Cultural consumption

Peters, Tomás (2018) “Capital cultural y participación cultural en Chile: apuntes históricos, propuestas emergentes.” En Ministerio de las Culturas, las Artes y el Patrimonio. IV Encuesta Nacional de Participación Cultural. Santiago, Chile: MCAP.

In sociological debates about cultural stratification, a matter of dispute is whether Bourdieu’s model of class-structured lifestyle differences has relevance for understanding contemporary social inequalities. According to Bourdieu’s critics, the emergence and increasing pervasiveness of the cultural omnivore have made this model outdated. This article argues that the notion of the cultural omnivore has led stratification research into an unfortunate cul-de-sac, characterised typically by unfruitful discussions about whether simplistic recasts of old maps fit current cultural terrains. The article makes the point that empirically investigating how people appropriate goods is at least as important as investigating what they prefer, consume or engage in. More specifically, liking the same things does not necessarily indicate similar tastes, as a given object can be appropriated in different ways. Drawing on qualitative interviews with 46 individuals located within different positions in the local class structure of the city of Stavanger in Norway, the analysis points to clear differences between ways of appropriating goods. Four distinct modes of consumption are identified: the intellectual mode, the luxurious mode, the educational mode and the practical mode. These modes of consumption are structured along class lines, i.e. consistent with the homology thesis.

En este estudio es producto de una investigación realizada entre 2010-2012 en el que se analiza el consumo cultural de la trova yucateca en Mérida, a partir de ver los procesos de recepción en tres generaciones de oyentes en las familias de esta ciudad.

Este artículo ofrece algunas reflexiones en torno a los vínculos entre consumo cultural y ciudad, a partir de los hallazgos preliminares de un estudio que indaga en las experiencias de los públicos de ferias y festivales culturales que ocurren en el espacio público de tres ciudades chilenas: Santiago, Valparaíso y Concepción. Mediante una estrategia
metodológica cualitativa, basada en trabajo de campo etnográfico y entrevistas en profundidad en torno a un número discreto de casos significativos, la investigación busca comprender cómo estas modalidades festivas del consumo cultural habilitan usos alternativos del espacio urbano que no se encuentran disponibles en el tiempo ordinario, problematizando la definición de lo público en el marco de la ciudad y reconfigurando las fronteras identitarias del nosotros.

Cultural policies are a turning point in a broader frame of the social circulation of symbols and in the exercise of power. Th erefore, instead of being a specific or delimitated space to support the supply and demand of the ‘culture industry’,
they have become part of a complex framing that challenges and problematizes the social space. To advance the discussion of this hypothesis, in 2009 we worked on the Encuesta Nacional de Participación y Consumo Cultural conducted by the Consejo Nacional de la Cultura y las Artes of Chile, and we introduced
a specifi c module of questions based on the elective affi nities between cultural consumption and socio-cultural perception. Th is paper presents in the first place theoretical discussions between cultural policy and society. Next it discusses some
methodological and conceptual considerations applied in the survey. In the third part it presents the main results of this discussion, from a Cultural Consumption Index. Finally, some general comments are made about the survey and the new displacements in the research on cultural consumption.

