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This article examines some of the compromises that emerge in the process of converting colonial-era material culture into 'heritage' claiming to foreground a critical postcolonial consciousness. Prompted by recent controversies about statuary celebrating figures who engaged in colonial exploitation and slavery, I look at how frictions inherited from the colonial period are projected onto colonialism's physical remains. This article, however, enquires into ways in which disputes over the proper function of postcolonial heritage projects may be framed not in a militant, but in a conciliatory register, that aims to accommodate diverse representational imperatives, instead of elevating one as supreme. In postcolonial settings such as the one discussed, these imperatives awkwardly include the tourism industry's promotion of 'colonial nostalgia' via the restoration of 'colonial ambiences'. Focusing on a Portuguese-era fort that served as a prison for Goa's 'freedom-fighters', I investigate the unexplained, and subsequently contentious, display of pictures authored by the nationally-renowned artist Mario Miranda in one section of the fort. The article then recounts the contours of a public challenge to this exhibition's legitimacy, and examines the introduction in an adjacent space at the fort of a Freedom Fighters' Gallery. Drawing on archival and ethnographic research, I analyse tensions within and between each of these exhibitions, connecting them to deeper fissures in colonial experience and postcolonial memory. I argue that these fissures are best understood in their relationship to recriminations both about colonial experience and about inequalities traceable to its 'aftermaths', which are now consolidated in uneven political geographies. [ABSTRACT FROM AUTHOR]

This article explores the way a new specifically Georgian post-Stalinist art form (cheduroba , metal engraving) that emerged in the 1960s became a commonly encountered emblematic feature of the equally new urban spaces of the rapidly changing modernist Tbilisi cityscape. This new, and yet seemingly old, art form, which frequently featured the face of a traditional Georgian girl, usually a Khevsur girl from the mountains, came to be a diagnostic part of the modern urban assemblage of Tbilisi in the 1960s. This traditional face from the Georgian past became a paradoxical figure for the alliance of art and architecture in the visual aesthetics of the modern Georgian city in the 1960s, and the art form became the stereotypical "face" of a specifically Georgian post-Stalinist "traditional-modernist" public urban art. This art form soon became diagnostic of modern Georgian urban spaces, like the Tbilisi metro, which also opened around the same time in the 1960s. The recurrent distribution of this face across newly-created modernist urban spaces together formed a Georgian version of "socialist modernism," producing a visually-experienced "brand of socialism" for urban spaces, a procession of images traditional or national (in style or theme) in socialist modernist spaces connecting the traditional architecture of the city to the modernist architectural spaces of the new socialist city of the 1960s. [ABSTRACT FROM AUTHOR]

The early modern age witnessed a number of revolutionary changes in the ways people communicated with each other. Within the shifting balances between oral and print cultures following upon Gutenberg's invention of the printing press, epistolarity played a crucial role in how written language was perceived as a source of reliable information. The highly dynamic cultural environment of Restoration England, existing as it did in various forms of intellectual exchange with other European and international spheres, brought forth a sizeable increase in various forms of literary practice. [ABSTRACT FROM AUTHOR]

