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.
Vincenzo Cicchelli is an associate professor at University Paris Descartes. At Brill, he is co-Editor-in-Chief (with Sylvie Octobre) of the ‘Global Youth Studies’ suite. He has published (with Sylvie Octobre)
Aesthetico-Cultural Cosmopolitanism and French Youth (2018) and
Plural and Shared (2018).
Sylvie Octobre is researcher at DEPS/Ministère de la culture (France), co-Editor-in-Chief (with Vincenzo Cicchelli) of the ‘Global Youth Studies’ suite (Brill). Among her last books:
Quién teme a las culturas juveniles ? (2019),
Aesthetico-Cultural Cosmopolitanism and French Youth (2018, with Vincenzo Cicchelli).
Viviane Riegel is a researcher of Global and Consumption Studies at ESPM São Paulo. She has published monographs and articles on cosmopolitanism, consumption and mobilities, regarding Brazilian youth and migrant individuals living in São Paulo and in London.
Aesthetic Cosmopolitanism and Global Culture offers a timely and compelling reminder that cosmopolitanism is not merely a remote geopolitical ideal but rather an embodied and everyday strategy for navigating our cultural differences alongside our common humanity. With impressive historical depth and geographical breadth, this collection illustrates in rich detail how the dynamics of globalization enter our domestic worlds through cultural forms ranging from architecture, artwork, food, and film to parenting styles, pop music, television, and dance. It should be read by anyone seeking a deeper understanding of the crucial role culture plays in a world that is both more connected and more conflicted than ever before.
Jennie Germann Molz, Professor of Sociology, College of the Holy Cross
Cosmopolitanism is usually valorized as a worthy ideal but also dismissed an being incompatible with reality. This sparkling collection of essays tell a different story. By starting from the ground of everyday cultural encounters, or by tracing the new networks of artistic practices, this book provides a new approach for understanding the existence of aesthetic cosmopolitanism. Along this journey, the authors of this collection provide both an empirical justification and open up new methodological forays into a vital concept for our contemporary world. This book will be an invaluable resource in appreciating the plurality in cultural experience.
Nikos Papastergiadis, Director of the Research Unit of Public Cultures, University of Melbourne
This is a great book which makes a very much welcome contribution to understand the opportunities that our contemporary World offers for a truly global culture. Working out a very accurate and smooth transition from theoretical debates to broad empirical evidence, the gathering of studies worldwide achieves by itself what the title promises, an excellent portrait of cosmopolitan aesthetics of our societies around the Globe. Anyone working and thinking about our World today should read it.
Dr. Modesto Guillermo Gayo, Universidad Diego Portales
Foreword to Aesthetic Cosmopolitanism
Mike Featherstone List of Illustrations
List of Abbreviations
Notes on Contributors
Introduction: How Aesthetic Cosmopolitan Is Our Global World?
Vincenzo Cicchelli, Sylvie Octobre and Viviane Riegel
Part 1Doing Aesthetic Cosmopolitan Studies
1 The Condition of Cultural Cosmopolitanism
Motti Regev 2 The Seven Pillars of Aesthetico-Cultural Cosmopolitanism
Vincenzo Cicchelli and Sylvie Octobre 3 The ‘frame’, the ‘rhythm’, and the ‘imaginary’: Rethinking the Cosmopolitan Aesthetic Experience
Part 2Reshaping the Imaginaries of the World
4 The Politics of Cosmopolitan Architecture: Third World Modernism and the Enigmatic Signifier
Leslie Sklair 5 Aesthetic Cosmopolitanism in São Paulo: a Peripheral Perspective from a Global City
Viviane Riegel 6 Australians in Hanoi: When Street Food Tours are Safely Exotic
Sukhmani Khorana 7 Musical Cosmopolitanism: Analysis and Reflections on Cultural Consumption, Gender and Identities around K-pop in Argentina
Part 3Reframing Boundaries through Aesthetics
8 Cosmopolitan Socialization: How I See Me, How They See Me
Clara Rodriguez 9 The Love for Cinema Undergoing Transformations: Internationalization and Cosmopolitanism Patterns of Uruguayan Cinephiles
Rosario Radakovich 10 The Globalization of Samba Percussion: the Reconfiguration of the Legitimate Ways of Playing
Antoinette Kuijlaars 11 Cosmopolitan Pleasures and Affects; or Why Are We Still Talking about Yellowface in Twenty-First-Century Cinema?
Part 4Aesthetic Cosmopolitanism as a Strategy
12 Redefining Cosmopolitanism: the Inter-Generational Transmission of Global Cultural Capital in Taiwan
Yi-Ping Eva Shih 13 Louvre Abu Dhabi: a Clash of Cosmopolitanisms?
Anne Krebs and Franck Mermier 14 São Paulo and the Brazilian Gastronomy: Field of Disputes within Globalization
Joana A. Pellerano and Talitha Alessandra Ferreira 15 Danish Television Series, a Cosmopolitan Artwork
Claire Thoumelin Afterword: A New Road toward Global Culture
Many aspects of the text may appeal to a wide range of readers–cultural and global scholars, students engaged in debates on representations of global studies, cosmopolitanism, cultural studies, aesthetics and comparative research.