According to data published in prior research projects, television is emerging as a socializing influence which mediates with family and school in the transmission of values during the socialization of young people. However, there is as yet no consensus regarding what kind of values are actually transmitted and whether or not they coincide with the values that other first-order socializing influences (family and school) aim to transmit to young people. In order to provide information that may help generate knowledge regarding this study aim, this paper seeks to explore the similarities and differences observed in the way that 565 adolescents from Guadalajara (Mexico), Dublin (Ireland), Donostia/San Sebastián and Malaga (Spain) perceive values in the characters from their favorite television shows. Participants were all secondary school students aged between 14 and 19, and the instrument used to record the values perceived in the characters from their favorite television shows was the Value Domain Scale (VAL-TV 0.2). Results were compared in accordance with city and sex. The findings indicate that there are more similarities than differences in the values perceived by adolescents of both sexes from different cities. Nevertheless, one of the cities studied, Dublin, was found to differ more notably from the others; and in relation to sex, adolescent girls from all cities scored higher than boys in the values studied. Finally, the ranking of perceived values was the same for all cities and both sexes, with those referring to openness to change (independence of action and thought) scoring highest in both cases. This was followed by self-transcendence (collective wellbeing), self-promotion (one own interests) and, finally, conservatism (safety and order).

Euskal Herriko Unibertsitatea UPV/EHUKultura-politikarako aukera-eremu berri bat iradokitzea da artikulu honen helburua. Kultura-sorkuntzaren zabalkundeak huts egiten duenean, proposatzen diren konponbideen jomuga maiz izaten da sortzailearen jardun indibidualean esku hartzea edo ohiko hedapenean gehiago inbertitzea. Esan gabe doa bi estrategiek ondo funtziona dezaketela. Baina, horiez gain, literatura zientifikoak kulturasorkuntzarako oso eraginkorrak izan daitezkeen bi kontzeptu identifikatu ditu: imanlekua (magnet place) eta zirkulu kolaboratiboa (collaborative circle). Kontzeptu horiek erabili ditugu euskarazko eremuan ezohiko kultura-politika egin duen kultura-diziplina bat aztertzeko, bertsolaritza hain zuzen. Guztira, 3.644 galdetegi pasa dizkiogu publikoari eta publiko potentzialari, eta 32 elkarrizketa sakon egin dizkiegu adituei, beste hainbat datu biltzeaz gain. Emaitzek iradokitzen dute imanlekuak eta zirkulu kolaboratiboak sortzeari lehentasuna ematea oso eraginkorra izan daitekeela kultura-politikan: kultura globalizatuaren testuinguruan, sozializaziogune aberasgarriak izan daitezke kulturan parte hartzen duten agente guztientzat, zeren bestela ezinezkoak liratekeen interakzioak ahalbidetu baititzake, sormenerako baldintza aproposagoak sustatuz eta zaletasuna piztuz eta hedatuz.GAKO-HITZAK: Kultura • Sormena • Iman-lekua • Bertsolaritza. Magnet places and collaborative circles, key to revitalizaing cultural productionThe objetive of this paper is to suggest a new window of opportunity for cultural policy. When the diffusion of cultural production does not work, proposals are usually aimed at intervening in the individual activity of the artistic creators or at investing more in the usual diffusion channels. Both answers may work. Nevertheless, scientific literature has identified two concepts that can be considerably effective: magnet place and collaborative circles. Their effectiveness was analysed in an artistic discipline that conducted an unusual cultural policy, that is bertsolaritza (improvised verse singing in the Basque language). The present study surveyed 3.644 people from the public and the potential public, and conducted 32 in-depth interviews to experts. Results suggest that giving priority to the creation of magnet places and collaborative circles may be a very effective cultural policy: in the context of cultural globalisation, they may be enriching sozialisation spaces for all cultural stakeholders, because they can promote interactions that otherwise would not happen, they can create appropriate conditions for creativity and fandom, and so they can significantly enhance cultural production.