Abstract The main purpose of the current research is to design a paradigmatic model for the development of public culture in the primary school curriculum with a data-based approach. The participants of the research included specialists and experts in the field of curriculum studies and social sciences, whose selection was done in a targeted manner; by snowball type. The research data were collected through studying the theoretical scope of the research and interviewing experts. In addition, semi-structured interviews were conducted with 12 experts and the researcher reached theoretical saturation in the data. The obtained data was analyzed by Strauss-Corbin analysis method. After the open, central and selective coding stage, the aforementioned pattern was paradigmatically divided into 5 dimensions: causal conditions, background conditions, strategies, intervening conditions, consequences; and including 17 components of necessity and needs, goals and objectives of the program, ideology governing the society, basics of curriculum planning, program approach, learning materials and resources, space (place), time, organizational factors, parents' participation, implicit learning (informal program - hidden lesson program), content, learning experiences, teaching-learning methods, teacher's role, evaluation. The results of the program were formed around the core category of the model, i.e. the development of public culture; and were validated by experts in the field of curriculum using the Delphi technique and brainstorming. Extended abstract Introduction Public culture as one of the branches of culture and of course its most important branch is the culture that is common to all members of the society. Public culture is one of the main building blocks of culture and it can be considered as a set of cultural elements that are needed by all the people of a society (Saeedi Kia et al, 2016). The impact of public culture is pervasive because all members of the society need it, and it has an impact on the fate of a nation, and requires macro-cultural policies. Based on this, it is possible to identify the damages of public culture and plan to fix them using the facts. The government, governmental organizations, and councils in charge of public culture are responsible for guiding, directing and politicizing the field of public culture, and they must make the necessary plans to reform and promote public culture. Meanwhile, as the first official institution that is responsible for education in the society, education should take an important step by culture training, stabilization of cultural components, and a special look at the desired public culture of the society through using a suitable model for the development of public culture in the students' curriculum. Therefore, the researcher asked the main question: what is the design of the paradigm model of the development of public culture in the curriculum of the elementary school with a data-based approach? Theoretical Framework The public culture is a powerful network and effective amalgamation of knowledge, tendencies and general attitudes of the society, while ambiguous and intangible, whose existence and presence is felt in the society, and makes us subordinate with its power in all dimensions of life. Therefore, the awareness of the public culture in the society and the factors influencing it is very important among the people's policy makers and curriculum planners who are in charge of transferring cultural concepts to the content of the curriculum. Curriculum ethnology means studying the impact of school or university culture on the curriculum in order to use deep analysis to show what actually happens in the situation of cultural curriculum implementation and what patterns influence cultural development. (Ayati & Khosh Daman, 2012). Yarn Tecy (2022) has stated in an article titled "Culture change managers of urban public schools" with a phenomenological study on the effective practices of transformational leaders that leadership in a culture of change, which means creating a culture, is not just changing a structure. He sought to understand the characteristics of a cultural change manager in culture building in a city government school environment and the effective leadership of managers, and he came to the conclusion that a cultural change manager emphasizes the component of relationships as a main component and creates cohesion through collaborative conversations. Luzmore et al, (2021) have conducted a study titled "Self-interest and altruism and how ethical imperatives in culture are navigated in a high-stakes culture by school leaders" and the experience of educational leadership in UK public schools with an outline of the history of public education and the evaluation of the performance of education as a part of competitive economic-political change has been investigated, and came to the conclusion that school managers in England promote a culture of responsibility and independence and have the ability to regulate and shape their organizational culture and have an influential position in their schools; but the embedded marketing approach to education in England has led to practices that are ethically troubling, and high levels of exclusion for students from vulnerable groups and non-inclusive practices for students with special educational needs should be addressed. Research Methodology The governing approach of this research is qualitative, which was conducted using the paradigm data-based theory research method. The theoretical scope of the research, the study of upstream documents, and also semi-structured interviews has been used for collecting information and data. The participants in the interview were specialists and experts in the field of curriculum studies and social sciences, some of whom were selected using targeted sampling, and the researcher reached theoretical saturation by conducting interviews with 12 experts. Research Findings To analyze the collected data, according to the goals and questions of the research, the Strauss and Corbin coding method was used; and the information obtained from the interviews with the target people were analyzed, using the content analysis technique in the data-based theory in three stages of open coding, central, and selective, and were formed according to 5 dimensions of causal conditions, background conditions, strategies, intervening conditions, and consequences; and including 17 components of necessity and needs, goals and objectives of the program, ideology governing the society, basics of curriculum planning, program approach, learning materials and resources, space (place), time, organizational factors, parents' participation, implicit learning (informal program - hidden curriculum), content, learning experiences, teaching-learning methods, teacher's role, evaluation. Program results was formed based on the core category of the model, i.e. public culture development, and validated by experts in the field of curriculum using the Delphi technique and brainstorming. Conclusion The current research was conducted with the aim of designing a paradigm model for the development of public culture in the primary school curriculum with a data-based approach. The results of this study are in line with the results of Hanteroplus et al, (2021), Araghiye (2021), Khanfer (2021), Shahidi et al, (2012), and Naseri & Armand (2021). The development of public culture is an abstract concept with many inclusions at different levels of the educational system, and includes the expectation of the convergence of all elements; from the Supreme Council of Education as the highest decision-making level to the classroom level even outside the school to achieve the goals of the elementary course curriculum. Designing, compiling, implementing and evaluating are the four basic stages of the curriculum planning system. Each of them has a specific pattern or patterns. The design pattern mainly has a value and general aspect, and the curriculum elements are determined and designed according to the value orientation. The design of curriculum elements is based on value analysis and philosophical implications; in the design of the public culture development model in the primary school curriculum, all the components determined in the form of curriculum model elements are used for the development of public culture and in accordance with the nature of the educational system. The most important of these suggestions are: - Revision of the prepared template every five years in order to update it - Developing a program and creating cultural resources based on virtual training and crisis conditions - Suggesting the development of a program to the Supreme Council of Cultural Revolution and Education, according to the upstream documents and the combined approaches of education to face cultural harms in the era of Corona. - Conducting research in the form of a national model for the development of public culture by experienced professors. - The codes extracted in this study can be a good guide for deeper and more specialized studies about the partial dimensions of this curriculum.

