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Le discours publicitaire est resté pendant longtemps un sujet de prédilection pour certains chercheurs, et plus particulièrement les linguistes. En effet, les publicitaires usent de stratégies pour toucher le consommateur et l’amener à l’achat. C’est pourquoi, il y a la présence de certains phénomènes comme l’alternance codique issue du contact des langues qui inondent désormais le discours publicitaire. L’objectif de cette étude est de décrire ce phénomène, à travers des messages publicitaires. Et pour rendre compte de cela, il nous a fallu constituer un corpus à partir de spots publicitaires recueillis auprès de la radio Savane FM. Par ailleurs, la transcription de ces messages audios nous ont permis de déterminer trois types d’alternances codiques.

L'objet de cet article est d'explorer le rôle crucial de la publicité dans la sensibilisation aux pratiques durables et à l'adoption d'une démarche d'innovation écologique en design d'intérieur. Ce rôle est analysé dans un contexte de prise de conscience croissante des enjeux environnementaux. Il souligne que la publicité peut être un outil stratégique de sensibilisation environnementale lorsqu'elle est utilisée de manière responsable, allant au-delà de sa simple association à la promotion commerciale. En mettant en avant les approches écoresponsables en design d'intérieur, la publicité a la capacité d'éveiller les consciences. Elle peut aussi provoquer une évolution progressive des mentalités vers une culture du développement durable. Cet article examine la nécessité de transformer en profondeur la façon dont les individus perçoivent et interagissent avec leur environnement. Il insiste sur l'importance d'intégrer les principes d'éco-responsabilité, d'innovation verte et les nouvelles technologies respectueuses de l'environnement comme des éléments centraux. Le rôle éducatif essentiel de la communication est également souligné pour accompagner efficacement la transition socio-écologique indispensable dans ce domaine. Ainsi, cet article met en avant l'influence positive que peut avoir une communication publicitaire axée sur le développement durable.

In the multimodal era, communication in social media incorporates new codes and elements that challenge traditional definitions of text and the translation field itself. Integrating semiotics, understanding that modes follow a particular hierarchical order, and analyzing how they influence the (re)construction of meaning in certain communities is key to studying transnational hybrid messages, both global and local, in virtual environments. The translation act has proven to be a particularly useful circumstance to understand that modes should not be regarded as signs that carry meaning across cultures. Instead, this paper aims to identify which elements act as "prompts," which (re)activate meaning once the message is repositioned in an alternative cultural context. Through a contrastive analysis of ten transpositions, in Kress's terms, of a Burger King campaign, this work aims to shed light on which elements can be defined as modes and prompts, as well as reflecting upon its hierarchical status in this particular multimodal ensemble, while considering that, in the virtual space, other factors such as repetition and simultaneity may condition the impact and reception of global messages. [ABSTRACT FROM AUTHOR]

This article overviews 100 years of advertising studies in JMCQ. Four distinct eras are identified, each with different distinctive features. The advertising studies in JMCQ are compared with other recent journal overviews, Journal of Advertising (the and should not be in italics) International Journal of Advertising. [ABSTRACT FROM AUTHOR]

Copyright of African & Mediterranean Journal of Architecture & Urbanism (AMJAU) is the property of Ecole Nationale d'Architecture 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 Human Sciences Journal / Revue des Sciences Humaines is the property of Universite des Freres Mentouri Constantine 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 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 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 Semiotica is the property of De Gruyter 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.)

A Multidisciplinary Approach to the Discourse of Persuasive Technical Evidence through Publicity Poster ABSTRACT: this article deals with the publicity argumentation which uses technical proofs that allow the publicists to convince or persuade the potential "consumers". The objective of this type of discourse, like any other, is the ardent promotion of a product to a target audience so that it can have a favorable appreciation of it and buy it by extension. Also, it can aim at making the public aware of the evils of a product or at inviting them to operate a change of behavior. Since publicity discourse is a discourse of belief with a powerful persuasive aim, it is important to know how, through a staging, its resources are mobilized. Through an enunciative, communicative, argumentative and pragmatic approach, this article tries to explain how the emitting instance plays on the representations of the receiving instance. RÉSUMÉ : cet article traite de l’argumentation publicitaire qui fait appel aux preuves techniques qui permettent aux publicistes de convaincre ou de persuader les potentiels « consommateurs ». L’objectif de ce type de discours, comme celui de tout autre d’ailleurs, est la promotion ardente d’un produit chez une cible afin qu’elle puisse en avoir une appréciation favorable et, par ricochet, l’acheter. Aussi, peut-il viser à sensibiliser le public sur les méfaits d’un produit ou à les inviter à opérer un changement de comportement. Le discours publicitaire étant un discours de faire croire à forte visée persuasive, il est important de savoir comment, à travers une mise en scène, ses ressources sont mobilisées. À travers une approche énonciative, communicationnelle, argumentative et pragmatique, cet article tente d’expliquer comment l’instance émettrice joue sur les représentations de l’instance réceptrice

