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Cette étude a pour objectif, de mettre en exergue, les perceptions des groupes chanteurs : les maitrises religieuses dans le grand archidiocèse d’Abidjan. Les terrains à partir desquels les données ont été relevées, sont le Diocèse d’Abidjan le diocèse Grand-Bassam, celui d’Agboville, et enfin celui de Yopougon. Pour ce faire, nous avons pris en compte un guide d’entretiens auprès d’éventuels différents acteurs que sont les choristes et les instances religieuses de ces maitrises. Les résultats exposent en clair sur les données positives des membres des différentes maitrises susmentionnées. Ceux-ci révèlent leurs perceptions sur lesdites Maitrises. Au demeurant, ces Maitrises jouent un rôle fondamental tant au niveau des membres que des fidèles au sein de leur groupe spécifique.

The spatial turn in theatre and performance studies has shown that space is political. As Kim Solga reminds us, "it organizes our relationships; it structures our relations of power (economic, political, gendered, and more)" (2019: 2). Age and ability are not mentioned here, though they are deeply and critically affected by the dynamics of spaces, performance spaces in particular. In this article, we focus on the complex and varied needs of older adults--a heterogeneous population that is often not given the nuanced consideration they deserve. This is particularly true of their representation and opportunities in performing arts spaces. Performance, especially in genres like music theatre and opera where performers are engaged in more than one art form at a time (singing and dancing; singing and acting, etc.), can be especially excluding of differently abled bodies and minds. Drawing on recent research in disability studies and voice studies, we present one potential approach to "cripping" the stage, drawing on a large, multi-year Canadian study that explores an online (Zoom-based) music and theatre program for older adults. Using ours as a case study, we examine this hybrid (live and offsite) space through the lens of disability aesthetics and consider ways that this online music theatre program for older adults allowed us to reconsider the ableist space that is music performance in a way that facilitated increased access to creative and performance opportunities for those in the community for whom these opportunities had hitherto been inaccessible. [ABSTRACT FROM AUTHOR]

The desire of the mathematician is oriented by the real, by the science of this real, by logic, and by the writing of this real in letters empty of meaning. This desire gives Lacan a reference for thinking about the desire of the analyst with its relationship to the cipher of the unconscious and to its letter. The formula of the trimethylamine in Freud's dream provides an example. Lacan also recognises in Socrates' daimon, in the voice that orients him, his desire, and he correlates this with a resistance to recognising the status of the voice of the psychotic. Great classical clinicians, who built the clinic "before the analytical discourse" (Lacan), did not back down in the face of the reality of the clinic and in particular in the face of the reality of the voices whose sharpness the contemporary pseudo-clinic tries to abrade. They did not back down in the face of the desire of the psychotic, tied to his voices. Chaslin's desire is magnetized by the hallucinations of a psychotic in which a hand writes mathematical formulas. They evoke the writing of numbers and letters on the wall of the real, like the formula for trimethylamine in the dream of Irma's injection, or like the game of the meaningless letter in mathematics. [ABSTRACT FROM AUTHOR]

This article explores procedural justice in criminology, particularly in a police context. This concept typically breaks down into four components: respect, citizen participation, neutrality, and trustworthy motives. However, their practical implementation presents several conceptual challenges, complicating the task of developing reliable measurement tools. Suggestions aimed at improving these measures are put forth, particularly considering the prevalent use of quantitative questionnaires. These questionnaires come with their share of drawbacks, justifying the need for reevaluation. Solutions are proposed to obtain more precise and reliable measurements. In conclusion, the article underscores the crucial importance of collaboration between law enforcement agencies in research. Enhancing measurements and police cooperation are essential to deepen our understanding of procedural justice in the law enforcement context.

Comment les pratiques littéraires, et les cultures narratives en général, prennent-elles en charge les mondes « vernaculaires » ? L’article interroge cette notion courante en sciences humaines, reconfigurée par Ivan Illitch (1981) puis par l’anthropologue James Scott (2009). Mis à l’écart par le discours moderniste, les mondes vernaculaires n’en proposent pas moins une critique de la raison savante et des outils de création sociale horizontale, qu’explorent nombre de récits contemporains.

Au cours de cet article l'auteur s'attache à montrer que, parallèlement à une transmission du signifiant, la filiation implique une appropriation de la voix sur le mode de l'incorporation. À partir de l'étude du mythe scientifique freudien exposé dans Totem et Tabou et d'un cas clinique, il montre, comment cette voix du père archaïque connaît un double destin. Forclose, elle est à l'origine des dérèglements du surmoi, assumée et oubliée, elle permet au sujet de passer de la vocation à l'invocation.