This article expands the study of museums and public culture in postcolonial South Asia and the Global South through an exploration of non-state house museums in contemporary Nagaland, a state in north-east India that is Indigenously inhabited, predominantly Christian, and was home to an armed movement for political autonomy over 1953–97. It demonstrates that the political significance of the Naga house museum as a site of history, heritage and identity rendered invisible in state-funded exhibitionary arenas that display an essentialist image of Naga Indigeneity is not only anchored to the labour of non-state actors, but also to the open-ended and oscillating ties between ritual and secular frames of exhibition and reception that animate it within an expanded field of visual and exhibitionary cultures. In doing so, this article challenges the dominant European and North American imaginary of the historic house as the basis for normative understandings of the house museum. If canonical accounts of house museums focus on their 'museumness', this study seeks to foreground the 'houseness' of the house museum in postcolonial South Asia. [ABSTRACT FROM AUTHOR]

The paper is concerned with how Chinese public and civil society understand the so-called socialism with Chinese characteristics, or Chinese-style modernization, in the era of post-globalization capitalism and in light of their social imaginaries of technology and industry. The authors discuss historically formed as well as newly arising social imaginaries of the importance and role of industry, science, and technology in China when formulating an alternative, non-western vision of modernization presented in public cultural forms such as movies, TV dramas, social media discussions or broadcasted public conversations. The emphasis is on the particularity of the Chinese approaches toward industry, technology, and social development, and how they are similar to or different from liberal philosophies of technology. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Academic Library & Information Science is the property of Anhui University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the very beginning of the COVID-19 pandemic, ordinary people around the world have been documenting their experiences in diverse media forms, giving rise to a public culture of pandemic storytelling. This public culture, however, can be transitory. Personal stories may disappear for many reasons. The authors call for scholars to help build and sustain this public culture through the work of digital archiving and research, and the authors emphasize a descriptive imperative, as opposed to theorizing, as the more urgent course of action. [ABSTRACT FROM AUTHOR]

[Purpose/Significance] Data governance helps promote accurate management, individualized service, and scientific decision in public culture. Constructing a framework of public cultural data governance system and corresponding guarantee measures contributes to the goal of digital and intelligent developments of public culture. [Method/Process] This paper systematically elaborates the connotation and function of public cultural data governance, builds a framework for public cultural data governance system based on the activity theory, and proposes guarantee measures for specific elements. [Results/Conclusions] The public cultural data governance system consists of the elements of governance target, governance subject, governance object, and governance methods (tools, rules, and division). Guarantee measures include the following aspects: setting data governance goals and implementing goals in several phases and progressively, constructing collaboratively by multiple subjects and improving governance capacity, promoting governance with benefits and focusing on limited data and affairs, and improving system construction and organizational management models.

