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Making sense of conflict
Kirsten Forkert, Federico Oliveri, Gargi Bhattacharyya, and Janna Graham

’ (Kalyvas 2001; Newman 2004; Kaldor 2012, 2013) and we have become accustomed to a proliferation of ever fragmenting conflicts. At the same time, non-state actors have become central players in the map of global conflict. We, the public, have become accustomed to new vocabularies of war, with an easy if anxious acceptance of the existence of smart weapons, asymmetrical warfare, collateral damage and, even international terrorism. These shifts in understanding are reflected in news coverage and consumption, with, ironically, the move to register civilian impacts militating

in How media and conflicts make migrants
Inventing popular culture in contemporary France
David Looseley

2005: article 4.8). Intercultural dialogue, then, seems to update the much older idea of a ‘popular’ culture that, rather than being a class culture, is a common currency, shared and understood by all. This becomes much clearer when the arts specifically are addressed in the White Paper (Council of Europe 2008: 47): Public authorities and non-state actors are encouraged to promote culture, the arts and heritage, which provide particularly important spaces for dialogue. The cultural heritage, ‘classical’ cultural activities, ‘cultural routes’, contemporary art forms

in Imagining the popular in contemporary French culture