L’article analyse différents aspects du jeu dans les romans de Sophie Divry, une romancière de l’actualité aux allures de militante. Son œuvre protéiforme développe l’idée de ludisme littéraire qui assure du plaisir à l’auteur et engage le lecteur tout en transmettant un message sur la société. Dans l’essai Rouvrir le roman, l’écrivaine propose de réinventer le genre romanesque au moyen de l’esprit de non-sérieux qui est un stimulant de la littérature. Fondée sur l’intertextualité, l’écriture de Divry renouvelle de façon originale des modèles connus comme celui de Madame Bovary (La condition pavillonnaire) ou de Robinson Crusoé (Trois fois la fin du monde). Les jeux narratifs conduisent la romancière à élaborer une écriture polyphonique. L’étude du roman Quand le diable sortit de la salle de bain démontre le lien entre le jeu et l’autoréflexivité et relève le potentiel du ludisme au niveau langagier, typographique et formel.

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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.)

Copyright of Actualités Pharmaceutiques is the property of Elsevier B.V. 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.)

In this very personal text, Marie Chouinard talks about her work, from the very beginning, with voice, breath, sound and, above all, with and through silence. She discusses her choreographic work, «M», which premiered on January 26, 2023 at the Grand Théâtre de Québec, particularly from the point of view of her relationship to sound and music. She talks about her collaboration with composer Louis Dufort, with whom she has worked for 25 years, and the special role he played in «M», which incorporates a “vocal score” by the choreographer. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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.)

The purpose of this article is to develop an approach to integrating a recorded public reading of a novel by its author into literary research. More specifically, the article focuses on the recording of Venedikt Erofeev's reading of Moscow to the End of the Line in 1980. This public reading raises the problem of literary interpretation and the voice in literature. Indeed, due to Erofeev's double interference during the writing and the public reading of the text, this recording could possibly restrict the interpretative diversity of the work. However, the context and the nature of this public reading do not necessarily lead to the pitfall of a strictly author-centric interpretation. Rather, Erofeev's recorded reading is a reminder of the intrinsic vocality of the work--an aspect of the text that can be lost in repeated silent reading. [ABSTRACT FROM AUTHOR]

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Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj 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.)

Le programme VirtuVox est le fruit du projet de recherche VirtuVox, mené dans l'Unité logopédie de la voix à l'Université de Liège. Dans un but de formation et de prévention des troubles vocaux chez les enseignants et futurs enseignants, nous avons développé un programme mixte comportant une intervention indirecte et une intervention directe. Il est basé sur l’entrainement des compétences de communication orale des enseignants dans des situations environnementales et communicationnelles proches de leur réalité de pratique pédagogique. Il implique notamment des simulations de communication dans le bruit et des immersions dans une salle de classe virtuelle. Cet article comporte une description exhaustive du programme afin d’en permettre la reproductibilité.

Présentation du numéro 7.

Newcomers to politics, women had to impose themselves in this universe, seize a word coded by and for men, play by the rules of an eloquence that was inaccessible to them. This text problematizes the fact that women, especially in politics, have no place in the order of discourse. Insults, systematic interruptions, criticism of their voice - sometimes inaudible, sometimes very high-pitched - are ways of silencing them. Furthermore, we aim at discussing: what eloquence do women mobilize? Do they rely on the rules of a rhetoric invented by men or do they innovate? At the end of our discussion, identifying places of resistance currently articulated, it will be possible to glimpse a reorganization of the places of public speech by female hands: they will rehabilitate highpitched voices, marginal and marginalized voices, popular accents, regional accents, they will defend the biodiversity of voices. They will remind us that it is also necessary to educate the listening process. [ABSTRACT FROM AUTHOR]

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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.)

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Dans le cadre d’une recherche en sciences humaines et sociales, collecter et transcrire des récits de personnes migrantes, par une démarche compréhensive, peut produire un effacement de leurs voix, quand bien même c’est le contraire qui serait visé. Comment traduire des voix par l’écriture? Est-il seulement possible de traduire des voix? Si tentative il y a, comment les retranscrire, passer d’une oralité volatile à une matière scripturale? A partir d’une citation de Georges Steiner – extraite de l’ouvrage de Didier Fassin – qui décompose le sens de la traduction, l’article puisera dans des expériences de recherches pour réfléchir au statut de cette ré-écriture et aux possibles manières qu’ont les personnes de se les (ré)approprier. Écrire sa propre voix serait l’une des voies de l’auteurisation, encore faut-il à chacun·e trouver ou créer ces espaces de possibles. C’est parfois la chercheuse qui est surprise par les voies empruntées des locutrices pour y parvenir.