This article draws on Bayat’s discussions of the “quiet encroachment” and “social nonmovement” to explore the intertwined relationships between mundane lives, public culture, and spatial orders. It takes the collective singing practices in public parks in the city of Guangzhou in South China as a case study, and at the center of analysis are senior urban residents who have experienced double marginalization under the new political economy and the new spatial order in public spaces. I show that collective singing in parks, which is a cultivated practice acting upon a body’s habitus shaped by the political culture, has contributed to rebuild the social life of the senior citizens after layoffs. While such an embodied practice has been re-appropriated by the government and officials to capitalize on the authority of political culture to further their ends, such re-appropriation also empowers the choral participants to pursue happiness in their familiar ways and legitimize their claims on public spaces that are increasingly coded with a middle-class civility. I argue that the analytical lens offered by “social nonmovement” helps shift attention from agency to action. By focusing on how effects of state-orchestrated governing strategies have been made complicated by ordinary people’s “quiet encroachment”, this article shows that the exercise and effects of power shall be analyzed as a dynamic process with a spatial and temporal dimension. The exploration of the layers of social, political and visceral experiences between individual citizens and the social-political space can effectively help us diagnose how power works and morphs.

The ideologues of the Enlightenment Dialectical, using the term Culture Industry, have presented it as a comprehensive description of mass and common deception in the capitalist system; An all-encompassing industry with an amalgam of imprisonment, incitement and deviation of public opinion in a seemingly rational and free society. The Culture Industry integrates all these intellectual and practical anxieties and disturbances in its commercial glamor, and by refining its product - which is a reflection of the directional, deceptive and antielitist propositions of the capitalism - it captures the mentality of society and popular culture. By following the path of cure through the two channels of art and ethics, a plan is inferred that can raise hopes of curbing the waves of the cultural industry, or safety against its pervasive dominance. Analyzing this path from the perspective of the founders of the Frankfurt School, the present article first describes the ideal relationship between art and ethics with the prospect of a successful exit from the fence of the cultural industry. But, and after a critical consideration of the moral-artistic consequences in question, the path drawn in Adorno's and Horkheimer's long reflections as a way out of the cultural industry seems to have failed in practice and even in an unexpected direction. It is self-defeating or contradictory, because: a) to resort to negative ethics and conceptual art will be disconnected from public culture. B) The fruit of this seclusion is limited to agora movements. C) This safe living world, as an integral part of the cultural industry, is still indebted to capitalist relations. This result, which is far from the demands of these philosophers, is the forced result of the relations governing the modern industrial society, which can bring its enemy to the inevitable trading market. In this process, the supply of cultural products is also recognized as part of the consumable distribution network. Works whose claim is to strengthen those with negative morality and (anti) aesthetic uniqueness are also entered in this market. If the preparation of these elitist products does not require exorbitant material costs and does not fall into the box office trap and culture market with an eye on the return of investment, it is at least prone to be imitated and even promoted by the owners of capital marketing. Because the speed of reproduction is a solidifying element for the consolidation of the culture industry. In this way and as a paradoxical situation, just as the inventor or user of environmentally polluting products promotes the use of bicycles to reduce pollution, the agents of the commodification of culture also offer outstanding products of modern art as an alternative to popular art and culture; to benefit from both products. [ABSTRACT FROM AUTHOR]

In this paper, I examine what it means for culture, in both its personal and public forms, to be implicit. I begin by considering a recent attempt to develop a descriptive taxonomy of other people's views of practices developed by Stephen Turner. A key result is that a specific combination of claims about the properties of practices yields an ontologically problematic category, which is a candidate for elimination. Following Turner's lead, I provide my own refurbished taxonomy of practical culture that does not contain ontologically problematic members. Another key result of the initial analysis is that implicitness is a relational property presupposing at least one agent with awareness (or unawareness) of the cultural element in question. This epistemic dependence implies that only personal culture internalized by people can be coherently thought of as 'implicit' (to them). Finally, I conclude that using mentalistic versions of implicitness to characterize public culture, such as texts, language, monuments, tools, and classifications on paper, yields the same ontologically incoherent category eliminated in the first step. Following from this, I argue that it is desirable to conceptualize 'implicit' in a way that makes sense for public culture without stirring up the ghosts of collective minds and related conundrums. I propose one such (weak) version of implicitness when speaking of public culture that does not run afoul of this issue. I then return to personal culture, considering whether 'implicitness' is a unitary property of this kind, answering in the negative. This conclusion requires us to develop a principled taxonomy of the distinct ways personal culture can be ‘implicit,’ yielding personal culture that is implicit because it acquired 'automatic' status, versus personal culture that is implicit because it lacks (access) consciousness. [ABSTRACT FROM AUTHOR]

