Omnivorousness About
Core Concepts
In contemporary societies, the way people engage with culture has shifted considerably. Where once elite
groups were defined by their exclusive appreciation of highbrow forms — classical music, fine art, opera —
sociologist Richard Peterson observed a different pattern emerging. The cultural elite had become omnivores,
moving fluidly across the full spectrum of cultural expression, from symphony halls to rock concerts, from
arthouse cinema to popular television.
This omnivorousness is not simply about liking everything. It signals openness, cosmopolitanism, and social sophistication. Breadth of taste has replaced exclusivity as a marker of cultural distinction. To know and appreciate both Beethoven and hip-hop, both literary fiction and genre novels, became a new form of cultural capital.
Yet omnivorousness is not evenly distributed. It tends to cluster among the highly educated and socially privileged, suggesting that even in its openness, cultural consumption continues to reflect and reinforce social boundaries. The omnivore may cross taste boundaries freely, but the ability to do so remains itself a privilege.
This omnivorousness is not simply about liking everything. It signals openness, cosmopolitanism, and social sophistication. Breadth of taste has replaced exclusivity as a marker of cultural distinction. To know and appreciate both Beethoven and hip-hop, both literary fiction and genre novels, became a new form of cultural capital.
Yet omnivorousness is not evenly distributed. It tends to cluster among the highly educated and socially privileged, suggesting that even in its openness, cultural consumption continues to reflect and reinforce social boundaries. The omnivore may cross taste boundaries freely, but the ability to do so remains itself a privilege.