Structure of the Sphere of Cultural Consumption on the Example of Arkhangelsk and Its Social Significance

Introduction. In our opinion, one of the most important aspects of the potential of culture is the sphere of cultural consumption. The orientation towards the domestic cultural product as something original and native is increasingly emphasized throughout Russia. The process is slow, and not all cultural industries can meet the cultural needs of the population at their level. Methodology and sources. The study was conducted using a three-level methodology for classifying the components of socio-cultural space, developed in the Laboratory of Problems of Territorial Development of the FITSKIA Ural Branch of the Russian Academy of Sciences, with the participation of the authors of this article. Results and discussion. During the study, the structure of cultural consumption was analyzed based on the cultural needs of the population, as well as significant cultural events and institutions in Arkhangelsk. The average assessment of the degree of development of the cultural sphere of Arkhangelsk in the perception of informants was 4 points (out of five). Accessibility, awareness, and education can be identified as the main ways to raise the level of the cultural sphere in general and cultural consumption in the city, offered by informants. The most recognizable sights of Arkhangelsk, according to the informants, are Gostiny Dvory, Malye Kareli, the Monument to the Savior Seal, the High-rise (Building of design organizations), the Embankment of the Northern Dvina. Conclusion. Discussing what cultural events the city of Arkhangelsk lacks, a number of respondents noted that there are a lot of events and there is enough of everything, rather there is not enough media coverage and advertising. In addition, there was a shortage of cultural events in different districts of the city. Naming the most striking urban cultural events of the current year, most of the informants equally highlighted the Street Theater Festival and the White June Festival. Also, such events as Museum Night, City Day and Victory Day were the leaders in the ratings of the respondents. Among the most frequently visited institutions in the city, the Drama Theater ranks first and second in informants’ responses, while museums rank third (in general, without further specification).

1. Kravchenko, S.A. (2011), Slovar' noveishei sotsiologicheskoi leksiki: teorii, ponyatiya, personalii (s angliiskimi ehkvi-valentami) [Dictionary of the latest sociological vocabulary: theories, concepts, personalities (with English equivalents)], MGIMO Publishing House, Moscow, RUS.

2. Kurakov, L.P., Kurakov, V.L. and Kurakov, A.L. (2004), Ehkonomika i pravo: slovar'-spravochnik [Economy and Law: Dictionary and Reference], Vuz i shkola, Moscow, RUS.

3. Valentey, D.I. (1985), Demograficheskii ehntsiklopedicheskii slovar' [Demographic Encyclopedic Dictionary], Sovetskaya ehntsiklopediya, Moscow, USSR.

4. Korsunova, V.I. (2019), “Cultural Consumption in Sociological Research: A Review of Measurement Approaches“, J. of Economic Sociology, vol. 20, no. 1, pp. 148–167. DOI: 10.17323/1726-3247-2019-1-148-173.

5. Weber, M. (2019), Wirtschaft und Gesellschaft: Grundriss der verstehenden Soziologie, Transl. by Belyaev, A.N. and Antonovsky, A.Yu., HSE Publishing House, Moscow, RUS.

6. Chaney, D.C. (2012), “From Ways of Life to Lifestyle: Rethinking Culture as Ideology and Sensibility”, Culture in the Communication Age, in Lull, J. (ed.), Routledge, London, UK, pp. P. 75–88.

7. Giddens, A. (1991), Modernity and Self-Identity: Self and Society in the Late Modern Age, Stanford Univ. Press, Redwood City, CA, USA.

8. Bourdieu, P. (2004), “Distinction: A Social Critique of Judgment”, Transl. by Kirchik, O.I., Zapadnaya ehkonomicheskaya sotsiologiya: Khrestomatiya sovremennoi klassiki [Western Economic Sociology: A Reader of Modern Classics], Radaev, V.V. (ed.), ROSSPEN, Moscow, RUS, pp. 537–565.

