This volume is the first major social scientific study of contemporary arts festivals. It will have appeal to a wide readership in cultural sociology, cultural studies and cultural theory.

This book addresses the complicated question of how markets and consumption create the possibilities for cross-cultural exchanges and the multicultural pleasures of omnivorous consumption, whilst at the same time building new boundaries and distinctions, paving the way for new exploitative relationships, and initiating novel modes of status and capital accumulation. The contributors identify that the divide between the economic and ethical dimensions of globalisation has never seemed in sharper relief. With the workings of global markets at odds with fostering cosmopolitan social change, this collection addresses the question of whether we should assume that market logics and consumptive practices conflict with cosmopolitan agendas. It also explores whether the imperatives of economic globalisation and individual consumption practices are opposed to cosmopolitan prospects for global solidarities. Cosmopolitanism, Markets and Consumption will be of interest to students and scholars across a range of disciplines including in the social sciences, businesses and marketing studies.

There has been a proliferation of literary festivals in recent decades, with more than 450 held annually in the UK and Australia alone. These festivals operate as tastemakers shaping cultural consumption; as educational and policy projects; as instantiations, representations, and celebrations of literary communities; and as cultural products in their own right. As such they strongly influence how literary culture is produced, circulates and is experienced by readers in the twenty-first century. This book explores how audiences engage with literary festivals, and analyses these festivals’ relationship to local and digital literary communities, to the creative industries focus of contemporary cultural policy, and to the broader literary field. The relationship between literary festivals and these configuring forces is illustrated with in-depth case studies of the Edinburgh International Book Festival, the Port Eliot Festival, the Melbourne Writers Festival, the Emerging Writers’ Festival, and the Clunes Booktown Festival. Building on interviews with audiences and staff, contextualised by a large-scale online survey of literary festival audiences from around the world, this book investigates these festivals’ social, cultural, commercial, and political operation. In doing so, this book critically orients scholarly investigation of literary festivals with respect to the complex and contested terrain of contemporary book culture.

Gathering scholars from five continents, this edited book displaces the elitist image of cosmopolitan as well as the blame addressed to aesthetic cosmopolitanism often considered as merely cosmetic. By considering aesthetic cosmopolitanism as a tool to understand how individuals and social groups appropriate the sphere of culture in a global world, the authors are concerned with its operationalization on two strongly interwoven levels, macro and micro, structural and individual. Based on the discussion of theoretical perspectives and empirically grounded research (qualitative and quantitative, conducted in many countries), this volume unveils new insights, on tourism and food, architecture and museums, TV series and movies, rock, K-pop and samba, by providing resources for making sense of aesthetic preferences in a global perspective. Contributors are: Felicia Chan, Vincenzo Cicchelli, Talitha Alessandra Ferreira, Paula Iadevito, Sukhmani Khorana, Anne Krebs, Antoinette Kujilaars, Franck Mermier, Sylvie Octobre, Joana Pellerano, Rosario Radakovich, Motti Regev, Viviane Riegel, Clara Rodriguez, Leslie Sklair, Yi-Ping Eva Shi, Claire Thoumelin and Dario Verderame.

For decades, millions of music fans have gathered every summer in parks and fields to hear their favorite bands at festivals such as Lollapalooza, Coachella, and Glastonbury. How did these and countless other festivals across the globe evolve into glamorous pop culture events, and how are they changing our relationship to music, leisure, and public culture? In Everyone Loves Live Music, Fabian Holt looks beyond the marketing hype to show how festivals and other institutions of musical performance have evolved in recent decades, as sites that were once meaningful sources of community and culture are increasingly subsumed by corporate giants. Examining a diverse range of cases across Europe and the United States, Holt upends commonly-held ideas of live music and introduces a pioneering theory of performance institutions. He explores the fascinating history of the club and the festival in San Francisco and New York, as well as a number of European cities. This book also explores the social forces shaping live music as small, independent venues become corporatized and as festivals transform to promote mainstream Anglophone culture and its consumerist trappings. The book further provides insight into the broader relationship between culture and community in the twenty-first century. An engaging read for fans, industry professionals, and scholars alike, Everyone Loves Live Music reveals how our contemporary enthusiasm for live music is more fraught than we would like to think.