Se trata de una investigación empírica sobre el consumo de cine en la Argentina. El núcleo de la misma está constituido por el análisis de dos encuestas en donde se entrecruzan variables e información contextual a fin de comprender cuáles son los factores que habilitan (o no) la concurrencia a las salas. El análisis de estas encuestas está precedido por una perspectiva histórica que se sustenta en la compilación de estadísticas desde mediados de siglo XX hasta la actualidad. Esta perspectiva permite poner en cuestión ciertas creencias generalizadas sobre el espectáculo cinematográfico —en particular las que anuncian su “muerte” como resultado del aumento del consumo hogareño—. Se argumenta que el fenómeno se ha reconfigurado y que ello obliga a renovar las herramientas conceptuales y teóricas para estudiarlo. Los públicos encuestados son estudiantes universitarios de distintos puntos del país, por un lado, y habitantes del Conurbano Bonaerense en general, por el otro. En el primer caso, dada su especificidad (altos niveles de capital cultural y de participación en los consumos culturales), es posible identificar un espacio de diferencias aun en un público relativamente homogéneo y muy asiduo a los cines. En el segundo caso, al tratarse de una población marcada por fuertes contrastes socioeconómicos, se aborda una cuestión fundamental que es la desigualdad en el acceso al cine; como agregado, se ofrece una lectura sobre un territorio poco abordado en lo que refiere a su vida cultural. Finalmente, se presenta un aporte al campo de los consumos culturales a partir de una reflexión teórica que revisa textos clásicos e introduce contribuciones más recientes. Dado que lo social está atravesado por flujos globales de información y comunicación, resulta imprescindible reflexionar sobre la “conectividad” a la hora de pensar los consumos culturales en el siglo XXI.

ABSTRACT
This is an empirical research on film consumption in Argentina. Its core is composed by the analysis of two surveys where variables and contextual data are intersected to understand which factors enables (or not) the attendance at the film theaters. The analysis of these surveys is preceded by an historical perspective that is based on the compilation of statistics since the mid-twentieth century to the present. This perspective allows to question some widespread beliefs about the cinematographic spectacle –especially the announce of its "death" as a result of increased home consumption. It is argued that the phenomenon has been reconfigured and this forces to renew the conceptual and theoretical tools to study it. Respondents are college students from across the country, on the one hand, and inhabitants of Greater Buenos Aires in general, on the other. In the first case, given its specificity (high levels of cultural capital and high participation in cultural consumption), it is possible to identify differences even in a relatively homogeneous and very regular to the movies public. In the second case, being a population marked by strong socioeconomic contrasts, a key issue is the unequal access to the movie theaters; as aggregate, it is offered a reading on a sparsely addressed region in what refers to its cultural life. Finally, a contribution to the field of cultural consumption is presented from a theoretical reflection that reviews some classical texts and introduces more recent contributions. Because the social is crossed by global flows of information and communication, it is essential to reflect on the "connectivity" when thinking about cultural consumption in the XXI century.

RESUMO
Esta é uma pesquisa empírica sobre o consumo de cinema na Argentina. O núcleo é composto por análise de duas pesquisas em que as variáveis se cruzam com informação contextual para entender quais são os fatores que permitem (ou não) o seu comparecimento às salas. A análise desses levantamentos é precedida por uma perspectiva histórica, que é baseada na compilação de estatísticas desde meados do século XX até o presente. Essa perspectiva permite questionar algumas crenças generalizadas sobre o espetáculo cinematográfico -especialmente sobre os enunciados de sua "morte", como resultado do aumento do consumo caseiro. Argumenta-se que o fenômeno foi reconfigurado e isso obriga a renovar as ferramentas conceituais e teóricas para estudá-lo. O público investigado é voltado para o perfil de estudantes universitários de todo o país, por um lado, e habitantes da Grande Buenos Aires, em geral, por outro. No primeiro caso, dada a sua especificidade (altos níveis de capital cultural e participação no consumo cultural), é possível identificar um espaço do diferenças mesmo em um público relativamente homogêneo, e muito regular do cinemas. No segundo caso, sendo uma população marcada por contrastes socioeconômicos fortes, uma questão-chave é o acesso desigual ao cinema; como dado adicionado, ofereceu-se uma leitura sobre uma região pouco abordada no que se refere à sua vida cultural. Finalmente, uma contribuição para o campo do consumo cultural é apresentada a partir de uma reflexão teórica, revendo textos clássicos e apontando contribuições mais recentes. O campo social é atravessado por fluxos globais de informação e comunicação, portanto, é essencial refletir sobre a "conectividade" quando se pensa sobre o consumo cultural no século XXI.

