Who are the representatives of the creative intelligentsia forced. The theme of the intelligentsia in the stories of A.P.
On Friday, August 12, a conference of cultural workers of the Samara region was held in Samara for the first time. Cultural figures, representatives of municipalities, creative unions, public organizations discussed the results of the work, identified existing problems and outlined plans for the active and meaningful development of the cultural sphere of the region. Governor Nikolai Merkushkin took part in the forum.
The Minister of Culture of the region Sergei Filippov opened the conference. He noted the priority task that President Vladimir Vladimirovich Putin set for creative people.
"Our main task is to strengthen the spirituality and culture of our country. In the current difficult socio-political situation, culture is the spiritual and moral core that allows us to maintain our identity and look confidently into the future. To do this, we must keep pace with the times and not lag behind the trends of modern society," the minister said.
Sergei Filippov stressed: "If we do not introduce new forms of work, use modern technologies that will attract people to us, we will not be able to fulfill the tasks."
The head of the Ministry of Culture noted that in recent years much has been done to develop culture in the region. Serious work is underway on the territory aimed at preserving the classical theatrical heritage. Bright premieres, dramatic and opera performances, tours of the leading domestic theaters, festivals stimulate Samara residents' interest in cultural institutions. Creative teams of the region successfully defend the honor of the region at major festivals, including the Golden Mask.
The museum direction is developing thanks, among other things, to active joint activities with the largest museums in Russia. One of the brightest examples is that now works from the collection of the Samara Art Museum are exhibited as part of the Ivan Aivazovsky exhibition at the Tretyakov Gallery.
Dozens of festivals are held in the region to support talented youth, young Samara residents take part in hundreds of all-Russian forums and training events. As a rule, they do not return without awards. Gifted children receive nominal scholarships from the governor, and in general, up to 10% of graduates of the Samara region choose creative universities.
The most important direction of the work of the Ministry of Culture is the national-cultural organizations of the region. As a rule, festivals and national holidays in the region are celebrated by all confessions together. "We show an example of how to organize a life that excludes mutual conflicts," Sergei Filippov said.
The minister also noted the problems, first of all, personnel: the average age of cultural workers is more than 50 years, about 25% of people of retirement age are employed in the industry. However, support for young professionals - creative scholarships, governor's awards and grants - is gradually changing the percentage. The average salary of cultural workers has increased 2-3 times in recent years and is the highest in the Volga Federal District.
1 billion rubles were allocated for the overhaul of 115 municipal cultural institutions. Work has been completed at the Syzran Drama Theatre, at the Neftyanik CDC in Neftegorsk, the art school in Chapaevsk and the library in Dubovy Umet have been restored.
The restored "SamART", children's art schools in Otradnoye and Kinel-Cherkassy will open soon, a puppet theater and a large cultural and health center in Bolshaya Glushitsa will open soon. And this is only a small part of what was done with the support of the governor of the Samara region, the government of the region, and philanthropists, Sergei Filippov noted.
Summing up, the Minister of Culture addressed his colleagues: “We are faced with the task of reaching a new level of development of the culture of the region. We, as creative workers, must not only improve our activities, but also have an active life position, consciously participate in public life, form public opinion and be an example for fellow citizens. Cultural workers, along with teachers and doctors, have always formed the basis of civil society. They have always been believed, they have been followed."
“Our work resonates with you,” Nikolai Merkushkin addressed the creative intelligentsia. “We do one thing — we educate the younger generation and form culture as a whole. It is this culture that determines the level of development of our society.”
The head of the region drew attention to the fact that the lion's share of the requests and wishes of Samara residents is always associated with art and creativity. "This is a feature of our mentality. That is why we are leaders in the district and the country in the most important areas of culture. We must support the craving for beauty in every possible way," the governor said.
He noted that each restored or built cultural institution "should expand our understanding of the beautiful and attract young people to art." Cultural objects, according to Nikolai Merkushkin, should correspond to their intended purpose and bring joy for many years.
