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.)

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How can you see the existing human-made world in a new way? How can you perceive covert ways that people shape their worlds and realities? Can these be pointed out? Changed? Should they be?

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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?

index card with questionAre the partnerships based on individual relationships / relationships of convenience that will dissolve if a person leaves? (Basically, how can you ensure one person doesn’t hold all of the partnership eggs in their basket?)

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How can we slow down time while accelerating change?

— Kenny H. Wong

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What if so many scholars are so difficult to work with for community partners that really most folks would prefer most professors stay “in their lane” in the ivory tower?

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What if quitting allows me to begin?

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Who are we actually pushing against to enact change in higher ed — the institution? the administration? the facult/staff (ourselves)?

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How does our work change/adapt as authoritarianism continues to take root?

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Is working with an institution (aka nonprofit, government, etc.) already missing the radical capacity — such as not supporting “true” grassroots work?

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Sick of being asked: any question that’s meant to determine one’s place in a hierarchy.

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.

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In what ways / what tools do you use that might encourage extractive relationships?

In what ways d your tools encourage / allow you to distance yourself from the partner / site of study? Do they speak for, our allow your participants to speak for themselves?

— JZ

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Is your public “stable?” That is, does your public stay relatively unchanged over time or does it vary from semester to semester, season to season, etc.? How are stable and transient publics collaborated with differently?

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What is important to you us?

What is unimportant?

What can be removed?

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How is the team working? Are power dynamics or personalities causing one individual (or group) to dominate? How might this dynamic be productively disrupted?

What are your models or terms for leadership?

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How to maintain this ethos and practice within my institution even as people (e.g., me) move on… to retirement, to another institution, etc.?

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When do questions become a barrier?

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How do we build a community of support for public scholarship when scholars are so critical each other’s approaches and resistant to the idea of being in common cause?

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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?

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Why is it so difficult for white people to answer, or genuinely try to answer, the question actually posed? The framework offered? The invited imaginative play?!?

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What to do when the local partners are mostly “serving needs” [rather than] addressing root causes / solutions?

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Will I lose my job doing this work?

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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

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How do you find people that you can collaborate with to reflect and navigate through this work with?

— S.S.

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How to you start your emails to potential or new partners? What gives you the courage to hit “send”?

index card with questionAre you willing to first provide support in order to receive support, even when you’re desperate to be heard and understood?

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How does your project sustain?

What needs to sustain and not sustain? And who determines this?

index card with questionHow do you make an academic event a party?

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Sick of people asking: What are the surface level ways we can report on the outcomes of your community engaged work (e.g., how mahy people were involved)?

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What would it look like if our institution truly valued community engaged work?

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What ought to be my physical stance in relationship to public scholarship? How do I hold my body in a way that is engaged with what matters to me, detached from what doesn’t, serious about what matters, playful about what not, etc.?

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Where do communities end, don’t they just keep on connecting-extending horizontally in the undercommons? Is the Zapataista language of above/below useful to further clarify the lived notion of the undercommons?

—Charlotte Sáenz

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How can we integrate mind, body, and spirit into our practices?

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How do we know when our work is strongest (most authentic and impactful) at “the margins” vs. when “institutional”?

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How to compensate/resource community members, not “just” partners?

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.

Jacqueline Jean Barrios

Jacqueline Barrios is Assistant Professor of Public & Applied Humanities at the University of Arizona. She studies the global nineteenth-century, literature, and the city, which she extends in interdisciplinary, socially engaged projects within the public humanities. Her current scholarship investigates London-Pacific trans-urban imaginaries—geographies of East Asian Pacific Rim entanglement with the British capital. She is also the founder of LitLabs, the subject of her book project, Dear Charles Dickens, Love South LA (under contract, University of Iowa Press), about how she centered the daily life of South LA teens in creative engagements with the nineteenth-century novel. She also co-founded the global Urban Humanities Network.