Elective Affinity between Cultural
Consumption and Socio-Cultural
Perception: The Case in Chile
This article demonstrates the elective affinity between cultural consumption and socio-cultural perception. Based on the data gathered by the Encuesta de participación y consumo cultural 2009 (“2009 cultural participation and consumption poll”), in Chile, we came out with statistical evidence that proves that cultural consumption holds an elective affinity with the democratic, political, and social assessments of the consumers of cultural godos and services. This trend can also be observes among people who make part of the low income segments of the population, but that in fact consume high doses of culture.
Thus, starting with the current discussions around the studies of cultural consumption, the article develops a theoretical reflection on the concept of cultural consumption and its interrelations with other social and political dimensions. We discuss the uses to which the concept is subjected to in cultural consumption studies in Latin America and we propose a definition that takes in consideration the assessments that people make of the socio-cultural processes that they experience. Keywords: cultural consumption, elective a

The paper examines social features and cultural profile of the audience of Manifesta 10, first global scaled art-event ever hold in St. Petersburg and Russia as well. Based on the empirical study of 400 formalized interviews with biennale visitors (July-September 2014), this paper compares the audience of Manifesta 10 with visitors of European art-events, firstly previous edition of Manifesta. Despite the democratization of the field of contemporary art (including the elimination of the financial barrier to access to the exhibition), the research shows that the majority of visitors are people with higher education and income slightly exceeding national average. The significant differences were found also: Russian audience is biased towards younger visitors (more than 70% is younger than 35) and gender misbalanced. The study also shows the differences between the patterns of art-tourism in Russia and Europe:  European event attracts larger flows from neighboring regions, in Russia there is a long tail: small groups from many distant locations.

This chapter presents the analysis of the cultural literacy and cultural participation of the adult Latvian population, drawing predominantly from the survey of the study. The goal was to find out:
• how people evaluate their cultural activities,
• how skillful they feel in the implementation of their cultural practices,
• who are the people they listen to when choosing this or that cultural activity,
and
• what is the participation (or non-participation) of various social groups in specified cultural activities?
The survey data provide the opportunity to acquire some understanding of the logic behind various cultural practices, including the acquisition and assessment of information. Major attention in the analysis is focussed on these topics regarding:
• sources of cultural information, and
• gender distinctions.

Resumen
Analizamos el estado del arte de los estudios de recepción, audiencias y consumo cultural en Venezuela durante el período 2000-2011. Examinamos enfoques teóricos sobre el campo de la recepción mediática y cultural, desde las propuestas conceptuales de Aguirre, Barrios y Hernández Díaz. Se pudo constatar, en esta revisión documental, que los estudios de recepción en Venezuela abordan cuatro campos de estudio: 1) Educación para la recepción. 2) Influencia de la televisión. 3) Ciber-recepción. 4) Consumo cultural.

Abstract
We offer an analysis on the status of the studies of reception, audiences, and cultural consumption in Venezuela during the years 2000-2011. We examine the theoretical perspectives on the field of mass media and cultural reception following the conceptual proposals of Aguirre, Barrios, and Hernández Díaz. Through this documented review we have validated that the reception studies in Venezuela reach four fields: 1) Education for reception; 2) Influence of television; 3) Cyber-reception; 3) Cultural consumption.

Huber Ludwig 2002 Consumo, cultura e identidad en el mundo globalizado. Estudios de caso en los Andes. Lima IEP: Colección Mínima. Smith Stephen y Carolina Trivelli 2001 El consumo urbano de los alimentos andinos tradicionales. Lima IEP, MSPP y MAGROS: Colección Mínima.