Nikolai Merkushkin also said that grant support for gifted children and children's art schools would continue. As for the latter, the head of the region offered to support not only the best, but also promising institutions: "This will be an incentive for them and an opportunity to develop more actively."
He stressed that the support of culture is necessary for the society: “Step by step, we will do everything possible so that we have a well-bred, creative, educated, healthy and competitive generation. Without this, it is impossible to count on the success of the country, native land. We must keep the bar culture of the Samara region at a high level".
Iraida Zyulmanova, director of the Children's Art School of Otradnoye, noted from the stage that "at all times, culture has been at the forefront in the struggle for the souls and hearts of people."
“Ascetics work in culture, devoted to their work with their souls, ready to put personal passions on the altar of their profession,” she said and turned to the head of the region: “Nikolai Ivanovich, you defend the Samara province and its people, find truly creative, extraordinary solutions in difficult situations. I can say: you are ours, you are a man of culture. Only creative people are able to work as selflessly as you."
The Shentalinka Folk Ensemble, on behalf of all amateur groups in the region, thanked Nikolai Merkushkin for the provincial festival "Born in the Heart of Russia": "Nikolai Ivanovich, you don't let us get bored and always keep us in a creative tone."
As part of the cultural forum, the governor awarded representatives of the creative intelligentsia and presented grant certificates for new projects. The badge of honor "For work for the benefit of the land of Samara" was given to Honored Artist of the Russian Federation Rudolf Baranov, People's Artist of the RSFSR Anatoly Ponomarenko, and writer Ivan Nikulshin.
SamART Deputy Director Olga Shapiro also received the award. “I want to say thanks to everyone who has been around these years: the actors, the audience, the Ministry of Culture and you, Nikolai Ivanovich, for understanding the importance of our theater for the province,” she said with tears in her eyes.
Ballet soloist Ksenia Ovchinnikova became an Honored Artist of the Samara Region, and President of the Volga Historical and Cultural Fund Maria Serkova and Aigul Zhalelova, a representative of the national cultural autonomy of the Kazakhs Ak Zhol, became Honored Workers.
The memorial sign "Kuibyshev is a spare capital" was presented to the Samara Academic Opera and Ballet Theatre.
General Director Natalya Glukhova received the award. She noted that there were many bright pages in the history of the theater. In particular, creative teams evacuated to our city during the war not only performed on stage, but also donated blood and looked after the wounded. "This was the position of the people. The badge of honor is the relay race of that time. It is worth a lot. We have a high mission - we have been and remain the center of the cultural, musical and social life of the city," said the head of the theater.
At the end of the conference, the head of the region noted that the peculiarity of creative people is to pass everything through themselves. “When this happens, you give out things that touch the soul. Thank you for that!” he said.
After the end of the forum, the governor was not released for another half an hour. Nikolai Merkushkin was asked to support the Samarskaya Luka magazine, as well as to help strengthen friendship between the Samara region and Uzbekistan: "Let's do this, and then we will invite their delegation to the Samara land, to the Volga."
The head of the region received special gratitude from representatives of the cultural and educational center "Heritage" from Chapaevsk. Natalia Shirokova and Marina Kirillova expressed their common opinion: "The creative intelligentsia is always with you!"
Persecution of Boris Pasternak for publishing his novel Doctor Zhivago in the West and awarding him the Nobel Prize
Aggressive criticism of a number of figures of literature and art by the party leadership during regular meetings
Persecution of artists
(B. Zhutovsky,
E. Unknown, etc.)
In 1962, a "temporary" increase in the price of meat was announced
(by 30%) and oil (by 25%)
Reasons for the growing dissatisfaction in society with the activities of N.S. Khrushchev in the early 60s
The struggle of the state with the subsidiary plots of collective farmers
New noisy anti-religious campaign. A sharp reduction in the number of active temples
The landslide reduction of the armed forces, which meant for hundreds of thousands of officers the loss of work and the deterioration of their financial situation
Ill-conceived reorganizations and constant staff shake-up
Loss of N.S. Khrushchev's support from the bureaucratic apparatus
Offset Organizers:
L.I. Brezhnev, M.A. Suslov, A.N. Shelepin, N.V. Podgorny, V.A. Semichastny and others.