A growing literature illuminates the limits of claims made on the basis of sensory perception in scientized, rationalized, and bureaucratic contexts. How to understand exceptions to the rule – cases where claims based on sensory experience are taken at face value, even without corroborating evidence? Here, I focus on one such exception, in which citizen complaints about the smell of a small shantytown functioned successfully as both demands and justifications despite a lack of the kinds of instrumentally and technologically enabled corroboration that the literature would suggest are necessary to strengthen such claims. I show how complaints slotted neatly into a specific cultural structure, an olfactory cosmology in which 'bad air' that endangers health can be identified by smell and requires ongoing management and amelioration, and where adherence to hygienic norms is required for full moral citizenship. The case suggests ways that the apparent weaknesses of olfactory claims might allow them to be uniquely weaponized in social and political life, and shows how such claims can exploit shared norms, values, and meanings to enroll others in the demand for action. [ABSTRACT FROM AUTHOR]

[Purpose/Significance] The smartness of public culture is one of the important ways to realize the innovation of public cultural service and management mode. The extraction and analysis of the description information of the smartness of public culture is helpful to understand the current situation of intelligent construction, and is of great significance for promoting the better development of intelligent construction of public cultural institutions. [Method/Process] On the basis of reviewing related research on the smartness of public culture, we obtained information on the official website pages of domestic provincial and sub-provincial city libraries and museums through crawlers, and used topic models and cluster analysis methods to conduct intelligent description for analysis. [Results/Conclusions] The thematic modeling results of libraries and museums reflect the similarities of the two types of institutions, such as user-centric, demand-oriented, smart resource construction, and high technical sensitivity. The library related studies pay more attention to "acquisition" and "circulation". The museum related studies pay more attention to "interaction" and "protection". Clustering and visual analysis reflect that libraries have made more achievements in self-service borrowing and returning facilities, smart equipment, etc. The smart construction of museums mainly focuses on digital interaction, smart protection, and smart management.

Johannesburg and South Africa's history and contingencies of colonisation, apartheid and a complex transition to democracy shaped different iterations of Pieter Roos Park. I argue that the dynamics and contingencies of the park in turn played a role in shaping those same histories. Using public space as a lens into history is revealing of how the formation of different publics and their resultant conflicts have produced a public culture of contestation that is embedded in Johannesburg. These dynamics were refracted and reflected in Pieter Roos Park, the development, management and use of which contributed to the changing public culture of the city. Lefebvre's spatial triad helps reveal how different drivers, motivations and processes interact to produce space, cutting through different levels of complexity and temporality in the interactions between public space and spatial (in)justice. Based primarily on archival research and interviews, this article shows how historical contestations that shaped the production of space at Pieter Roos Park demonstrate its shifting potential for publicness and spatial justice. This offers new insight into the micro-level realities of tensions and opposing sentiments that shaped public space and public culture during apartheid and the transition to democracy. [ABSTRACT FROM AUTHOR]

Safeguarding intangible cultural heritage (ICH) is a worldwide public culture enterprise practiced by multiple human-agencies across many societies, each of which claims different roles and responsibilities. One way to actively empower all agencies is to treat all agencies involved as “subjects”—human actors. This paper defines the subject of ICH as well as the subject of the safeguarding practice in order to understand their roles. [ABSTRACT FROM AUTHOR]