Popular music plays a significant role in the evolving global dynamics of the Nordic countries and the fascination with the region's natural environments. As the first of its kind, The Oxford Handbook of Popular Music in the Nordic Countries offers a series of exemplary studies of music in these transnational dynamics by the world's foremost experts in the field.

Over the past two decades there has been great interest in cosmopolitanism across the human and social sciences. Where, earlier, it had largely been a term associated with moral and political philosophy, cosmopolitanism has now become a widely-used term in the social sciences. It is now integral to much of cultural, political and social analysis. This is the first comprehensive survey in one volume of the interdisciplinary field of cosmopolitan studies. With over forty chapters written by leading scholars of cosmopolitanism, this book reflects the broad reception of cosmopolitan thought in a wide variety of disciplines and across international borders. Both comprehensive and innovative in the topics covered, the Handbook of Cosmopolitanism Studies is divided into four sections: major theoretical debates, where the emphasis is on recent developments cultural topics in the social sciences the politics of cosmopolitanism major world varieties of cosmopolitanism. The Handbook answers the need to take modern cosmopolitanism out of its exclusive western context and relate it to the historical experiences of other world cultures. This is a major work in defining the emerging field of cosmopolitanism studies. Throughout, there is a strong emphasis on interdisciplinarity, with essays covering philosophy, literary theory, history, international relations, anthropology, communications studies and sociology. The Handbook’s clear and comprehensive style will appeal to a wide undergraduate audience across the social sciences and humanities.

This book explores the influence of geographical isolation and peripherality on the functioning of music industries and scenes which operate within and from such locales. As is explored, these sites engage dynamic practices to offset challenges resulting from geographical isolation and peripherality.

The Routledge Handbook of the Sociology of Arts and Culture offers a comprehensive overview of sociology of art and culture, focusing especially – though not exclusively – on the visual arts, literature, music, and digital culture. Extending, and critiquing, Bourdieu’s influential analysis of cultural capital, the distinguished international contributors explore the extent to which cultural omnivorousness has eclipsed highbrow culture, the role of age, gender and class on cultural practices, the character of aesthetic preferences, the contemporary significance of screen culture, and the restructuring of popular culture. The Handbook critiques modes of sociological determinism in which cultural engagement is seen as the simple product of the educated middle classes. The contributions explore the critique of Eurocentrism and the global and cosmopolitan dimensions of cultural life. The book focuses particularly on bringing cutting edge ‘relational’ research methodologies, both qualitative and quantitative, to bear on these debates. This handbook not only describes the field, but also proposes an agenda for its development which will command major international interest.

This collection analyses the remaking of culture and music spaces during the ongoing COVID-19 pandemic. Its central focus is how cultural producers negotiated radically disrupted and uncertain conditions by creating, designing, and curating new objects and events, and through making alternative combinations of practices and spaces. By examining contexts and practices of remaking culture and music, it goes beyond being a chronicle of how the pandemic disrupted cultural life and livelihoods. The book also raises crucial questions about the forms and dynamics of post-pandemic spaces of culture and music. Main themes include the affective and embodied dimensions that shape the experience, organisation, and representation of cultural and musical activity; the restructuring of industries and practices of work and cultural production; the transformation of spaces of cultural expression and community; and the uncertainty and resilience of future culture and music. This collection will be instrumental for researchers, practitioners, and students studying the spatial, material, and affective dimensions of cultural production in the fields of cultural sociology, cultural and creative industries research, festival and event studies, and music studies. Its interdisciplinary nature makes it beneficial reading for anyone interested in what has happened to culture and music during the global pandemic and beyond.