The removal of N.S. Khrushchev from all posts at the October plenum of the Central Committee of the CPSU in 1964.
!!! The reform efforts of N.S. Khrushchev, as well as his activities in general, albeit inconsistent and contradictory, and sometimes simply destructive, contributed to the advancement of society along the path of affirming universal values, the beginnings of democratization, glasnost.
Political development of the USSR in the mid-1960s - mid-1980s.
1964-1982- Leonid Brezhnev at the head of the CPSU and the USSR.
!!!The 18-year rule of L.I. Brezhnev became a "golden age" for the party-state nomenclature, which gladly supported the main slogan of L.I. Brezhnev "Ensure the stability of personnel." In fact, this meant not only the conservation of political structures, but also the lifelong occupation of nomenklatura
posts.
USSR Constitution 1977
The concept of developed socialism
Legislative consolidation of the leading role of the CPSU in society
(Article 6 of the Constitution)
The actual substitution of the party apparatus of the Soviet state authorities
Politic system
Strengthening the bureaucratization of the state machine
The rigidity of party-state structures
Crisis of interethnic relations
Gerontocracy
(the power of the elders)
Tighter repression against dissidents
Strengthening contradictions in the social class structure of society
Economic reforms of 1965.
Industry reform
!!! Initially, the reforms gave some positive results. However, they did not affect the foundations of the economic basis of the Soviet system. In the early 1970s, the country's leadership decided to return to a rigid administrative structure with detailed planning of products and other indicators, with restrictions on the rights of enterprises.
The consequences of curtailing the reform of 1965.
1966-1970 1981 - 1985
Growth rate of national income
Growth rates of labor production
Main indicators of economic development in 1965 - 1985 (V %)
By chance this week I managed to see the program "First Studio" from 07/05/2017, I will not list everyone who was there, but I still want to return to one person. This is Joseph Reichelgauz. This figure, without batting an eye on the whole of our country, began to defend, not without the well-known Alexei Goncharenko, the one who took selfies with the corpses of people in the burnt down House of Trade Unions in Odessa.
This bastard is shielded by Reichelgauz. He said about him that he was fighting for friendship with Russia and was preventing the introduction of visas. You and I remember what this creature said, removing the charred bodies of dead people. All this can be found on the net, no matter how hard these scum try to erase history.
Now let's look at the "creative" fate of Reichelgauz himself.
As Wikipedia informs us with reference to the Lyceum newspaper, “Joseph Reichelgauz was born and raised in Odessa. In 1962–1964 he worked as an electric and gas welder at a motor depot. In 1964 he entered the Kharkov Theater Institute at the directing department, but expelled within a week with the wording: "Professional incompetence" In 1965, Reichelgauz became an artist of the auxiliary composition of the Odessa Youth Theater. In 1966 he came to Leningrad and entered the directing faculty of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965–1966 he was a stage worker at the Leningrad Bolshoy Theater named after V.I. Gorky. In 1966 he entered the Faculty of Journalism of the Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of the Leningrad State University. In 1968, Iosif Reichelgauz left the university and entered the directing department of GITIS, in the workshop of M.O. Knebel and A.A. Popov. At the same time, he worked as a director at the famous student theater of Moscow State University, in 1970 he led concert student teams to service the builders of Siberian hydroelectric power stations. In 1971, he had a directing practice at the Central Theater of the Soviet Army, but the performance “And I didn’t say a single word” based on the novel by G. Böll was not allowed to be shown. In 1972 he staged his pre-graduation performance, My Poor Marat, based on the play by A. Arbuzov, in his native Odessa. +
The luminary was twice taken out on kicks from theatrical universities, and, for the first time, from a provincial one. But Melpomene did not let go back to the electric and gas welders. He went into amateur performance, hitting William, you know, our Shakespeare. On the basis of amateur performance, he grew strong calluses on his buttocks and took GITIS to starvation. But he did not give up amateur performance - in the north, among harsh and well-earned people who yearn for culture, even in the form of amateur cultural enlightenment, this is sacred. Christmas trees feed the actor for a whole year, yes! The very first performance at the TsTSA was rejected. With his hack I was able to get out only in my native Odessa. Until 1993, he was widely known in narrow circles. He became a laureate and luminary only under the drunkard Yeltsin, when the titles of honored and popular people were handed out for a party card burned in front of witnesses. In short, a typical representative of the society "Down with routine from the opera stage!" Is it any wonder that Pinocchio from his theater are ready to work for food?
