Esse artigo visa a discutir como se dá a relação entre comunicação, consumo alimentar e identidade em uma situação de convivência intercultural vivida por 450 estudantes oriundos das 27 unidades federativas do Brasil, que moram e estudam na Escola Sesc de Ensino Médio (Esem). Por meio de observação participante e grupos de discussão, a pesquisa mostra que os sujeitos acionam o consumo alimentar como um meio de comunicação na convivência intercultural com diferentes objetivos.
O objetivo desse artigo é refletir sobre a transformação por que passaram os programas de cozinha na televisão, apontando algumas diferenças estéticas e a forma como elas refletem estruturas de sentimento específicas (WILLIAMS, 2000). Para tanto, foi abordada e analisada a divisão dessa programação em períodos históricos e estéticos elaborada por Kathleen Collins (2009), e foi proposta uma categorização semelhante para a TV brasileira. Discutiu-se ainda a longevidade e o êxito desses shows graças à sua capacidade de retratar mudanças socioculturais e históricas e a resposta emocional de quem as vive, bem como anseios e necessidades que esses sujeitos veem respondidos nos bens e no estilo de vida vendidos pela programação. Os autores que apoiam a discussão são Raymond Williams (2000, 2003), Kathleen Collins (2009), Néstor García Canclini (2006), Colin Campbell (2001), Steven Connor (1992) e Cheri Ketchum (2005).
Abstract One of the spheres of transnational consumption of young Brazilians today is the consumption of music in digital media, mainly in different audiovisual formats. Music, which is the main cultural product consumed by young people everyday, is listened to and watched, with different software, apps and devices, mainly through the use of smartphones. In this digital relationship with music, young individuals present different forms of consumption, both in relation to formats – listening only to music, watching a video clip, watching a video with a performance related to the song, recording videos using the song as background or as content – as well as in relation to frequency/speed – in the variety of formats used for consumption, in the edition of songs to micro formats. Based on these perspectives, we present a study developed with Brazilian youth that sought to understand music consumption, analyzing quantity, frequency and diversity, through the application of a questionnaire (N=450), three focus groups (N=24) and an interactive game technique developed by the research team (N=180). Music consumption by Brazilian youth is omnivorous, due to the different musical genres, from different parts of the world, and in different formats, elements that go beyond the idea of transnational taste. It is also the cultural product that is mostly connected to local culture, with local influencers, which show a strong relation to popular culture and also draw possibilities of interaction of local culture with global elements. Voracity is one key element that explains the audiovisual consumption of music by Brazilian youth, in a combination of playlists and videos suggested by algorithms that form an almost endless quantity of references, which are both desired by individuals and recommended by global or local cultural influencers.
AbstractThis paper is part of the research project "Cosmopolitismos juvenis no Brasil" (Youth Cosmopolitanisms in Brazil), partner of the international research project "Cultures Juveniles à l' ère de la globalization". Our aim for this paper is to understand the connection between food and cosmopolitan experiences, discussing two main perspectives of omnivorism studies - (1) that cultural omnivorism cause long-term indifference for cultural diversity; and (2) that this omnivorism indicates only intercultural curiosity translated into specific distinctive capital in fields of power - and the possibility of these visions of cultural omnivorism turn into a reflexive view of the Other. We applied empirical and bibliographic research, including qualitative research with Brazilians aged between 18 and 24 years who are living in the city of São Paulo, and theoretical reflections related to the fields of food and cultural studies, covering omnivorism, otherness and cosmopolitanism. In the case of the first perspective, there is no possibility of connection to otherness, hence, to cosmopolitanism. The analysis of the second perspective shows that it is possible to find threats of distinction connected to cultural and food omnivorism. Therefore, it is still necessary to develop further studies to understand the reflexive dimension of cosmopolitanism within cultural and food consumption.
On trouve des food trucks dans les rues de São Paulo depuis 2013. Leurs propriétaires se targuent d'offrir une cuisine de rue « différenciée » et plus moderne que celle qu'on avait jusqu'alors l'habitude de consommer dans la métropole. Cet article montre que ces camions-restaurants diffusent leurs produits dans certains secteurs de la ville seulement, si bien qu'ils en favorisent et en accentuent la stratification symbolique. De plus, ils font descendre dans la rue l'excellence professionnelle elle-même, celle des chefs de cuisine qui officiaient jusqu'alors uniquement dans les restaurants où ils entretenaient un lien étroit avec le champ de la gastronomie.
