Reframing the Relations of Media, Knowledge, and Innovation in Society
Edited By Hubert Knoblauch, Mark D. Jacobs and René Tuma
V. Applied Studiesin Culture, Communication and Creativity
V Applied Studies in Culture, Communication and Creativity Highbrow, Omnivore, and Voracious Cultural Consumption Patterns in the Netherlands: An Explanation of Trends between 1975 and 2005 KOEN VAN EIJCK AND GERBERT KRAAYKAMP Introduction Cultural consumption patterns are rapidly changing. In this chapter, we will study how and why such change occurs to assess the role of culture and creativity in people’s lives. Cultural activity, either being an audi- ence member or being an amateur artist, can be considered a creative pursuit. But how has engagement in these creative pursuits developed during the last decades? And how are they patterned? To what extent do preferences for “highbrow” or “popular” creative or artistic products still imply different positions in the cultural space and, if not, what is it that cultural consumption patterns actually communicate to others? According to the empirical literature, rates of highbrow cultural participation are declining among younger cohorts (DiMaggio & Mukhtar, 2004; Van Eijck & Knulst, 2005). However, these findings do not indicate that cultural consumption is no longer linked to social background (Kraaykamp, 2002; Van Eijck & Bargeman, 2004; Fisher & Mattson, 2009; Chan, 2010). Nor do they imply that highbrow cul- ture has lost its potential as a form of symbolic capital (Kraaykamp & Van Eijck, 2010). Although the highbrow-popular distinction is still relevant as an organizing principle of taste (Van Eijck & Lievens, 2008; Bennett et al., 2009), it has been argued that not highbrow cul- ture in itself, but rather the combining of highbrow and popular cul- ture into a single,...
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