It's interesting indeed. what connects this figure Melpomene with Goncharenko? And here's what - his "Theater of the Modern Play" - a miserable and unprofitable institution. And if you quarrel with Goncharenko, then the faucet of the meager stream of pennies received by the theater from seasonal chess in Odessa, or other cities and towns of Ukraine, can be blocked at any time. In Ukraine, after all, they don’t know that the audience does not go to the performances of Reichelgauz, but focuses on the fact that, “here is an Odessa director, in Moscow he is in charge of the theater - you have to go!” ... And you can also get into the “cotton” list - and this is completely zapadno for a director with a stable ahedzhaknuty worldview "oh, forgive us Bandera, ISIS and all-all-all!"
But that's not all, here's an excerpt from his interview on a very "free and democratic" radio station in Russia.
“There is the name Goncharenko, who is being shaken. But in fact, Alexei Goncharenko is a clear, talented, competent, young, energetic, serious, deep, honest politician who is constantly trying to help his city, his people, and so on. I understand what's going on with the radios."
“Pro-Russian tents stood there, who were waiting for ‘Donbass to be here.’ There were a lot of tents. And, starting from March, these tents came out with Russian flags, they walked along the central streets (this is Kulikovo Pole). They walked along the streets, broke shop windows , they pierced cars, shouted all sorts of things... And yet, they were not disturbed, because that was the situation - after the Maidan. Naturally, at that time, pro-Ukrainian people were also walking, also shouting, also making noise.
This monstrous day came on May 2, when football was supposed to be, when the so-called westerners arrived, among whom, of course, were scumbags, fascists, scoundrels. But they were also among them. And Transnistria was, and the unemployed were, and those who were fueled for money from no one knows where. And these went to the center, those went to the center. These drove those - they ran into the house. These began to throw bottles with an incendiary mixture into the house - the house caught fire. Those from the house began to be thrown into tents - the tents caught fire. And it started!"
Well, how? Is being drawn?This is the People's Artist of the Russian Federation!!
I just want to ask what people he is from? And why didn't these people burn in the Odessa House of Trade Unions?
He is also a member of the Public Council of the Russian Jewish Congress. Isn't it some kind of monstrous grimace of the time, a representative of the people who are shouting about the Holocaust on every corner, is fighting to the death for a man who welcomed the burning of people in Odessa.
I admire the Yakuts, how they stand up for each other ... and, in general, for a friend ... When the Yakut filmmakers were preparing for the filming of the film "Secrets of Genghis Khan" based on the book of the Yakut classic Nikolaev Luginov "At the behest of Genghis Khan", they visited Buryatia several times a year - namely , in preparation for the film - their delegation led by the Minister of Culture and Spiritual Development (this is (!) the name of the Ministry of Culture of Yakutia) Andrei Savvich Borisov and the film producer, idea generator and main engine of the project Vladimir Davidovich Ivanov ...