9. Peterson, R.A. and Kern, R.M. (1996), “Changing Highbrow Taste: From Snob to Omnivore”, American Sociological Review, no. 61 (5), pp. 900–907.

10. Sullivan, O. and Katz-Gerro, T. (2006), “The Omnivore Thesis Revisited: Voracious Cultural Consumers”, European Sociological Review, vol. 23, no. 2, pp. 123–137. DOI: 10.1093/esr/jcl024.

11. Trienekens, S. (2002), “”Colourful” Distinction: The Role of Ethnicity and Ethnic Orientation in Cultural Consumption”, Poetics, vol. 30, iss. 4, pp. 281–298. DOI: 10.1016/S0304-422X(02)00025-6.

12. Skrbis, Z. and Woodward, I. (2007), “The Ambivalence of Ordinary Cosmopolitanism: Investigating the Limits of Cosmopolitan Openness”, The Sociological Review, vol. 55, iss. 4, pp. 730– 747. DOI: https://doi.org/10.1111/j.1467-954X.2007.00750.x.

13. Gans, H. (2008), Popular Culture and High Culture: An Analysis and Evaluation of Taste, Basic Books, NY, USA.

14. Van Eijck, K. and Lievens, J. (2008), “Cultural Omnivorousness as a Combination of Highbrow, Pop, and Folk Elements: The Relation between Taste Patterns and Attitudes Concerning Social Integration”, Poetics, vol. 36, iss. 2–3, pp. 217–242. DOI: https://doi.org/10.1016/j.poetic.2008.02.002.

15. Bauman, Z. (2005), Individualized Society, Transl. by Inozemtsev, V.L. (ed.), Logos, Moscow, RUS.

16. Beck, U. (2000), Risikogesellschaft. Auf DEM Weg in eine andere Moderne, Transl. by Sidel'nik, V. and Fedorova, N., Progress-Tradition, Moscow, RUS.

17. Benzecry, C. and Klinenberg, E. (2005), “Cultural Production in a Digital Age”, Annals of The American Academy of Political and Social Science, vol. 597, iss. 1, pp. 6–18. DOI: 10.1177/0002716204270420.

18. Lamont, M. and Molnár, V. (2002), “The Study of Boundaries in the Social Sciences”, Annual Review of Sociology, vol. 28, pp. 167–195. DOI: 10.1146/annurev.soc.28.110601.141107.

19. Shlykova, O.V. (2020), “Digital consumption of cultural content in the conditions of the "new normal" of the distanced world”, The Bulletin of the Moscow State Univ. of Culture and Arts, no. 5 (97), pp. 160–169. DOI: 10.24412/1997-0803-2020-597-160-169.

20. Veledinsky, V.G. (2008), “Social-and-cultural service: notion evolution within the servicology context”, Mir cheloveka, vol. 8, no. 4, pp. 89−103.

21. Malshina, N.A. (2016), “Scientific review: cultural services – general classification”, Scientific Review. Economic Sciences, no. 3, pp. 42–55.

22. Chan, T.W. and Goldthorpe, J.H. (2007), “Social Stratification and Cultural Consumption: The Visual Arts in England”, Poetics, no. 35 (2–3), pp. 168–190. DOI: https://doi.org/10.1016/j.poetic.2007.05.002.

23. Jenkins, H. (2019), Convergence Culture: Where Old and New Media Collide, Transl. by Gasilin, A., RIPOL klassik, Moscow, RUS.

24. DiMaggio, P. and Mukhtar, T. (2004), “Arts Participation as Cultural Capital in the United States, 1982–2002: Signs of Decline?”, Poetics, vol. 32, iss. 2, pp. 169–194. DOI: https://doi.org/10.1016/j.poetic.2004.02.005.

25. Emmison, M. (2003), “Social Class and Cultural Mobility: Reconfiguring the Cultural Omnivore Thesis”, J. of Sociology, vol. 39, iss. 3, pp. 211–230. DOI: https://doi.org/10.1177/00048690030393001.