Esta pesquisa analisa, do ponto de vista etnográfico, os visitantes da Pinacoteca do Estado, em São Paulo. Embora seja o museu de arte mais antigo da cidade, a Pinacoteca se encontra, junto a outras instituições culturais da região da Luz, no meio de processos de revitalização por meio da cultura. Tais processos fazem parte de fenômenos urbanos globais que vêm redefinindo o papel dos museus no contexto urbano e relacionando-os com processos econômicos mais abrangentes. No entanto, a presente pesquisa busca um afastamento das análises que entendem os museus como parte de uma cultura de consumo e vê seus frequentadores apenas como consumidores. Contudo, não se propõe aqui uma antropologia do consumo, que – em que pese a notável superação de uma abordagem moral do tema – se baseia numa ruptura entre sujeito e objeto e compreende as relações materiais apenas como formas de representação de classificações e divisões culturais mais profundas de grupos sociais. Tenta-se, na verdade, compreender o comportamento dos visitantes da Pinacoteca em suas formas de sociabilidade, bem como a relação desses visitantes com os objetos de arte tendo como base uma perspectiva antropológica da arte e da cultura material. Tal perspectiva permite conceber as obras de arte como pessoas, o que dinamiza e complexifica as relações com objetos materiais. Assim, analisa-se, situacionalmente, as relações dos visitantes da Pinacoteca de modo que, por meio das obras de arte e dos laços de sociabilidade, as interações sociais possam ser ampliadas e, em vez de ocasião para distinção simbólica e social, a visita possa ser entendida como oportunidade de construção pessoal.

This article explores the different ways in which new houses built by migrants from the Mandara Mountains to bigger cities in Cameroon function as an important site for studying their relations within the cities and within their communities of origin. I argue that these new houses constitute both a powerful resource for addressing migrants’ stories about their migratory experiences and a constituent element of these experiences. In many circumstances, the migrants interviewed were unable to speak separately of their migratory experiences and their homes. Thus, the impact of their mobility to cities goes far beyond the mere ownership of the houses; they also manage to change their perceptions of themselves, to restructure their models of social interaction with other migrants, and to change the balance of their relations with the village. The article ends by proposing to connect the two sides of the village/city duality to find out how the local is a product of the global and how the local has reappropriated the global, givingit a meaning.

В статье анализируется база данных, покрывающая всех читателей, пользовавшихся абонементом санкт-петербургской городской сети биб-лиотек в 2014 г. База позволяет соотнести параметры читателей (пол, возраст, образование, тип занятости) с тем, какие книги они выбира-ют. В этой статье мы анализируем пространство художественных вкусов на примере 200 наиболее популярных авторов. Данные позволяют получить частичное подтверждение «тезису гомологии» Бурдье: суще-ствуют системы вкусов, значимо коррелирующие с формальным уровнем образования, и произведения могут быть расположены в иерархии в за-висимости от того, каков средний образовательный уровень и характер занятости (физический-нефизический труд) их читателей, с Фаулзом наверху и «мужским» и «женским» детективами и «фантастическим боевиком» внизу. При этом эффекты статусной культуры накладыва-ются на эффекты генерации (фантастика заменяет детективы в млад-ших поколениях), гендера (оппозиция мужского и женского просле-живается в низкостатусной, но не в высокостатусной литературе) и биографического цикла. Специфика чтения меняется с возрастом, от детской литературы (также поляризованной по статусным основа-ниям) через школьную программу к точке дивергенции во «взрослом» чте-нии. За счет использования библиотечных BigData мы можем увидеть проблематичность традиционной для социологии культурного потребле-ния практики построения иерархии «жанров»: в отличие от поджанров, конвенциональные жанры слабо поляризуют культурное потребление.