Volodya Ivanov, my friend, half-Yakut-half-Mongol... his father is the Mongolian film director Nyamgavaa... I tell him jokingly: look at the map - your father is from Mongolia, your mother is from Yakutia... you, their son, are in the middle between them... And in the middle between Yakutia and Mongolia - Buryatia ... So, you, Volodya, are Buryats ... He, laughing, agrees ... Each of their visits, Volodya and Andrey Savvich insisted that I be with them everywhere ... Probably, they were interested in talking with me ... Once even, on one of their visits , Borisov read my poems from the stage of Burdram ... Even more often than with delegations, Volodya visited Ulan-Ude on the way (again on a film project) to Mongolia ... After a friendly conversation, I saw him off to Kyakhta ... and a couple of times when it was already late, drove him in his car to the border ...
Our conversations with him and Borisov revolved mainly around the future Yakut film ... So often they visited Buryatia with one goal - to involve our Ministry of Culture in the film production "By the Command of Genghis Khan" ... Without the Buryats, they understood, the legitimacy of their film about the Shaker of the Universe looks somewhat doubtful ... From the very beginning, I convinced them that they were wasting gunpowder - in the conditions of our republic, porridge cannot be cooked with our Ministry of Culture ... And if they cannot imagine their film without the Buryats, then it would be better to turn their eyes and efforts to the Aginsky district ... Then Bair Bayaskhalanovich Zhamsuev was the head there - with him, I said, you can go both in reconnaissance and in a frontal attack ...
I don’t know what - whether the status of the district is lower than the republican one, or undying hopes for our Ministry of Culture, but the visits of the Yakuts to Buryatia and negotiations continued ... And it even came to the signing between the Ministries of Culture of the two republics of the Agreement on joint activities (or the intentions of such actions ) in the film production of “Secrets of Genghis Khan” ... Nikolai Luginov, the author of the book “By the Command of Genghis Khan”, also arrived with the Yakut delegation at that time ... I must say that even before that, in Peredelkino, Kolya signed the first part of his book that had just been published with the words: “You, Yesugei, like a Mongol, don’t scold me if I wrote something wrong”... The last preparations for the signing of the Treaty took place at the Opera and Ballet Theater, which was then closed for repairs... Meanwhile, Nikolai Luginov and Vladimir Ivanov with Buryat writers...
I was late for the meeting, which often happens to me, and came almost at its end ... Kolya and Volodya jokingly kicked me in the ribs for this ... Our communication was interrupted by the then (I think, after Kim) First Deputy Minister of Culture (as her name is - I don’t remember, and there is no regret about it) ... She delicately, but persistently pulled my Yakut friends towards the Opera Theater ... There, they say, now everything is ready for signing the Treaty, and it should contain the signatures of the author of the book and the producer ... Picking up me from both sides under the arms, Kolya and Volodya went on their own and pulled me after the first suede looking back at me with displeasure ... I, absorbed in communicating with friends, did not pay attention to her ... She, stopping: Yesugei, you better not go there ... Why this?.. I ask...
There, between the ministers, an agreement will be signed on joint activities in the field of cinema ... Moreover, I need to be there, I object, because I am the director of the Art Studio "HunnuFilm", the only (at that time) cinematography organization in Buryatia ... My friends warmly support me ... She , snorting in annoyance, she goes on... The entrance to the theater, on the occasion of repairs, was from the back... She, stopping at the door, says: Yesugei, the table is set there, but they didn't count on you... Oh-oh-oh! your mother's leg, pierced me, again! .. What, Raisa Tsydenovna is not enough for me ?!
And why do they think that I will drink their volume, and they will get less budget sandwiches and drinks? I’ll come to your hotel in the evening... How they soared!.. How they attacked the first suede!.. If, they say, Yesugei doesn’t go, then we won’t go either!
I object, I insist: go, sign the Treaty, anyway, without “HunnuFilm”, and therefore me, Buryatia will not be able to participate in your project ... But they grab me by the arms and, turning around, resolutely leave, taking me with them ... First suede, stumbling, runs after them... persuades them... and me... asks not to be offended... They look at me inquiringly... I turn them to the Opera House... drinks and snacks...
