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Looking For Non-publics

Edited by Daniel Jacobi

Publication Year: 2012

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?

Published by: Presses de l'Université du Québec

Title Page, Copyright

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Preface - On Publics, Non-Publics, Former Publics, Future publics, Almost Publics, and their students and genealogies

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pp. vii-xvi

The central question of this book – the question of non-publics – triggers immediate curiosity. However, we ask readers to momentarily postpone the satisfaction of their legitimate curiosity and to accompany us for four brief prefatory explorations. The first situates Jacobi and Luckerhoff’s work in the context..

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Editors’ Note on the translationof the words “public ”and “non-public"

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pp. xvii-xxiv

Certain non-francophone readers will no doubt wonder at the use of the word “public” and the neologism “non-public” in this volume, although these expressions have become quite common in Europe. “Non-public” was used for the first time in May, 1968, by those working professionally in the cultural...

Contents

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pp. xxi-xxiii

List of Tables and Figues

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pp. xxv-xxvii

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Introduction - Looking for Non-Publics

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pp. 1-6

How important is artistic or literary creation to the public? Are cultural quality and creativity in any way related to the nature of the target public? Why should the quality of art depend on the size of viewership? And what does...

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1. The Role of the Term Non-Public1 in Ordering Cultural Initiatives

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pp. 7-26

If the concept of public is scientifically relevant and operational (Cefaï & Pasquier, 2003; Ethis, 2002) on both sociological and methodological levels, the category of non-public, because it looks at something absent, a sociological intangible..

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2. Personality

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pp. 27-48

In research studies on museum attendance, the most common approach is sociological, but introducing a psychological perspective should enable us to understand what leads to establishing or not establishing a visiting practice. Particular attention will be given to those personality traits that might impede..

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3. The Evolution of Publics at Artistic and Cultural Events in Quebec and in the United States

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pp. 49-70

The field of cultural practices underwent profound transformations in the second half of the 20th century. The main measuring instruments available for observing this change are investigations into cultural practices, into how people spend their time and into household expenditures. All of these studies offer glimpses of a restructuring of cultural spaces on the basis of parameters...

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4. Publics and Non-Publics of Cultural Heritage

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pp. 71-92

For those interested in high culture and the debate over its democratization, the issue of the public (or publics) is very important. Is the public the sum of those who, by taste or habit, read great literature, attend the theatre or art film houses, listen to the opera, visit several museums and monuments a year...

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5. "Non-Publics" of Legitimised Cultural Goods. Who are they?

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pp. 93-114

Like many research projects, the one presented here began with apparently simple questions and became more complex as time passed and some answers were obtained. From the daily observations of how events promoted by cultural institutions were attended by nearly the same group of people (the...

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6. When the Audience of Art Movie Theatres is not the Audience of Art Films

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pp. 115-134

The cinema is one of the best cultural objects for examining the concept of non-public – as conceived by French philosopher Francis Jeanson – because it probes the border between the field of entertainment and the field of artistic experience. Also, the cinema seems to be one of the best cultural objects for...

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7. From a Non-Publics of Museums to Publics of Free Admission

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pp. 135-

Even recently evaluations of the ramifications of free admission to French museums and monuments seemed to be governed by no discernible rules: unpredictable sampling, different targeting, heterogeneous methods, non-secant analysis axes. Moreover, a confidentiality clause affecting most of the studies sets limits on data sharing. Even though differing opinions..

Further Reading, Back Cover

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pp. 153-


E-ISBN-13: 9782760533721
Print-ISBN-13: 9782760533714

Page Count: 192
Publication Year: 2012

Series Title: Culture et publics
Series Editor Byline: Anik Meunier et Jason Luckerhoff