Cultural Uniqueness and Aesthetic Cosmopolitanism

Abstract

Aesthetic cosmopolitanism is conceptualized here as a cultural condition in which late modern ethno-national cultural uniqueness is associated with contemporary cultural forms like film and pop-rock music, and as such it is produced from within the national framework. The social production of aesthetic cosmopolitanism is analyzed through elaborations on Bourdieu's field theory, as an outcome of the intersection of and interplay between global fields of art and fields of national culture. A sociological explanation for the emergence of aesthetic cosmopolitanism is proposed. It focuses on claims by social sectors within national contexts for status and recognition of their own contemporary cultural uniqueness.

Consumer cosmopolitanism: Review and replication of the CYMYC scale

“…Cannon et al (1994) A tendency to look beyond one's immediate surroundings seeking new and varied experience Yoon et al (1996) Consumers with high cultural capital which is enacted in fields of consumption, not only the arts but also food, interior décor, clothing, popular culture, hobbies and sports Holt (1998) Someone who seeks out and desires exotic consumption objects Holt (1998) Someone for whom consumer subjectivity is constructed through consumption of authentic, original style objects; desires authenticity Holt (1998) A consumer whose orientation transcends any particular culture or setting Cannon and Yaprak (2002) Cosmopolitanization involves the spread of various transnational lifestyles Beck (2004) Yaprak, 2002) such as foreign newspapers (Beck, 2002), ethnic food (Martens and Warde, 1999), or cultural commodities (Fine and Boon, 2007;Regev, 2007). Considering the three-dimensional conceptualization of consumer cosmopolitanism, a cosmopolitan consumer can be described as: an open-minded individual whose consumption orientation transcends any particular culture, locality or community and who appreciates diversity including trying products and services from a variety of countries.…”

Places of popular music heritage: The local framing of a global cultural form in Dutch museums and archives

“…Heritage discourses are then invoked to achieve recognition of particular identities and legacies (Anico and Peralta, 2009). According to Regev (2007), these claims for difference and recognition can be understood as a consequence of the fragmentation of national identities into a multiplicity of identities based on, amongst other variables, ethnicity and lifestyle. Similarly, Misztal (2003, p. 18) argues: ''The processes of globalization, diversification and fragmentation of social interests further enhance the transformation of memory from the master narrative of nations to the episodic narrative of groups.''…”

“…As local popular music traditions are combined with foreign genres, the global and the local continuously intersect (Kong, 1997). Responses to this have varied, from the indigenization of global cultural styles (Regev, 2007) to the reassertion of place-bound identities in light of a perceived threat by globalization to local cultural uniqueness (Achterberg et al, 2011). More specifically, Dutch post-war popular music and the wider cultural landscape have proven to be open to influences from other countries (Janssen et al, 2008;Schuyt and Taverne, 2004).…”

O gosto pelo mundo: a globalização da cultura apreendida pelo cosmopolitismo estético-cultural dos jovens na França

“…8. Esta qualificação se refere à distinção proposta por Motti Regev entre advertent (voluntário) et inadvertent (involuntário) cosmopolitanism (REGEV, 2007).…”