Recent debates about qualitative methods have discussed the relative limitations and contributions of interviews in comparison to surveys and participant observation. These discussions have rarely considered how ethnographers themselves use interviews as part of their work. We suggest that Lizardo's discussion of three modes of culture (declarative, nondeclarative, and public) help us to understand the separate contributions of observation and interviews, with ethnographic interviews an especially helpful means of accessing different cultural modes. We also argue that Lizardo's conception of public culture should be divided into meso- and macrolevels and that this division helps to show the differing contributions of interviews within and without an ethnographic context. Developing our argument with data from the second author's ethnographic research and analysis of other scholars' ethnographies, we show how research that uses ethnographic interviews can help sociologists better understand how these four cultural modes interact. [ABSTRACT FROM AUTHOR]

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In this paper, I address the history and systematics of the concept of internalization in cultural theory, noting that while use of the concept declined after its heyday in mid‐20th‐century functionalism, it is as indispensable now as it was then. I build an account of internalization consistent with recent conceptual distinctions offered in the culture and cognition literature. Taking the (relatively easy) case of the internalization of belief first, I problematize a popular conception of how declarative forms of personal culture are internalized via linguistic communication but flag a potentially promising solution. In this alternative story, the same "dialectical" model linking personal and public culture accounts for the internalization of both declarative and nondeclarative culture, allowing us to tell the same general story for the internalization of "knowledge‐that" and "knowledge‐how." I then discuss conceptual personal culture as a third general type of personal culture ("knowledge‐what"), standing between the purely declarative and nondeclarative. I show how the model of internalization developed in the case of beliefs and skills also applies to it with minor modifications. I close by outlining some implications of the theory developed here for clarifying such problems as theorizing degrees of internalization and the relative fragmentation of culture in persons. [ABSTRACT FROM AUTHOR]

Schemas are one of the most popular explanatory concepts in cultural sociology and are increasingly used in sociology more broadly. In this article, we ask the question: have schemas been good to think with? We answer this question by analyzing the ontological, epistemic, and methodological bases of schemas, including the conceptualizations, claims, assumptions, and methods that underpin the use of schemas in sociological inquiry. We show that sociologists have developed two distinct, contradictory, and often conflated perspectives on schemas, what we refer to as culturalist and cognitivist perspectives. We suggest that schemas have acquired a polysemic character in sociology, and that they have become a (more narrow and consequently more scientifically legitimate) proxy for Culture, and that these features have (paradoxically) facilitated the popularity of schemas within the discipline. Sociologists have recently begun to make the necessary advancements to turn schemas into a more useful explanatory concept, through both analytical improvements (by distinguishing schemas from both public culture and other forms of nondeclarative personal culture), and methodological innovations (for better deriving schemas from survey data, texts, and experiments). Yet, some challenges remain, and the analytical value of schemas remains promissory. We conclude by offering some guidelines for making more specific and measured claims about schemas in sociological research. [ABSTRACT FROM AUTHOR]

In 2011, "What's Cooking, Uncle Sam? The Government's Effect on the American Diet" (WCUS) was exhibited at the Lawrence F. O'Brien Gallery of the National Archives Building in Washington, DC. Afterward, it toured the country, visiting the Centers for Disease Control and Prevention's (CDC) David J. Sencer Museum in Atlanta, the National Constitution Center in Philadelphia, and the Kansas Museum of History in Topeka. The exhibition website states that WCUS was "made possible" by candy corporation Mars, Incorporated. WCUS featured over a 100 artifacts tracing "the Government's effect on what Americans eat." Divided into four thematic sections (Farm, Factory, Kitchen, and Table), WCUS moves from agrarianism, through industrial food production and into mess halls, cafeterias, and individual kitchens. Photos, documents, news clippings, and colorful propaganda posters portray the government as a benevolent supporter of agriculture, feeder of soldiers and children, and protector of consumer health and safety. Visitors are positioned as citizens in an ideological mélange of paternalism and patriotism. In this rhetorical walk-through of the exhibition, we consider the display of archival materials for purposes of positioning, in consideration of past and present issues of diet and governance. Making explicit unstated assumptions, we claim that, although propagandistic artifacts take on different meanings to those viewing them decades later as memorabilia, they maintain their ideological flavor. [ABSTRACT FROM AUTHOR]