Avec plus de 622 000 francophones (Gouvernement de l’Ontario, 2019), l'Ontario compte la plus importante minorité francophone hors Québec et sa principale minorité linguistique. Cependant, le manque de visibilité publique de la francophonie ontarienne nous a amenés à remettre en question cette quasi-absence. Selon James Scott (2009), les occasions d'entendre publiquement la voix des minorités sont l'exception plutôt que la règle. Au-delà des droits linguistiques, le concept de citoyenneté linguistique (Linguistic Citizenship; Lim et al., 2018) semble prometteur car il nous conduit à nous interroger sur le degré d'agentivité sociale des acteurs minoritaires par rapport à leur voix. Grâce à l'analyse du court-métrage de Claudette Jaïko – « Deux voix, comme en écho » (1987) – cet article démontrera que les micro-actes sociolinguistiques réalisés par des acteurs sociaux minoritaires permettent d'affirmer des degrés divers de citoyenneté linguistique conduisant à l'appropriation d’une voix pour les francophones en Ontario.

Les voix d’enfants n’ont pas toujours été sollicitées en sociologie. Il a fallu un changement de perspective dans l’étude des processus de la socialisation pour ainsi prendre l’enfance comme fil conducteur. Je tracerai l’évolution du concept de voix d’enfants sur trois décennies. J’évoquerai d’abord deux défis initiaux recensés dans la littérature savante : la reconnaissance des voix d’enfants en recherche et le développement de méthodes d’enquête. Les enfants se sont beaucoup exprimés, ce qui restera un apport important. J’aborderai ensuite les critiques soulevées au sein de la discipline concernant les notions d’authenticité et d’inclusion ainsi que l’idée de se sentir autorisé à prendre la parole en tant qu’enfant. Je conclurai par l’exemple d’un projet de recherche à grande échelle où les voix prennent vie sans que les enfants soient interrogés directement. La finalité souhaitée demeure la même soit de faire en sorte que ces voix mènent au changement dans l’expérience de vie des enfants. Une voix sans écoute est une voix privée de son action.

Les mobilisations pour les droits des étrangers sont parfois le cadre de pratiques langagières reposant sur une idéologie langagière caractérisant la parole politique comme une voie d’émancipation possible. On s’intéressera en particulier à une pratique, celle de « ne pas parler à la place des premiers concernés » telle qu’elle se réalise dans ce champ de luttes. Ce travail se situe à l’articulation entre analyse de discours et sociolinguistique. Loin d’être une simple exigence morale, « ne pas parler à la place des premiers concernés » est une pratique politisée qui prend sens, pour les militants, en opposition à ce qu’ils identifient comme l’appropriation ou de l’invisibilisation, par les groupes dominants, de la parole des groupes minorés dans l’espace public. On pose l’hypothèse que le langage est, pour ces militants, une ressource pour exprimer leur solidarité avec les étrangers sans-papiers. Cette pratique d’éthique langagière se manifeste à différents niveaux langagiers. Elle imprègne les interactions, les mises en discours, et les actes. On la conceptualise comme un registre (Agha 2007) en ce qu’il s’agit d’une norme interactionnelle pervasive qui se caractérise par sa multi-modalité. Nous illustrerons ses manifestations aux niveaux mimo-postural, pragmatique et interactionnel.

Les archives coloniales laissent entendre davantage les voix des colonisateurs que celles des colonisés. Le propos de cet article, est, à partir de l’analyse de documents précis, exemplifiant par-là la démarche proposée, de mettre à jour deux processus inverses : celui, d’une part, qui a pu rendre inaudibles la parole « indigène » dans les archives produites par des acteurs européens ; et la manière, en retour, dont certains acteurs africains ont tâché de regagner en agentivité en rendant audible leur voix.

À partir de données ethnographiques produites sur la mise en place de centres d’appel en France et au Maghreb par un groupe d’assurance français, l’article aborde la notion de « voix », comme objet et outil d’analyse, pour dévoiler les mécanismes de légitimation de ses locuteurs. Il permet de montrer que la poursuite d’un objectif de rentabilité économique de l’interaction par la professionnalisation, la standardisation et la délocalisation des voix de ses salariés ne produit pas les effets escomptés. Des phénomènes de discrimination et de domination agissent par et sur ces voix, indissociables des espaces sociaux dans lesquels elles sont produites et entendues.

Ce texte se penche sur les enjeux du poème au théâtre. Y sont abordées les questions des différentes modalités de la présence du poème dans la dramaturgie, la mise en scène et plus précisément dans l’interprétation. Cette réflexion s’inscrit dans l’étude de trois oeuvres et trois prestations : La femme la plus dangereuse du Québec (2017) de Dany Boudreault, Sophie Cadieux et Mathieu Carbonneau, Attentat (2017) de Gabrielle et Véronique Côté, ainsi qu’Éclipse (2020) de Marie Brassard. Afin de comprendre comment se bouge et se dit le poème, l’analyse des corporéités spectaculaires (Bernard, 2001) vient révéler quelques caractéristiques fonctionnelles et expressives.

