Abstract

The two main domains of high culture - the arts and the sciences - seem to be completely different, simply unrelated. Is there any sense then in talking about culture in the singular as a unity? A positive answer to this question presupposes that there is a single conceptual scheme, in terms of which it is possible to articulate both the underlying similarities and the basic differences between these domains. This article argues that - at least in respect of ‘classical’ modernity - there is such a framework: the normatively conceived Author-Work-Recipient relation. It allows the disclosure of the paradoxical unity of culture: its two main realms are constituted as polar opposites and thus as strictly complementary. Through such an organization, culture could fulfil an affirmative, compensatory role. At the same time however, it also allowed culture to acquire the character of social critique, a function realized through the antagonistically opposed projects of Enlightenment and Romanticism - projects whose illusions are now evident.