Although this is inconsistent with much of the literature, educational variables, including the parental one, seem to lack any explanatory power over youth taste cultures.
They are wealthier than your average American. Finds that taste and participation, rather than knowledge, indicate cultural capital. From elite and mass to omnivore and univore. Finds differences between the musical choices of highly educated older and younger generations.
From snob to pop. Makes an important contribution as it also examines how class is interlinked with gender and ethnicity. Parental and adolescent music preferences. Shows that members of the elite have knowledge of a wide range of musical forms and thus do not show the features of stereotypical elite snobs.
Challenges the straightforward understanding of omnivorousness in demonstrating that eclecticism is an orientation both toward high and low culture, the degree of which changes in relation to the frequency of participation. Crossing horizontal and vertical boundaries within the cultural hierarchy.
Musical dislikes and group-based identity construction among Americans with low levels of education. Shows that cultural hierarchies are not disappearing.
The types of omnivores and univores found in this study challenge the readily accepted suggestions of the original omnivore thesis.
Roose, Henk, and Alexander Vander Stichele. I mean, why were elites formerly snobs, and why are some now more "democratic" in their cultural tastes.
Shows that genre categorizations should be time-nation specific. Hence, it is concluded that no longer should musical preferences be examined simply as varying by social class but also as changing across the life cycle. Although generalizing the findings peculiar to musical taste might be problematic, the knowledge accumulated by concentrated analysis of musical taste enables us to reflect on the dynamics of cultural hierarchy in many national contexts.
Shows that the highbrows of are more eclectic in their tastes than the highbrows of Extracts the reasons behind the dissonant elements, without considering them outliers. Chan, Tak Wing, ed.
Reviews the literature, highlights the characteristics of the accumulated knowledge, discusses the pitfalls, and arrives at two main goals for field research in consumption. Additionally, it is hypothesized that women and whites will be more omnivorousness because they may feel less alienated in general from mainstream society, especially at younger ages.
Comparing omnivorousness across fields is also not an easy task, as it requires careful and comparable operationalization. Chan, Tak Wing, ed. Or, the myth of the cultural omnivore. The snobs of yesterday are the omnivores of today. Critically discusses the links between the tolerant image created by the concept and the expectations of academics.
Testing the cultural omnivore thesis with population data. Chan, Tak Wing, and John H. The omnivore debate also lacks such a source, because tolerance is directly associated with eclectic repertoires in many cases. Are we witnessing the decomposition of cultural-class boundaries and snobbishness.
Knowledge, taste and participation. Users without a subscription are not able to see the full content on this page. Visual arts appreciation patterns: Regrettably, very few studies explore experiencing omnivorousness in depth.
Makes an important contribution to the debate by including the influence of social mobility on boundary crossings and the impact of an ongoing taste hierarchy. We sat with thousands of others in the park, and listened to the voices, stories and songs of the Indigenous artists on stage.
Takes the United Kingdom as its case and identifies different conditions of likes and dislikes that do and do not generate cultural hostility. Many case studies have shown that eclectic repertoires are more likely to be embodied by the educated middle classes.
The case of the cultural omnivore reexamined. Explores the characteristics of omnivore and the discursive construction of its ultimate other—univore—to reveal their role in the construction of modern identity.
· Omnivorous Consumer or Omnivorous Producer?: Patterns of Cultural Participation in Korea* Sang-Soo Lee Studies of cultural omnivorousness or cultural variety have been on the rise of late. Thus far, most researchers have relied on measures of cultural thesis, the concept has not been without controversy.
First and foremost,omgmachines2018.com omgmachines2018.com Briefly introducing the concept of omnivorousness, and placing it in the context of longer sociological debates about the role of cultural consumption in social organisation, the chapter summarises and critiques the claims of ‘the omnivore thesis’ as reflected in the weight of empirical evidence for the presence of the figure of omnivore in omgmachines2018.com · omnivorousness is found across the class spectrum, it is a taste repertoire that concentrates in the elite (e.g.
Katz-Gerro and Sullivan, ; Purhonen et al., ). The third dimension of omnivorousness research relates to a ‘particular discriminatingomgmachines2018.com Taste for the. · Posted on April 10, by Cultural Omnivore Posted in cross-cultural projects, dance, identity, intercultural work, music, theatre Tagged Annalouise Paul, contemporary performance, dance, Forge, intercultural, Marianthe Loucataris, multicultural, music, theatre Leave a commentomgmachines2018.com · Moreover, while there are close connections between musical gentrification and cultural omnivorousness in that gentrification provides conditions for omnivorousness to be exercised, the conceptual pair also entails a supplementary division of omgmachines2018.com://omgmachines2018.com · thesis uses a similar operationalization to Peterson and Kern’s, in which social class is based on taste, the relationship between social class and taste can run both ways, so that taste 3omgmachines2018.com?article=&.Omnivorousness thesis