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In this book, nine researchers from France, Québec and Mexico tackle these questions through both qualitative and quantitative contributions dealing with various cultural sectors in which the question of non-publics remains unanswered. In fact, the non-public is not so much a group of non-participants but individuals blatantly incapable of appreciating a culture that is unfamiliar, even foreign. For over a century, the popular education movement, in its initial project to bring public and culture closer together, has emphasized this cultural gap, which even today, justifies the necessity for cultural mediation policies. The near-militant voluntarism of the active players in cultural mediation engenders certain expectations: after a large investment in cultural creation is it not justifiable to aspire to reach the largest possible audience?

Table of Contents

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  1. Cover
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  1. Title Page, Copyright
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  1. Preface - On Publics, Non-Publics, Former Publics, Future publics, Almost Publics, and their students and genealogies
  2. pp. vii-xvi
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  1. Editors’ Note on the translationof the words “public ”and “non-public"
  2. pp. xvii-xxiv
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  1. Contents
  2. pp. xxi-xxiii
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  1. List of Tables and Figues
  2. pp. xxv-xxvii
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  1. Introduction - Looking for Non-Publics
  2. pp. 1-6
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  1. 1. The Role of the Term Non-Public1 in Ordering Cultural Initiatives
  2. pp. 7-26
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  1. 2. Personality
  2. pp. 27-48
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  1. 3. The Evolution of Publics at Artistic and Cultural Events in Quebec and in the United States
  2. pp. 49-70
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  1. 4. Publics and Non-Publics of Cultural Heritage
  2. pp. 71-92
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  1. 5. "Non-Publics" of Legitimised Cultural Goods. Who are they?
  2. pp. 93-114
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  1. 6. When the Audience of Art Movie Theatres is not the Audience of Art Films
  2. pp. 115-134
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  1. 7. From a Non-Publics of Museums to Publics of Free Admission
  2. p. 135
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  1. Further Reading, Back Cover
  2. p. 153
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