Around the table, without touching anything on it, the entire ministerial army crowded ... both our Ministry of Culture and the Yakut one ... Only the Yakut minister Borisov and our Prokopiev were sitting at the table ... already without jackets, ties loosened, shirt collars unbuttoned ... and, as in Evdokimov’s famous miniature “After the Bath”, with red-faced faces... Seeing me, Andrey Savvich raised his hand in greeting and immediately began to say something in Yakut angrily (probably for a long delay) to my companions... They, in the same way, in Yakut, they answered, pointing first at me, then at the first suede ... Probably, about her unwillingness to see me here - Borisov flashed her angrily with his eyes, that she shrank all over ...
The agreement was signed, the ministers exchanged folders, handshakes, kisses... Everyone perked up, pulled themselves up to the table, surrounding it, the Yakuts from their minister's side, the Buryats from theirs... The glasses and glasses were filled, snacks were placed on the plates... Borisov stood up with a glass in his hand, began to say a toast ... He was, like Prokopiev, well drunk ... But he spoke brilliantly ... The toast was thankful for the work done, by name ... Borisov thanked each of our Ministry of Culture, to whom he passed, from left to right, look ... First - Prokopiev ... then - his deputies ... then the heads of departments ... chief specialists ... Never straying, he called everyone by position, first name and patronymic ... without repeating himself, he found warm words for everyone, only addressed to him ... Luginov and Ivanov and I settled down opposite the ministers, on the border between the Yakuts and Buryats ...
Turning his gaze to me, Borisov somehow changed completely, threw up his head ...
No! .. he cried out ... everything that I just told you is nothing compared to what I want to tell you, Buryats ... You, Buryats, do not know how to appreciate your property ... that, truly valuable, that you have!.. Here stands Yesugei, the greatest Russian poet of the world level! , there was such a poet, we would not only raise him to the whole of Russia, we would raise him to the whole world ... And you ?!. In what pen is he in you ?!. If the next time I come, he will be in the same condition, you Buryats, do not be offended, we will take him to us ...
All the ministerial army, and the first suede - especially, with bulging eyes, looks at me with surprise and fear, as if at the monster of Loch Ness ... I remembered this not to brag (God, save me from this), but to how the Yakuts stand for each other like a mountain ... and, in general, for a friend ... How we, the Buryats, do not have enough of this ...
Intelligentsia- a word used in functional and social meanings:
The functional meaning of the concept of "intelligentsia"
Derived from the Latin verb intellego, which has the following meanings: “to feel, perceive, notice, notice; to know, to know; think; to know, to understand."
direct latin word intelligence includes a number of psychological concepts: “understanding, reason, cognitive power, ability to perceive; concept, representation, idea; perception, sensory knowledge; skill, art.
As can be seen from the above, the original meaning of the concept is functional. It is about the activity of consciousness.
Used in this sense, the word is already found in the 19th century, for example, in a letter from N.P. Ogarev to Granovsky in 1850: “Some subject with a gigantic intelligentsia ...” [ ]
In the same sense, one can read about the use of the word in Masonic circles. In the book “The Problem of Authorship and the Theory of Styles”, V. V. Vinogradov notes that the word intelligentsia is one of the words used in the language of Masonic literature of the second half of the 18th century:
... the word intelligentsia is often found in the handwritten heritage of the Mason Schwartz. It denotes here the highest state of man as an intelligent being, free from any gross, bodily matter, immortal and imperceptibly able to influence and act on all things. Later, this word in the general sense - "reasonableness, higher consciousness" - was used by A. Galich in his idealistic philosophical concept. The word intelligentsia in this sense was used by VF Odoevsky.
Candidate of Historical Sciences T. V. Kiselnikova notes that she shares the following view of E. Elbakyan about the intelligentsia, set out in her article “Between the hammer and the anvil (Russian intelligentsia in the past century)”:
People professionally engaged in intellectual activities (teachers, artists, doctors, etc.) already existed in antiquity and in the Middle Ages. But they became a large social group only in the era of modern times, when the number of people engaged in mental work increased sharply. Only since that time can we speak of a socio-cultural community whose representatives, through their professional intellectual activities (science, education, art, law, etc.), generate, reproduce and develop cultural values, contributing to the enlightenment and progress of society.
