Description
Cultural history overlaps in its approaches with the French movements of histoire des mentalités (Philippe Poirrier, 2004) and the so-called new history, and in the U.S. it is closely associated with the field of American studies. As originally conceived and practiced by 19th Century Swiss historian Jakob Burckhardt with regard to the Italian Renaissance, cultural history was oriented to the study of a particular historical period in its entirety, with regard not only for its painting, sculpture and architecture, but for the economic basis underpinning society, and the social institutions of its daily life as well.
Most often the focus is on phenomena shared by non-elite groups in a society, such as: carnival, festival, and public rituals; performance traditions of tale, epic, and other verbal forms; cultural evolutions in human relations (ideas, sciences, arts, techniques); and cultural expressions of social movements such as nationalism. Also examines main historical concepts as power, ideology, class, culture, cultural identity, attitude, race, perception and new historical methods as narration of body. Many studies consider adaptations of traditional culture to mass media (television, radio, newspapers, magazines, posters, etc.), from print to film and, now, to the Internet (culture of capitalism). Its modern approaches come from art history, annales, Marxist school, microhistory and new cultural history.
Common theoretical touchstones for recent cultural history have included: Jürgen Habermas's formulation of the public sphere in The Structural Transformation of the Bourgeois Public Sphere; Clifford Geertz's notion of 'thick description' (expounded in, for example, The Interpretation of Cultures); and the idea of memory as a cultural-historical category, as discussed in Paul Connerton's How Societies Remember.
Read more about this topic: Cultural History
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—Henry David Thoreau (1817–1862)
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“The next Augustan age will dawn on the other side of the Atlantic. There will, perhaps, be a Thucydides at Boston, a Xenophon at New York, and, in time, a Virgil at Mexico, and a Newton at Peru. At last, some curious traveller from Lima will visit England and give a description of the ruins of St. Paul’s, like the editions of Balbec and Palmyra.”
—Horace Walpole (1717–1797)