In 2017, the State Library of Figure 1Figure 2Victoria commenced Vision 2020, an AU$88.1 million redevelopment that aims to transition the established 19th century Library into the digital era. Over four years, the Library's physical spaces, provision of services, organizational structure, and the way it is experienced by users were reimagined and reshaped. Like many other major public library developments internationally, State Library Victoria's redevelopment is a response to broader economic and cultural shifts shaping the public life of cities and citizens in a digital era. This article situates the redevelopment within this broader transformation. We draw upon interviews with professional staff and users in order to understand the contrasting ways digital technologies and a digital culture are impacting upon libraries and their publics. [ABSTRACT FROM AUTHOR]

The article is a historical study of ethnographic practices in non-academic fields of culture. It examines the practices and artefacts of cultural production in post-war Turkey and reveals that in the long 1950s popular as well as elite culture lived through an 'ethnographic moment' in which ethnographic authority was elevated to be the dominant criterion for the evaluation of good work. During this ethnographic moment, artists, writers and journalists turned their professional practices into ethnographic fieldwork, forged distinction based on their ethnographic methodology, and excluded armchair practitioners as amateurs. By focusing on four main fields – folklore, painting, cinema, and photojournalism – in post-war Turkey, this study disentangles the history of ethnographic practices from the narrower scope of the history of anthropology/sociology and situates it in an overarching account of cultural encounters with the others. In this period, any form of representation of the others was expected to be based on intersubjective intimacy, first-hand experience, and local knowledge. Modern ethnographic methodology was the zeitgeist of public culture. [ABSTRACT FROM AUTHOR]

Museums are increasingly placed front-and-centre in police headquarters. Based on interviews, field notes, and observations, we examine the significance of placing museums in the foyers of new police headquarters for public culture and police legitimacy. Drawing from critical heritage, cultural and policing studies literature, we argue the trend represents a strategic means of softening the image of police and creating myths central to reinforcing their legitimacy. We show that studying the representations inside police museums is crucial to comprehend how these entities depict social reality and provide frames through which the public make sense of policing and carcerality more broadly. Conceptualizing police museums as a form of public relations management that has material impacts on urban life and public culture, we reflect on what our findings mean for literature on cultural representations of "criminal justice.". [ABSTRACT FROM AUTHOR]

As the first cases of COVID-19 appeared in Guayaquil--foreshadowing one of world's most devastating outbreaks--the Ecuadorian government paid $324 billion to bondholders, while forgoing much needed investment in pandemic preparation. This was the opening round for a series of struggles over the costs of containment and treatment of the virus; conflicts over debts foreign and domestic, taxes and corruption, wages and working conditions, and the control of public space. While the pandemic provided a context for the renegotiation of public and social obligations, however, the outcome was that the burden of pandemic containment was placed on those least able to sustain it--especially precariously employed, informal sector workers--deepening existing inequalities at the cost of lives and livelihoods. This paper addresses how this process was manifested through controversies in public culture, including traditional and social media, finding that the predominance of middle class and elite interests and preoccupations--together with the prevalence of scandal as a genre--sidelined the defense of popular lives and livelihoods and reinforcing systemic inequalities. [ABSTRACT FROM AUTHOR]

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This Cultural Dynamics Special Issue on "The Intimate Workings of Culture" examines the complex ways power, audience, and imagination are implicated in the social practices and politics of cultural intimacy. First theorized by Michael Herzfeld in 1997, cultural intimacy has proven to be a productive lens through which to explore the dialectic between the construction and contestation of collective identities. The contributors—Joshua Friedman, Jamie Shenton, Christopher Berk, and Tamar Shirinian—expand the concept's geographical and contextual scope by applying it to Indigenous Australia, post-soviet states, American ethnic identity politics, and social media. The contributors' shared emphasis on the emergent and indeterminate interrelationships between audience, imagination, power, and politics within the intimate workings of culture provides valuable templates for new arenas of analysis and inquiry. [ABSTRACT FROM AUTHOR]