The Understanding Everyday Participation – Articulating Cultural Values (UEP) project is grounded in the belief that the current system for the support of culture promotes and privileges certain practices and activities, tastes, relationships and competences and that, crucially, this system has effects that extend outside of the cultural domain to the economic, political and social spheres. In order to challenge this dominance, UEP sets out to explore the meanings and values people attach to their “everyday participation”, with the aim of re-evaluating current understandings of cultural participation and cultural value [Miles, A., & Gibson, L. (2016). Understanding everyday participation-articulating cultural values. Cultural Trends, 25(3), 151–157]. This article discusses UEP ethnographic research conducted within a charity shop in Manchester/ Salford. The charity shop is found to be a site fundamentally involved in the “cultural economy”, defined broadly to refer to the relations between the cultural and economic values of particular practices and institutions involved in cultural production and consumption. Existing research on consumption have understood the charity shop as a place of cultural consumption, for certain subcultures that make “clever” choices regarding their identities [Gregson, N., & Crewe, L. (2003). Second hand cultures. Oxford: Berg]. This article argues for an understanding of the charity shop as more than simply a place of consumption but as enmeshed within a set of relations between culture, economy and place which has effects in the social sphere. This research identifies a number of forms of participation, including consumption, but also extending to various production practices, and other forms of social interaction, which take place within and through the charity shop. We argue that these different types of participation are bound up in a positioning cultural system that categorises people, places and values within and beyond the sphere of the charity shop.

How do young people try and how do they appropriate cultural goods? I debate this issue from the meaning given to the youth category, outlined in the survey Youth, Cultural Consumption and Public Policies, directed by the Joaquim Nabuco Foundation in the cities of Recife, Olinda and Jaboatão dos Guararapes, in Pernambuco (Brazil), between 2010 and 2013, in schools and institutions attended by public cultural policies toward youth. There is an enormous inequality of access to cultural goods in several places in Brazil, and this is no different for the young people in Pernambuco.

Resumen:
El presente trabajo propone (re) pensar las prácticas sociales en el consumo de contenidos, a partir de la irrupción de nuevos dispositivos tecnológicos. Así, los cambios en los patrones de uso cotidiano, la transformación en los circuitos de producción de contenidos,entre otros aspectos, habilitaron la emergencia de nuevos actores, como es el caso del prosumidor. En este escenario, las prácticas a nivel usuario presentan diferencias sustanciales, de acuerdo a los contextos socio-culturales de los cuales emerjan, así como los niveles de acceso a las tecnologías.

A partir de esta lógica, los objetivos se orientan a explorar y analizar el escenario mediático actual -desde las prácticas sociales y no sólo desde el dispositivo tecnológico- en el marco de la Sociedad de la Información, con el propósito de sistematizar los alcances y limitaciones en el accionar a nivel usuario en la región latinoamericana; dado que es una región que se ve interpelada, sobre todo, por las corrientes de estudio norteamericanas y que precisa de un enfoque local.

Что происходит с потреблением высокой культуры во времена, когда система экономического неравенства быстро и драматически меняется, как это произошло в России после 1991 года? Участие в культурной жизни понимается в социологии как элемент членства в статусной культуре, которая сообщает престиж особый своим участникам. В социологии ведутся две большие дискуссии, связанные со статусной культурой. Одна из них касается того, насколько она автономна от экономического класса, вторая – насколько участие в ней является результатом стратегического, рефлексивного выбора. Российская история последних десятилетий может пониматься как естественно-исторический эксперимент, результаты которого могут быть решающим аргументом в этой дискуссии. Экономический кризис 90-х широко воспринимался как время социальной революции, приведшей к потере своего положения бывшей советской интеллигенции и подъема малокультурных «новых русских». Отразилось ли это изменений классовой структуры на привлекательности элементов образа жизни интеллигенции, и если да, то были ли младшие возрастные группы первыми, кто отреагировал на изменение привлекательности карьер? Мы используем данные Петербургского мониторинга культурной активности за 1991-2011 годы чтобы ответить на этот вопрос. Выводы состоят в том, что (а) уровни культурно участия изменились незначительно, причем потребление «высокой культуры» оказалось гораздо менее эластичной при падении доходов, чем массовой – кинотеатр потерял в несколько раз большую часть аудитории, чем опера (б) на протяжении всего периода, наиболее энергичным потребителем были сравнительно молодые люди. Это укладывается в представление об автономной статусной системе, независимой от экономических шансов. Участие в ней, однако, кажется осознанной инвестицией, осуществляемой в моменты, когда индивид может ожидать наибольшей карьерной отдачи (формирование социальных связей, поиск брачного партнера, выход на рынок труда).

