Querying Public Scholarship
Querying Public Scholarship
An Unfinished List of Questions toward More Meaningful University–Community Partnerships
Harris Kornstein & Jacqueline Jean Barrios
Department of Public and Applied Humanities, University of Arizona
Public Humanities, Volume 1 , 2025 , e18
How do we do public scholarship?
How do we do public scholarship?
It might seem like a simple question, but as anyone who has attempted to experiment with academic norms—let alone work collaboratively in and through institutional regulations, cultural expectations, and diverse personalities—is well aware, things get complicated quickly.
As scholars, practitioners, and educators in the public humanities, the authors offer a set of sticky and thorny questions that are both theoretically minded and practice oriented, as possibilities to consider throughout the process of working on public projects or with community partners. Questions are grouped thematically—Framing, Planning, Partnerships, Institutions, Tools, Outputs and Forms, Documentation, Evaluation and Reflection—though are not meant to be exhaustive or prescriptive.
In so doing, the essay insists that public scholarship not be codified into a clearly- defined discipline, but rather acknowledged as both an always already present practice for many scholars and in a constant state of emergence as a field. To that end, the authors also invite direct engagement with these questions, both inside and outside of the space of the text, encouraging readers to generate and share their own questions as well.
Submit Your Question(s)
We encourage you to share your question(s) with us below.
Submissions are encouraged from all readers: students, artists, activists, cultural workers, scholars, and more!
We will add submissions to the website, and may include them in a follow-up publication.
Please note: we may curate submissions (not all will be shared) and may lightly edit for clarity.
Reader Submitted Questions
Browse questions submitted by readers.
Some have chosen to contribute anonymously, others with attribution.
(Click images to enlarge.)
What histories of relations are present?
What enables and constrains participation?
What is the “epistemic burden” of partnership/participation? (Pierre et al 2021)
For institutions, what space is there for resistance, reimagining, transformation, etc.?
Who “counts” as an author?
How will you practice reflexivity holistically throughout, not just at the end?
— Jasmine Linabary
How do you break cycles of indecision or endless brainstorming?
How do we prepare our students, ourselves, our colleagues to do no harm in their community interactions?
— Professor of History
How do you know what you are doing is cocreation with community?
Who is publishable public engagement really for?
— Southwestern University faculty member
What are the struggles of applying public humanities to real world situations?
Have you seen unethical public humanities work/programs? What specific mistakes were made?
Does public humanities work differ by region/place? Or is it the same overall throughout any city, state, or country?
— University of Arizona student
How do you measure the impact of public humanities work
without reducing it to numbers that miss the most meaningful parts? A lot of public humanities
projects are about identity, connection, imagination, and voice, and those things matter even when they are hard to quantify.
— Jack R.

What is important to you us?
What is unimportant?
What can be removed?
What are your models or terms for leadership?
If movement work (community-engaged work) can’t be documented via photo/video, is it really happening? [sarcastic interpretation of “if a tree falls…”]
How can participation in movement-based work continue to be valuable (and be valued) by faculty and students when it can’t be “counted” according to university metrics?

How can university members sustain trust with community members outside the university (esp. members who have been historically harmed and excluded by institutions)?
How do we use our time to build shared accountability and community rather than using our time to individually manage, supervise, and WORRY/overthink?
How do we make sure public humanities projects are actually collaborative and not just one group speaking on behalf of another?
What does responsibility look like after a project is finished?
— T.C.
How do you know if your project is actually meaningful to people, even if it looks super successful on the surface?
— M.G.
How can events be a safe space for participants to be protected from others (e.g., prejudice within the group, bullying, discrimination, physical and/or sexual attacks from participants, volunteers, and outsiders)?
— student
Are you willing to first provide support in order to receive support, even when you’re desperate to be heard and understood?

How does your project sustain?
What needs to sustain and not sustain? And who determines this?
How do you make an academic event a party?

What would it look like if our institution truly valued community engaged work?
How might we ensure the product/publication benefits those who are engaged in the ongoing work?
— Eric Kaufman, Virginia Tech
How do you weave public facing activity into your existing workload?
— Southwestern University
How do we find the time among our other academic responsibilities to do this?
— Southwestern University
Who truly benefits from public humanities work, and how can we make sure it serves the communities it engages rather than just the institutions behind it?
How can we create projects that are genuinely collaborative, where participants have real ownership instead of just contributing content?
How can public humanities projects balance accessibility with depth, making work open to wider audiences without losing complexity or meaning?
— E.I.
How can we measure cultural impact when it occurs gradually over a long period of time?
— University of Arizona student
How do you determine the scope/scale (physical, geographical, societal, etc.) of your work in public humanities? Does the kind of change you intend to cause affect the scale of your work or vice versa?
— University of Arizona student
About Us
Harris Kornstein
Harris Kornstein is a scholar and artist whose research and practice focuses on digital cultures, queer/trans studies, disability studies, and media art/activism. Supported by an NEH Fellowship, they are currently working on a monograph on how drag offers new strategies for creatively countering the harms of contemporary technologies. They are co-editor of the anthology How to Be Disabled in a Pandemic (NYU Press 2025), and their writing has appeared in journals like Surveillance & Society and Curriculum Inquiry, as well as numerous media outlets. They are Assistant Professor of Public & Applied Humanities at the University of Arizona, and serve on the board of Drag Story Hour.