This article reasons that the Jaipur Literature Festival between 2008 and 2011 attempted to institute via polemics, judgment, and celebration the category of the Pakistani novel in India by importing an alterity industry. By failing to contextualize alterity in a South Asian context, the festival reinforced a national, linguistic, and religious division between India and Pakistan. It produced a category like "Moonlight's Children" as an "other" to an imagined Indian literature that is confused with a post-Salman Rushdie postcolonial and global anglophone canon. However, this analysis of the discourse produced at the festival by the discussants and the audience shows that a coconstituted South Asian literary history was consistently placed against a regionally competitive model. Importing alterity to produce an Indian or Pakistani literary identity was undermined by an attitude of disavowal toward the literary object and received categories like the global anglophone, postcolonial literature, and world literature. The author argues that this is not postcolonial resistance; rather, it is a trepidation to arrive at a conclusion, because to conclude is also to value, evaluate, and declare the existence of the "other" phantasmagoric literary identity and history. [ABSTRACT FROM AUTHOR]

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Many of the political debates in Europe call for the strengthening of a national identity that is, somewhat paradoxically, described in universal liberal terms. Yet previous research has not been able to tell to which extent these conceptions of national identity are indeed liberal. This is because we lack an analytical tool that allows liberal conceptions of national identity to be separated from, for example, conservative ones. There is also a pervasive yet questionable assumption that the more liberal a national identity is, the less it can per definition be truly national. This paper seeks to remedy this gap, by bridging the literature on these empirical trends of civic integration with the normative debates surrounding liberal nationalism. The result is a tripartite typology for the conceptions of national identity in conservative nationalism, liberal nationalism and constitutional patriotism, respectively. Each is specified along the following dimensions: (1) whether the sense of national belonging is defined by vertical or horizontal ties; (2) whether the national history is to be revered, taken as a starting point or critically scrutinised; (3) whether the legitimate place for the shared activity by which the national identity is upheld excludes the private or even the public non-political sphere; (4) whether we are asked to cultivate feelings of piety or loyalty to the homeland; and (5) whether or not the shared public culture of the nation is considered changeable and enforceable. Policy implications for individual rights, immigration and cultural minorities are also discussed. [ABSTRACT FROM AUTHOR]

The emergence of different kinds of urban protests in the 21th century profoundly renewed our understanding of power of things and spaces. It is clear that many of the most successful urban protests represent reactions to the well-documented mistakes of the governments. For the last three decades new ideas of aesthetization, symbolic economy, public culture and global cultural industries have been continually developed by cultural urban studies and urban policies. Situation is even more unstable today, now that we have entered an political mutation of cultural connections between things, signs and space. So the three thesis I propose consider in this article: 1. Protest is the only one of everyday practices in the city life; 2. Everything you have on one, you can use to say „No”; 3. Agora is there when you are standing. The rationalisation of urban space produces a new ontologies of things, individuals, societies and spaces. The idea of public cultures posthuman performativity requires an active reformulation of urban protest as an 'ugly' crowd. [ABSTRACT FROM AUTHOR]

The growing visibility of Islam in the public spaces of Western societies is often interpreted in the media as a sign of Muslim radicalisation. This article questions this postulate by examining the flourishing Muslim marriage industry in the UK. It argues that these 'halal' services, increasingly popular among the young generation of British Muslims, reflect the semantic shifting of categories away from the repertoire of Islamic jurisprudence to cultural and identity labels visible in public space. Informed by long-term ethnographic fieldwork in the British field of Islamic law, this article examines a Muslim speed-dating event, which took place in central London in 2013. It investigates how Islamic morality is maintained and negotiated in everyday social interactions rather than cultivated via discipline and the pursuit of virtuous dispositions. Using Goffman's "frame analysis" and his interpretation of the social as a space of "performances" as well as recent anthropological reflections on "ordinary ethics" (Lambek) and "everyday Islam" (Schielke, Osella and Soares), it examines the potential for such practices to define the contours of a new public culture where difference is celebrated as a form of distinction. [ABSTRACT FROM AUTHOR]