De nos jours, la publicité est omniprésente. Elle est devenue le trait caractéristique de la société de consommation et élément indispensable au fonctionnement de l’économie. La publicité s’est déployée dans presque tous les domaines de la vie sociale au point que si on ne répond pas à l’orientation qu’elle impose, on n’est pas moins exposé aux effets de matraquage qu’elle déchaîne. De ce fait, elle fait partie intégrante de notre environnement et devrait être réglementée.

Copyright of Synergies Roumanie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Íkala: Revista de Lenguaje y Cultura is the property of Universidad de Antioquia 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 Innovar: Revista de Ciencias Administrativas y Sociales is the property of Universidad Nacional de Colombia 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.)

Futuristic Advertising, A New Aesthetic Domain ABSTRACT: Marinetti conceives his activity in the futurist movement as a global, living aesthetic practice, encompassing all artistic disciplines: poetry, theater, cinema, music, painting, sculpture, fashion, cooking, advertising, are the fields in which he gives free rein to his endless creativity. Among the different fields of action of the futurists, the one related to the art of advertising is one of the most interesting, since it is related to productive processes, to competition, to the dynamism of the economy. For the futurists, to participate in the activity of advertising means to act on society and influence its progress. Marinetti sees in the colorful manifestos a fundamental element of the futuristic transformation of the landscape. Advertising becomes one of the symbols of the new industrial and metropolitan reality, intended to promote artistic products in ways comparable to those of a commodity. Advertising becomes a fundamental moment in the relationship with the public because the ephemeral nature of any artistic product leads to its submission to the rules of the market: innovation, originality, invention. Art is subjected to the same rules as any other economic activity, it becomes a product that has a price. RÉSUMÉ : Marinetti conçoit son activité dans le mouvement futuriste comme une pratique esthétique globale, vivante, englobant toutes les disciplines artistiques : poésie, théâtre, cinéma, musique, peinture, sculpture, mode, cuisine, publicité, sont les domaines dans lesquels il donne libre cours à son intarissable créativité. Parmi les différents champs d’action des futuristes, celui qui est lié à l’art de la publicité est l’un des plus intéressants, puisqu’il est lié aux processus productifs, à la concurrence, au dynamisme de l’économie. Pour les futuristes, participer à l’activité publicitaire signifie agir sur la société et conditionner son progrès. Marinetti voit dans les manifestes bariolés un élément fondamental de la transformation futuriste du paysage. La publicité devient l’un des symboles de la nouvelle réalité industrielle et métropolitaine, destinée à promouvoir tout produit artistique comparable à une marchandise de même niveau. La publicité devient dorénavant un moment fondamental dans le rapport avec le public, car le caractère éphémère de tout produit artistique entraîne sa soumission aux règles du marché : innovation, originalité, invention. L’art est soumis aux mêmes règles que toute autre activité économique, il devient un produit qui a un prix.

Copyright of Romanian Review of Private Law / Revista Română de Drept Privat is the property of Universul Juridic Publishing House 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 Victorian England, tea culture became "a fact of life" as advertising appropriated the imperial commodity's surplus values, juxtaposing a semantics of English tea's authenticity with a semiotics of its surplus enjoyment. This article makes a larger observation on English tea culture, with one of its leitmotifs as the United Kingdom Tea Company's advertisements, which were published in leading periodicals such as The Illustrated London News, The Pall Mall Magazine, and The Graphic, between 1888 and 1900. Drawing on Roland Barthes's notion of mythologies, I argue that the United Kingdom Tea Company's advertisements, among others, reconfigured and standardized a gastromythology in English culture. As tea representations became sensualized, gendered, and racialized in English culture, they performed an aesthetically augmented reality to repress the memory of an erstwhile alien product while readily assimilating its identity into the larger fold of English imperialism. Literary and advertorial mythologems of tea drinking are entangled with how specific cultural and ideological mechanisms denominate and modulate culinary tastes and taste perception. Viewing English tea culture as benign expressions of individual or cultivated tastes is ultimately an aesthetic idealism that cannot go unchallenged. [ABSTRACT FROM AUTHOR]

Copyright of Accounting Perspectives is the property of Canadian Academic Accounting Association 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.)

