The existing debates link low culture to the development of the market economy. As a negation of market culture, modernism developed as art, independent from other social interests. The avant-garde, which contributed more radical, future- or politically-oriented approaches, did not strive for such autonomy, and it also used means of low culture. In addition to these three orientations, which occurred in Slovenia as well, we also need to take into account the fact that art, especially literature in the nineteenth century, served the process of nation-building. High culture is in this regard that culture, which is intentionally made according to high aesthetic standards. In the twentieth century, the artists still point out Slovenian identity. This is however not generally approved. Modernism emerged as high culture, focusing on aesthetic issues, which was acceptable in a situation of political aggravation, even though it was influenced by Western culture. On the contrary, before, during and after World War II, the ideologically suspicious artists were increasingly marginalized. Their works, which were works of high culture according to the aesthetic criteria, were not accepted as such for political reasons.
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