a specific social principle.
Culture is generally by nature, in its deep orientation, universal. It is called upon to express universal human content, to embody and affirm universal spiritual values, independent of class and class differences, to make them a universal heritage. The cultural life of mankind is "a bright way of synthesis, collecting good." So understood her Russian philosopher Vl. Soloviev. [3]
Art always expresses the psychology and worldview of certain social strata, reveals their social position, and in some situations is associated with certain social movements. This leads to the fact that it often acquires more or less pronounced political significance. It is no coincidence that in
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National University of Uzbekistan
Google Scholar indexed
DOI: 10.24412/2181-1385-2022-2-125-129
the Soviet period of the history of our country, great attention was paid to the partisanship of art.
Thus, the categories of tendentiousness of art developed by domestic art science as a whole confirm their methodological significance for the analysis of artistic phenomena and their role in the life of society. If the categories "class," "nation" reveal the objective connection of art with the interests, aspirations of a social group, class, people, then the category "party" characterizes not only the objective, but also the subjective connection of the artist with class, people, society. Open and conscious, purposeful and belligerent service to his class, society - this is what partisan art is.[4] We add that we can talk not only about any partisanship, about any social orientation.
The transition of Kazakhstan to a market economy is accompanied by the deregulation of the cultural sphere. This is manifested in the rejection of total ideological control by state bodies and the imposition of party attitudes, in the freedom of creativity for cultural masters, and for society - in the freedom to satisfy cultural needs.
It is established by law that cultural activity is an inalienable right of every citizen, regardless of national and social origin, language, sex, political, religious and other beliefs, place of residence, property, education, profession or other circumstances. Peoples and ethnic communities of the Republic of Kazakhstan have the right to preserve and develop their national - cultural identity, to protect, restore and preserve their cultural and historical habitat.
The State, as one of the main subjects of politics, has certain obligations to citizens. It should ensure the necessary cultural standard of living, free access to spiritual values and the benefits of culture, preserve and develop identity, historical continuity, and increase the national and cultural heritage of society. This is an indispensable obligation of all state bodies, public organizations and citizens themselves, if we are talking about a civilized country.
Thus, the correlation of universal and specifically social in art is difficult and ambiguous. On the one hand, universal ideals cannot be expressed in art except in a specific social form. On the other hand, there are noticeable contradictions between the two poles, expressed in the opposite aspiration for the relative independence of art from social and political movements, for pure artistry, or, in contrast, in the desire to engage musical art, to make it a direct tool of social struggle.
The spiritual sphere of society encompasses various forms and levels of social consciousness, which, being embodied in the
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DOI: 10.24412/2181-1385-2022-2-125-129
real process of society, form what is commonly called spiritual culture. Such forms of social consciousness are moral, scientific, aesthetic, religious, political, legal consciousness.
Politics was formed as a special system of ties, preserving the unification of people's lives and securing their social ties through public power. It has become a means of bringing the conflicts that destroy society into the form necessary for the survival of society and its advancement by increasing the level of intergroup harmony. The policy was formed as a mechanism for redistributing the most important material, information, spiritual and other resources at the disposal of not only the state, but also the whole society as a whole.
By being linked to and influencing all spheres of society, politics performs critical functions. In domestic political science, such functions of politics are noted: the expression of powerfully significant interests of all groups and segments of society, Resolution of public conflicts, their rationalization, management and management of political and social processes for the benefit of certain segments of the population or the whole society, Integration of different segments of the population by subjecting them to the interests of the whole; ensuring the integrity of the social system, stability and order, political socialization, ensuring the continuity and innovation of social development of society.
Within each of these forms of public consciousness, separate elements which, being taken in total, make spiritual culture of society are formed: norms, rules, samples, behavior models, laws, customs, traditions, symbols, myths, knowledge, ideas, language. All these elements are products of spiritual production.
REFERENCES
1. Butenko, A.P. Science, politics, power: problems of relationships and relationships //A.P. Butenko//Social and humanitarian knowledge. - 2003. - №3. - p.15-17.
2. Emelyanov, B.V. Chicherin B.N. Politics as a Science and Activity //B.V. Emelyanov//Society of Zealots of Russian Philosophy. - 2002. - №5. - p.13.
3. Zerkin, D.P. Fundamentals of Political Science: Lecture Course/D.P.Zerkin. -Rostov N/D: Phoenix, 2007. - 544 p.
4. Soloviev, A.I. Political science: Political theory, political technologies: Textbook/A.I. Soloviev. - M.: Aspect Press, 2006. - 559 p.
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