This article shows the heuristic value of a film consumption study that combines oral archives and fieldwork with written sources. Oral archives on film consumption provided by a local film market of Longwy, an industrial town of northeastern France, during the 1950s allow the researcher to reconstruct the audience's collective experience of the films released on this market. Combined with a systematic study of local releases and their box office, they give us access to the artistic expertise of local filmgoers in the past and motivate us to challenge the conventional interpretation of film consumption as the ostensibly predictable expression of a social taste. Longwy is a small town located far from Paris, near the Belgian border in northeastern France. Long used for working-class case studies, 1 it will be employed in this article to show the usefulness of ethnography in the reconstruction of recent cinema history, thereby confirming the heuristic value of a film consumption study that combines oral archives and fieldwork with written sources and its contribution to the so-called " new cinema history ". Oral archives on film consumption provided by a local film market during the 1950s is a very efficient tool for reconstructing cinema knowledge shared by French filmgoers of the past. Related to precise data about the morphology of this market and its various uses by the people interviewed, it allows the researcher to reconstruct the audience's collective experience of the films released on this market. This reconstruction, combined with a systematic study of local releases and their box office, gives us access to the artistic expertise of local filmgoers in the past, through the titles of the films and the names of the people they used to assess the quality of their film consumption at the time. 2 Taking into account the common knowledge of a body of films by the local population allows us to challenge the conventional interpretation of film consumption as the ostensibly predictable expression of a social taste (which is in fact the taste attributed to the people observed by the historian on the sole basis of an estimated correlation between their social status and a film genre). By observing the variations and convergence of the accounts of this common film experience, the historian can reach an understanding of the way differences in gender, age, class and ethnicity can to some extent consciously influence the local consumption of the same films, depending on the degree of quality of the films as judged by each person. Thus, films can regain their rightful place in a cinema history that no longer has any reason to exclude the question of a film's artistic value and restrict itself to the exclusive study of the consumers. Moreover, ordinary consumers can reclaim their ability to assess this artistic value, even if they have no other cultural capital than the possibility of expressing their judgement through their cinemagoing. Cinema History and Film Market Studies As noted by the marketing historian Frank Cochoy, the crucial role attributed to the " market " by most contemporary economists does not usually lead to a close observation of

Il default argentino del 2001 e la crisi di quegli anni furono la diretta conseguenza di una cattiva amministrazione delle risorse di un paese altrimenti ricco protrattasi dal secondo dopoguerra fino al default stesso. La recessione economica causò il generale impoverimento della classe media argentina, e con esso il crollo dei consumi. La contrazione della spesa pubblica in ambito culturale, insieme alla difficile congiuntura economica avrebbero dovuto causare un crollo netto nei consumi culturali, fatto che avvenne solo parzialmente. La popolazione dimostrò, attraverso vere e proprie forme di resistenza culturale, quanto la cultura sia necessaria e sia un bisogno primario della società.

This paper sets to explore the symbolic value construction within uruguayan film industry in the two thousands’ (2000-2010), taking the presence of national films in festivals and their international achievement in terms of awards as a starting point, based on professionals’ opinions on the matter, specialized critics and film amateurs or cinephiles who venture in what Stebbins defines as “serious leisure”.

The hypothesis that serves as guidance for this analysis states that “qualified” audiences or “cinephiles” provide local assessment criteria, which mediate between industry players and specialized media critics’ reviews and general public opinion regarding “national” cinema, which, in this last case is based on a casual leisure activity. In these “cultural intermediations”, cinephiles reinforce the consistency of the “Uruguayan film cultural field” (Radakovich et al, 2014).

Cinephiles’ comments show the classic dichotomies of differentiation between the film industry and independent productions. This raises the issue of the intersections and “hybridity” (García Canclini) among the artistic, popular and massive representations in both national and international Latin-American cultural features and shows how more or less intellectualized; snobs or omnivorous (Peterson) visions about film consumption become more evident.

