High culture

High culture encompasses the cultural objects of aesthetic value, which a society collectively esteem as exemplary art. It may also include intellectual works considered to be of supreme philosophical, historical, or literary value, as well as the education which cultivates such aesthetic and intellectual pursuits. In popular usage, the term high culture identifies the culture of an upper class (an aristocracy) or of a status class (the intelligentsia); and also identifies a society’s common repository of broad-range knowledge and tradition (e.g. folk culture) that transcends the social-class system of the society. Sociologically, the term high culture is contrasted with the term low culture, the forms of popular culture characteristic of the less-educated social classes, such as the barbarians, the Philistines, and hoi polloi (the masses). High culture encompasses the cultural objects of aesthetic value, which a society collectively esteem as exemplary art. It may also include intellectual works considered to be of supreme philosophical, historical, or literary value, as well as the education which cultivates such aesthetic and intellectual pursuits. In popular usage, the term high culture identifies the culture of an upper class (an aristocracy) or of a status class (the intelligentsia); and also identifies a society’s common repository of broad-range knowledge and tradition (e.g. folk culture) that transcends the social-class system of the society. Sociologically, the term high culture is contrasted with the term low culture, the forms of popular culture characteristic of the less-educated social classes, such as the barbarians, the Philistines, and hoi polloi (the masses). In European history, high culture was understood as a cultural concept common to the humanities, until the mid-19th century, when Matthew Arnold introduced the term high culture in the book Culture and Anarchy (1869). The Preface defines culture as 'the disinterested endeavour after man’s perfection' pursued, obtained, and achieved by effort to 'know the best that has been said and thought in the world'. Such a literary definition of high culture also includes philosophy. Moreover, the philosophy of aesthetics proposed in high culture is a force for moral and political good. Critically, the term 'high culture' is contrasted with the terms 'popular culture' and 'mass culture'. In Notes Towards the Definition of Culture (1948), T. S. Eliot said that high culture and popular culture are necessary and complementary parts of the culture of a society. In The Uses of Literacy (1957), Richard Hoggart presents the sociologic experience of the working-class man and woman in acquiring the cultural literacy, at university, which facilitates social upward mobility. In the U.S., Harold Bloom and F. R. Leavis pursued the definition of high culture, by way of the Western canon of literature. Media theorist Steven Johnson writes that, unlike popular culture, 'the classics—and soon to be classics—are' in their own right descriptions and explanations of the cultural systems that produced them.' He says that 'a crucial way in which mass culture differs from high art' is that individual works of mass culture are less interesting than the broader cultural trends which produced them. History of high culture in the West The high culture of the West originated in the classical-world traditions of intellectual and aesthetic life in Ancient Greece (from c. 8th century BC – AD 147) and Ancient Rome (753 BC – AD 476). In the classical Greco-Roman tradition, the ideal mode of language was published and preserved in works of elevated style (correct grammar, syntax, and diction). Certain forms of language used by authors in valorized epochs were held up in antiquity and the Renaissance as eternal valid models and normative standards of excellence; e.g. the Attic dialect of ancient Greek spoken and written by the playwrights and philosophers of Periclean Athens (fifth century BC); and the form of classical Latin used in the 'Golden Age' of Roman culture (c. 70 B.C. - AD 18) represented by such figures as Cicero and Virgil. This form of education was known to the Greeks as παιδεία, which was translated by the Romans into Latin as humanitas since it reflected a form of education aiming at the refinement of human nature, rather than the acquisition of technical or vocational skills. Indeed, the Greco-Roman world tended to see such manual, commercial, and technical labor as subordinate to purely intellectual activities. From the idea of the 'free' man with sufficient leisure to pursue such intellectual and aesthetic refinement, arose the classical distinction between the 'liberal' arts which are intellectual and done for their own sake, as against the 'servile'or 'mechanical' arts which were associated with manual labor and done to earn a living. This implied an association between high culture and the upper classes whose inherited wealth provided such time for intellectual cultivation. The leisured gentleman not weighed down by the necessity of earning a living, was free to devote himself to activities proper to such a 'free man' – those deemed to involve true excellence and nobility as opposed to mere utility. During the Renaissance, the classical intellectual values of the fully rediscovered Græco–Roman culture were the cultural capital of the upper classes(and the aspiring), and aimed at the complete development of human intellectual, aesthetic, and moral faculties. This ideal associated with humanism (a later term derived from the humanities or studia humanitatis), was communicated in Renaissance Italy through institutions such as the Renaissance court schools. Renaissance humanism soon spread through Europe becoming much of the basis of upper class education for centuries. For the socially ambitious man and woman who means to rise in society, The Book of the Courtier (1528), by Baldasare Castiglione, instructs the reader to acquire and possess knowledge of the Græco–Roman Classics, being education integral to the social-persona of the aristocrat. A key contribution of the Renaissance was the elevation of painting and sculpture to a status equal to the liberal arts (hence the visual arts lost for elites any lingering negative association with manual artisanship.) The early Renaissance treatises of Leon Battista Alberti were instrumental in this regard. The evolution of the concept of high culture initially was defined in educational terms largely as critical study and knowledge of the Græco–Roman arts and humanities which furnished much of the foundation for European cultures and societies. However, aristocratic patronage through most of the modern era was also pivotal to the support and creation of new works of high culture across the range of arts, music, and literature. The subsequent prodigious development of the modern European languages and cultures meant that the modern definition of the term 'high culture' embraces not only Greek and Latin texts, but a much broader canon of select literary, philosophical, historical, and scientific books in both ancient and modern languages. Of comparable importance are those works of art and music considered to be of the highest excellence and broadest influence (e.g. the Parthenon, the painting and sculpture of Michelangelo, the music of J. S. Bach, etc). Together these texts and art works constitute the exemplary artifacts representing the high culture of the Western world.