Copyright of Simone de Beauvoir Studies is the property of Brill Academic Publishers 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.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) 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.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) 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.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) 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.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) 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.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) 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.)

Copyright of Écrans is the property of Classiques Garnier 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.)

Copyright of Cahiers de Littérature Orale is the property of INALCO: Institut National des Langues et Civilisations Orientales 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.)

How the Journal d'un curé de campagne is written is intimately linked to the night because of the narrator's insomnia. We will demonstrate that this night is the expression of an inner night, through the carmelite mysticism of John of the Cross. The writing is purified by the silence and anguish of the priest's mystical night: we will see that his writing becomes a prayer, that is to say, the hosting of divine and human voices in silence, based on Jean-Louis Chrétien's phenomenological approach of prayer. This idea of writing will allow us to understand the relationship of Bernanos himself to his own writing: this nightly writing listens and gives voice to those who have none. [ABSTRACT FROM AUTHOR]

Marot donne la parole dans L’Adolescence clémentine à des voix féminines, tantôt fictionnelles, tantôt attestées dans l’histoire. Ces délégations de paroles, selon leur degré de fictionnalité justement, ne construisent pas la même autorité. Un « je » féminin sans nom et dans une posture topique amoureuse n’a pas la même légitimité qu’un « je » nommé, identifiable dans la société de l’époque. Pourquoi faire parler des femmes ? Selon quels procédés énonciatifs différents ? Répondre à ces questions permet de mieux cerner l’insertion d’un poème d’autrice dans le recueil.

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Copyright of Écrans is the property of Classiques Garnier 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.)

L’article propose une lecture du drame contemporain qui appelle et mobilise le motif de l’eau – élément façonnant nos imaginaires et à la fonction structurante dans nos sociétés aussi bien historiquement, économiquement que symboliquement. De la fable écologique à la pièce-paysage, notamment, quelles sont les modalités de présence de l’eau? Que met l’eau à l’épreuve dans le drame et pour le drame? Au carrefour d’une approche poétique, écopoétique et poïétique, cette traversée des écritures engage à une réflexion sur les écritures de la traversée. Comment les drames de l’eau (au sens dramaturgique) sont-ils poreux ou répondent-ils aux drames de l’eau (au sens politique) et particulièrement aux drames de la mer, dès lors qu’ils s’associent à des dramaturgies de l’exil, du départ ou de la migration?

Based on an ethnographic account of the use of voice and music by the crowd during several demonstrations observed in-depth observations in Marseille in 2019, this article proposes to capture some of the issues of the collective vocalization of the masses in a context of appropriation of a place. The aim is to analyse how the crowds unite their voices in order to produce various sound objects that are supposed to collectively perform this appropriation. It appears that this practice has become particularly common in France since the 1980s until today, with the recent example of the songs supporting the demonstrations of the Yellow Vests. The various modalities of vocal and musical support of three French clubs (Racing Club de Lens, Olympique de Marseille and Paris Saint-Germain) were the subject of a study based on observations during matches, interviews with supporters, and analyses of the sound content of current and former games. This study proposes to use musical analysis tools to approach this topic, some of which are raised to the rank of actual anthems by the supporters. The musical characteristics of the choral and hymnodic practices studied support the symbolic appropriation of the places by the supporters, in various degrees since the 1980s and depending on the clubs, while organizing the space of supportism in France on several scales, from the stadium to the French national territory. [ABSTRACT FROM AUTHOR]

As a form of homage to her cousin killed in action, Willa Cather wrote an ambiguous novel, in which the need to glorify WWI soldiers is mingled with a disenchanted depiction of the United States. At the end of the novel, the lofty ideals that permeated the American nation during the conflict do not seem to have put an end to the consumerism that was already rampant before the war. In her attempt to resuscitate an idealism that seemed to have deserted the modern world, Cather was accused of sentimentalism by the literati of the time as well as many critics of the following decades, despite the book's considerable popular success. Some critics, however, later pointed out that the many ironies of the narrative should dissuade the reader from hastily equating the author's perspective with that of Claude, the protagonist. By looking at the many echoes that Joan of Arc's story finds in the novel, I shall argue that her story symbolizes both the ideal and its loss, the former now irrevocably confined to a legendary past. We shall see in particular how the voices that Claude encounters in Nebraska serve to designate France as a far-off land that could accommodate all of his ideals, and how the voices that he eventually hears in France actually belie his idealized vision. [ABSTRACT FROM AUTHOR]

Copyright of Insāniyāt / Revue Algérienne d'Anthropologie et de Sciences Sociales is the property of Centre de Recherche en Anthropologie Sociale et Culturelle (CRASC) 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.)