On the other hand, the relationship between global, national and local matters, or the ways in which the “world culture” (Ortiz) is assessed, gets reevaluated from the connection between cosmopolitanism and parochialism in the hierarchy of international festivals and awards.         

This paper is part of a longer project called “CINEMA. Cinema and audiovisual mediations” which is being developed by an investigation group named “Culture, consumption and audiovisual creativity” which I coordinate from PRODIC-FIC UDELAR (Uruguayan State University) since 2010.

This research is based on a quantitative and quality approach which involved: a self-made survey, which states the opinions of one thousand three hundred / thirteen hundred audiovisual specialists on regards national cinema’s image and social imaginary; content analysis of four journalists’ reviews on account of a sample of 15 films (the ones with greater box office; greater submission to festivals and major awards) published on daily or weekly printed media; and the revision of content from nine hundred eighty three records of comments from cinephiles, published on a specialized cultural agenda in Uruguay via web, regarding eight (ten) films produced and released during the last decade with greater festival appearance, international awards and/or local box office.

Key debates of contemporary cultural sociology-the rise of the 'cultural omni-vore', the fate of classical 'highbrow' culture, the popularization, commercializa-tion and globalization of culture-deal with temporal changes. Yet, systematic research about these processes is scarce due to the lack of suitable longitudinal data. This book explores these questions through the lens of a crucial institution of cultural mediation-the culture sections in quality European newspapers-from 1960 to 2010. Starting from the framework of cultural stratification and employing systematic content analysis both quantitative and qualitative of more than 13,000 newspaper articles, Enter Culture, Exit Arts? presents a synthetic yet empirically rich and detailed account of cultural transformation in Europe over the last five decades. It shows how classifications and hierarchies of culture have changed in course of the process towards increased cultural heterogeneity. Furthermore, it conceptualizes the key trends of rising popular culture and declining highbrow arts as two simultaneous processes: the one of legitimization of popular culture and the other of popularization of traditional legitimate culture, both important for the loosening of the boundary between 'highbrow' and 'popular'. Through careful comparative analysis and illustrative snapshots into the specific socio-historical contexts in which the newspapers and their representations of culture are embedded-in Finland, France, Spain, Sweden, Turkey and the UK-the book reveals the key patterns and diversity of European variations in the transformation of cultural hierarchies since the 1960s. The book is a collective endeavour of a large-scale international research project active between 2013 and 2018.

This article presents a discussion of the exploratory empirical data used to discuss the hybrid cultural consumption, focused on digital media, articulated to contexts of cosmopolitanism. This discussion is part of the research project "Youth cosmopolitanisms. Brazil project. Step 1: cosmopolitan conceptions and practices in Brazilian undergraduate students", linked to the international project "Young People´s Cultural Cosmopolitanism". The emphasized proposal is anchored on a reflective base over (1) the cultural consumption and its relationship in contemporary society with entertainment ; (2) cyber culture as means of the individual mass communication and ubiquity, which generate potential cosmopolitan encounters. The analysis of empirical data is developed through a triangulation of data from the researches "Brazilian digital youth" of IBOPE (2012) and "Connected Youth" Telefónica/USP Foundation (2014).
Keywords: Cultural consumption. Cosmopolitanism. Hybridity. Entertainment. Cyber culture.

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This article adds to the literature on the consequences of cultural capital at the age of cultural globalization by analyzing the ways youth engage in globalized cultural consumption in three cities – Paris, São Paulo, and Seoul. Drawing on cosmopolitanism as an aesthetic and cultural stance of openness and on global cultural consumption as providing youth with cosmopolitan skills, we compare the uses of aesthetico-cultural cosmopolitanism in three contexts. We offer an original account of different uses of cosmopolitan cultural skills, which, to varying degrees in the three contexts, signal generational belonging, social distinction, educational and professional success, and personal eruditeness and fulfillment. Analysis of recent interviews with 80 youth in each city reveals distinct uses of aesthetico-cultural cosmopolitanism: as a vehicle for self-development (either empowerment or Bildung) in Paris, as a means for the cultivation of social capital for personal status in São Paulo, and as human capital serving for labor market entry and attainment in Seoul. Our findings accentuate that even with the prevalence of cultural globalization in global cities, the functions of cosmopolitan skills remain highly dependent on educational, institutional, cultural, and political contexts at the national level, which create different incentives and opportunities or barriers to experiencing otherness and developing new types of cultural capital

