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No one thinks or feels or appreciates or lives a mental-emotional-imaginative life at all, except in terms of the artificial reference-points supply'd him by the enveloping body of race-tradition and heritage into which he is born. We form an emotionally realisable picture of the external world, and an emotionally endurable set of illusions as to values and directions in existence, solely and exclusively through the arbitrary concepts and folkways bequeathed to us through our traditional culture-stream. Without this stream around us we are absolutely adrift in a meaningless and irrelevant chaos which has not the least capacity to give us any satisfaction apart from the trifling animal ones . . . Without our nationality—that is, our culture-grouping—we are merely wretched nuclei of agony and bewilderment in the midst of alien and directionless emptiness . . . We have an Aryan heritage, a Western-European heritage, a Teutonic-Celtic heritage, an Anglo-Saxon or English heritage, an Anglo-American heritage, and so on—but we can't detach one layer from another without serious loss—loss of a sense of significance and orientation in the world. America without England is absolutely meaningless to a civilised man of any generation yet grown to maturity. The breaking of the saving tie is leaving these colonies free to build up a repulsive new culture of money, speed, quantity, novelty, and industrial slavery, but that future culture is not ours, and has no meaning for us . . . Possibly the youngest generation already born and mentally active—boys of ten to fifteen—will tend to belong to it, as indeed a widespread shift in their tastes and instincts and loyalties would seem to indicate. But to say all this has anything to do with us is a joke! These boys are the Bedes and Almins of a new, encroaching, and apparently inferior culture. We are the Boëthii and Symmachi and Cassiodori of an older and perhaps dying culture. It is to our interest to keep our own culture alive as long as we can—and if possible to reserve and defend certain areas against the onslaughts of the enemy.
--
Letter to James F. Morton (6 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 207

 

H. P. Lovecraft

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For the first time since I began acting, I feel that I've found my place in the world, that there's something out of my own culture which i can express and perhaps help others preserve..i have found out now that the African natives had a definite culture a long way beyond the culture of the Stone age...an integrated thing, which is still unspoiled by western influences...I think the Americans will be amazed to find how many of the modern dance steps are relics of African heritage.

 

Paul Robeson

 

The most implacable enemies of culture — Rimbaud, Lautréamont, dadaism, surrealism — end up being assimilated and absorbed by it. They all wanted to destroy culture, at least organized culture, and now they’re part of our heritage. It’s culture and not the bourgeoisie, as has been alleged, that is capable of absorbing everything for its own nourishment. As for the oneiric element, that is due partly to surrealism, but to a larger extent due to personal taste and to Romanian folklore — werewolves and magical practices. For example, when someone is dying, women surround him and chant, “Be careful! Don’t tarry on the way! Don’t be afraid of the wolf; it is not a real wolf!”—exactly as in Exit the King. They do that so the dead man won’t stay in infernal regions.

 

Eugene Ionesco

 

"A tonal type is minimally identifiable by its three markers and thus objectively observable completely apart from its musical or cultural context; it is 'scientific,' it is 'etic.' 'Mode' conversely is all bound up in sixteenth-century musical culture, not as a living doctrine of the music of the church and a heritage fomr the Middle Ages but also as a musical construct being expirimented with by members of the culture, from both humanistic and traditional points of view; it is thoroughly 'emic' and requires study on its own terms...."

 

Harold Powers

 

I have travelled across the length and breadth of India and I have not seen one person who is a beggar, who is a thief. Such wealth I have seen in the country, such high moral values, people of such caliber, that I do not think we would conquer this country, unless we break the very backbone of this nation, which is her spiritual and cultural heritage, and therefore, I propose that we replace her old and ancient education system, her culture, for if the Indians think that all that is foreign and English is good and greater than their own, they will lose their self esteem, their native culture and they will become what we want them, a truly dominated nation.

 

Thomas Babington Macaulay

 

A free culture has been our past, but it will only be our future if we change the path we are on right now. Like Stallman's arguments for free software, an argument for free culture stumbles on a confusion that is hard to avoid, and even harder to understand. A free culture is not a culture without property; it is not a culture in which artists don't get paid. A culture without property, or in which creators can't get paid, is anarchy, not freedom. Anarchy is not what I advance here. Instead, the free culture that I defend in this book is a balance between anarchy and control. A free culture, like a free market, is filled with property. It is filled with rules of property and contract that get enforced by the state. But just as a free market is perverted if its property becomes feudal, so too can a free culture be queered by extremism in the property rights that define it. That is what I fear about our culture today. It is against that extremism that this book is written.

 

Lawrence Lessig