26. Shepherd, J. (1986), “Music Consumption and Cultural Self-Identities: Some Theoretical and Methodological Reflections”, Media, Culture & Society, vol. 8, iss. 3, pp. 305–330. DOI: https://doi.org/10.1177/01634438600800300.

27. Savage, M. and Gayo, M. (2011), “Unravelling the Omnivore: A Field Analysis of Contemporary Musical Taste in the United Kingdom”, Poetics, vol. 39, iss. 5, pp. 337–357. DOI: https://doi.org/10.1016/j.poetic.2011.07.001.

28. Daenekindt, S. and Roose, H. (2017), “Ways of Preferring: Distinction through the 'What' and the 'How' of Cultural Consumption”, J. of Consumer Culture, vol. 17, iss. 1, pp. 25–45. DOI: 10.1177/1469540514553715.

29. Berghman, M. and van Eijck, K. (2009), “Visual Arts Appreciation Patterns: Crossing Horizontal and Vertical Boundaries within the Cultural Hierarchy”, Poetics, vol. 37, iss. 4, pp. 348–365. DOI: https://doi.org/10.1016/j.poetic.2009.06.003.

30. Sokolov, M.M., Sokolova, N.A. and Safonova, M.A. (2016), “Status Cultures, Biographical Cycles, and Generational Changes in Literary Tastes of Library Users In Saint-Petersburg”, J. of Sociology and Social Anthropology, vol. 19, no. 3, pp. 116–135.

31. Lizardo, O. and Skiles, S. (2008), “Cultural Consumption in the Fine and Popular Arts Realms”, Sociology Compass, vol. 2, iss. 2, pp. 485–502. DOI: 10.1111/j.1751-9020.2008.00101.x.

32. Purhonen, S., Gronow, J. and Rahkonen, K. (2010), “Nordic Democracy of Taste? Cultural Omnivorousness in Musical and Literary Taste Preferences in Finland”, Poetics, vol. 38, iss. 3, pp. 266– 298. DOI: https://doi.org/10.1016/j.poetic.2010.03.003.

33. Bokova, A.V. (2020), “Cultural Content as a Tool for Forming Community Identity (towards the Problem Statement)”, Tomsk State Univ. J. of Cultural Studies and Art History, vol. 38, pp. 5–11. DOI: 10.17223/22220836/38/1.

34. Ushkarev, A.A. (2018), “Status Motivation for Art Consumption”, Culture and Art, no. 6, pp. 1–12. DOI: 10.7256/2454-0625.2018.6.26694.

35. Abramov, R.N. and Zudina, A.A. (2012), “Culture of consumption and entertainment practices of social innovators. Sociological analysis”, Bulletin of Udmurt Univ. Ser. Philosophy. Psychology. Pedagogy, no. 1, pp. 64–76.

36. Bolshakov, N.V. and Maksimova, A.S. (2019), “Theatre Sociology: Current Audience and Its Expectations”, Theater. Painting. Cinema. Music, no. 4, pp. 105–121. DOI: 10.35852/2588-0144-2019-4-105-121.

37. Velikaya, K.V. and Kruglova, E.L. (2020), “Cultural consumption as a factor in the formation of a student’s social status”, Humanities and Social Sciences. Bulletin of the Financial Univ., vol. 10, no. 3, pp. 92–96. DOI: 10.26794/2226-7867-2020-10-3-92-96.

38. Rubinstein, A.Ya. (2019), “The theatre, the audience and the state: twelve economist’s comments”, Economic Sociology, vol. 20, no. 5, pp. 98–149. DOI: 10.17323/1726-3247-2019-5-98-149.

39. Throsby, D. (1994), “The Production and Consumption of the Arts: A View of Cultural Economics“, J. of Economic Literature, vol. 32, no. 1, pp. 1–29.

40.