This chapter is a qualitative exploration of consumer experiences into rural tourism initiatives in Japan. Rural tourism initiatives have been on the rise in Japan in recent times due to the need to rejuvenate the local economies, arts and cultural heritage. These initiatives aim to mobilise tourist attention to the countryside and create a bridge between urban tourists and rural tourism. Using theories of cultural encounters and cultural consumption, the research investigates rural tourism initiatives in two regions-Tateyama and Hirakawa. The narrative data provide insights into the motivations of the respondents to be part of the initiative and their experiences. It indicates how the process of cultural consumption leads to cultural appreciation. The study also serves as an example of how rural tourism can be implemented by other countries where rural economic mobilisation and empowerment is critical.

This chapter is a case study that traces the life of a young artist farmer who developed a community-based educational farm. The case study illuminates networked connections between small-scale farming, a revitalized interest in handmade production, and a burgeoning desire for a living ethics rooted in direct engagements. This chapter reveals the breadth of the handmade revolution, tracing a singular example to investigate the desire to become a small-scale farmer; the network of apprenticing makers, farmers, and artists; the necessary participatory aestheticization of the farm as a marketing strategy and mode of cultural consumption; and the ethical complexity of sustaining the life of a young farmer in the current organic and locally-grown marketplace.

ENG: Since its first publication in 1979, Bourdieu’s prominent work called Distinction has been admired, imitated and discussed. By tracing the original study conducted by Bourdieu to measure the tastes and sticking to the later study in Britain which is more applicable and easier to operationalize, this study aims to question art tastes of baglama students regularly attending an urban–based music school in Kızılay/Ankara. Most importantly, it is aimed to provide a meaningful and valid methodological formulation in Turkish context to observe art tastes of music receivers with regard to their economic, social and cultural capitals. Considering the reason that musical field plays a crucial role in the analysis of Bourdieu and it has a very distinctive characteristic in the survey design conducted in Britain, this study intended to contribute in many ways to the further studies in the fields of cultural consumption and taste studies based on musical preferences in Turkey.
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TR: 1979’da ilk kez yayımlanmasından bu yana, Bourdieu’nun öncül kitabı olan Distinction beğenilmiş, taklit edilmiş ve tartışılmıştır. Beğenileri analiz etmek için Bourdieu tarafından yapılmış ilk orijinal çalışmanın izinden gidip, daha sonra İngiltere’de yapılan, daha uygulanabilir ve operasyonel hale getirmesi daha kolay olan çalışmaya bağlı kalarak bu çalışma Ankara – Kızılay kent merkezli bir müzik okulunda düzenli olarak bağlama dersi alan öğrencilerin sanat beğenilerini sorgulamayı hedeflemektedir. En önemlisi, müzik alıcılarının sanat beğenilerini ekonomik, sosyal ve kültürel sermayeleri bakımından gözlemlemeyi sağlayacak Türkiye kontekstinde anlamlı ve geçerli metodolojik bir formül sunmak hedeflenmektedir. Müzik alanının Bourdieu’nun analizinde çok önemli bir rol oynadığını ve İngiltere’de yapılan anket tasarımında ayırt edici bir karakteristiğe sahip olduğunu göz önünde bulundurarak, bu çalışma, Türkiye’de müzikal tercihlere dayalı kültürel tüketim ve beğeni alanlarında ileride yapılacak olan çalışmalara birçok yönden katkı sunmayı niyet edinmiştir.