In Russia, originally, the production of spiritual values was mainly carried out by people from the nobility. "The first typically Russian intellectuals" D. S. Likhachev calls free-thinking nobles of the late 18th century, such as Radishchev and Novikov. In the 19th century, the bulk of this social group began to be made up of people from non-noble strata of society (“raznochintsy”).
Intelligentsia as a social group
In many languages of the world, the concept of "intelligentsia" is used quite rarely. In the West, the term “ intellectuals» (eng. intellectuals) is more popular, which refers to people professionally engaged in intellectual (mental) activities, without, as a rule, claiming to be the bearers of “higher ideals”. The basis for the allocation of such a group is the division of labor between workers of mental and physical labor.
It is difficult to single out a group trait inherent only in the intelligentsia. The plurality of ideas about the intelligentsia as a social group makes it impossible to unambiguously formulate its characteristic features, tasks and place in society. The range of activities of intellectuals is quite wide, in certain social conditions the tasks change, the attributed features are diverse, unclear and, at times, contradictory.
Attempts to understand the internal structure of the intelligentsia as a social group, to determine its signs and features continue. For example, V. V. Tepikin offers ten features of the intelligentsia in his work “Intelligentsia: Cultural Context”, and the sociologist J. Shchepansky in the 1950s and A. Sevastyanov at the end of the 20th century consider the internal structural connections and levels of the intelligentsia.
According to [ ] modern sociologist Galina Sillaste, the Russian intelligentsia at the end of the 20th century stratified into three strata (from "stratum" - layer):
- "higher intelligentsia" - people of creative professions, developing science, technology, culture, humanitarian disciplines. The overwhelming majority of representatives of this stratum are employed in the social and spiritual spheres, a minority - in industry (technical intelligentsia);
- "mass intelligentsia" - doctors, teachers, engineers, journalists, designers, technologists, agronomists and other specialists. Many representatives of the stratum work in social sectors (healthcare, education), somewhat less (up to 40%) - in industry, the rest in agriculture or trade.
- "semi-intelligentsia" - technicians, paramedics, nurses, assistants, referents, laboratory assistants.
As a result, the question arises in general about the possibility of recognizing intellectuals as a social group, or whether they are individuals of various social groups. This question is analyzed by A. Gramsci in his notes “Prison Notebooks. The Rise of the Intelligentsia":
Is the intelligentsia a separate, independent social group, or does each social group have its own special category of intelligentsia? It is not easy to answer this question, because the modern historical process gives rise to a variety of forms of various categories of intelligentsia.
The discussion of this problem continues and is inextricably linked with the concepts of society, social group and culture.
In Russia
V. I. Lenin’s derogatory statement about the “intelligentsia” helping the bourgeoisie is known:
The intellectual forces of the workers and peasants are growing and strengthening in the struggle to overthrow the bourgeoisie and its accomplices, the intellectuals, lackeys of capital, who imagine themselves to be the brains of the nation. In fact, this is not the brain, but shit. We pay higher than average salaries to the "intellectual forces" who want to bring science to the people (and not to serve capital). It is a fact. We protect them. It is a fact. Tens of thousands of our officers serve the Red Army and win in spite of hundreds of traitors. It is a fact .
see also
Notes
- Great Russian Encyclopedia: [in 35 volumes] / ch. ed. Yu. S. Osipov. - M.: Great Russian Encyclopedia, 2004-2017.
- Sorokin Yu.S. Development of the vocabulary of the Russian literary language. 30-90s of the XIX century. - M.-L.: Nauka, 1965. - S. 145. - 566 p.
- Intelligentsia// Kazakhstan. National Encyclopedia. - Almaty: Kazakh encyclopedias, 2005. - T. II. - ISBN 9965-9746-3-2.