Résumé Cette recherche vise à explorer la valeur de la multimodalité dans l'image publicitaire moderne via quelques affiches et annonces de sites web. Cette multimodalité de l'image publicitaire, qui dépend de l'emploi d'éléments tels que l'image, le texte, l'icône, le logo, les couleurs, etc., est un ensemble de signes expressifs et implicites qui transmet un message au public de manière attractive et promotionnelle pour acheter un produit. Ce phénomène est abordé dans une approche sémiotique à travers la théorie de Joly Martin, qui a suivi une analyse d'images, et qui a développé les idées de Roland Barthes qui considérait que l'image avait un rôle de support dans l'explication du sens voulu selon le texte; alors que Joly pense que les messages iconiques et plastiques d'égale importance comme les messages linguistiques. Par conséquent, nous avons prouvé à travers cette étude que les éléments visuels jouent le rôle de complémentarité ou d'association indissociable de l'élément textuel présent dans l'image publicitaire. À proprement parler, il n'y a pas de perception exhaustive sans une combinaison parfaite entre ces éléments. يهدف هذا البحث إلى التعرف على قيمة الوسائط المتعددة في الصورة الإعلانية الحديثة من خلال بعض الملصقات وإعلانات المواقع الإلکترونية. تعد هذه الوسائط المتعددة للصورة الإعلانية ، والتي تعتمد على استخدام عناصر مثل الصورة ، والنص ، والأيقونة ، والشعار ، والألوان ، وما إلى ذلک ، مجموعة من الإشارات التعبيرية والضمنية التي تنقل رسالة للجمهور بطريقة جذابة وترويجية لشراء منتج. يتم تناول هذه الظاهرة بأسلوب سيميائي من خلال منهجية جولي مارتن ، التي اتبعت تحليل الصور ، والتي طورت أفکار رولاند بارت الذي اعتبر أن للصورة دورًا داعمًا في شرح المعنى المطلوب حسب النص ؛ بينما تعتقد جولي أن الرسائل الأيقونية والبلاستيکية ذات أهمية متساوية مثل الرسائل اللغوية. لذلک ، أثبتنا من خلال هذه الدراسة أن العناصر المرئية تلعب دور التکامل أو الارتباط الذي لا ينفصل عن العنصر النصي الموجود في الصورة الإعلانية. بالمعنى الدقيق للکلمة ، لا يوجد تصور شامل بدون انصهار تام بين هذه العناصر. This research aims to explore the value of multimodality in the modern advertising image through some posters and website ads. This multimodality of the advertising image, which depends on the use of elements such as image, text, icon, logo, colors, etc., is a set of expressive and implicit signals which transmits a message to the public in an attractive and promotional way to buy a product. This phenomenon is approached in a semiotic approach through the methodology of Joly Martin, who followed an analysis of images, and who developed the ideas of Roland Barthes who considered that the image had a supporting role in the explanation of meaning desired according to the text; while Joly thinks that iconic and plastic messages of equal importance like linguistic messages. Therefore, we have proven through this study that the visual elements play the role of complementarity or association inseparable from the textual element present in the advertising image. Strictly speaking, there is no exhaustive perception without a perfect combination of these elements.

Copyright of Synergies Roumanie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Synergies Chine is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Pragmalingüística is the property of Facultad de Filosofia y Letras, Universidad de Cadiz 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 Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures 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 article, we propose tensive semiotic analysis to study emotions in advertising discourse and to show its importance in the field of Marketing. Thus, the impact of emotional speech remains preponderant in the effectiveness of advertising speech. But before starting the tensive semiotic analysis on the study supports, we will highlight the role and the impact of the semiotic works and reflections of Claude Zilberberg, Jacques Fontanille and Louis Hébert. For our analysis, we chose five advertisements, from four French and Algerian brands. [ABSTRACT FROM AUTHOR]

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Since the end of the 1990s, research on discursive ethos – the image of the speaker which is projected by his or her utterance – has been very active in discourse analysis. It contributes to a better understanding of how an enunciation can attract the support of addressees. But in general, this research 1) focuses on isolated texts or individual speakers, not on discursive formations, 2) does not take into account the lexicon when it does not have clear ideological content. On the contrary, this article deals with the role played by some French polysemous adjectives (simple, doux, clair) to make the incorporation (Maingueneau 1999) of readers or listeners possible, to make them adhere to the universe of meaning that is proposed to them. This point of view is first illustrated by the study of an advertising text, before being applied to large discursive formations: a religious movement (“devout humanism”) of the first half of the 17th century; and, in the political field, two antagonistic positions in France under the French Third Republic (1870–1940): the handbooks of Republican School and the monarchist movement “l’Action Française”. We are led to conclude that adjectives, by their polysemy, “saturate discourse.” Through ethos, discourse does not only persuade by the ideas it delivers: it also sets the addressee in a speech scene that partakes of the semantic characteristics of the ideological universe that discourse aims to promote.

The material suggested in this publication demonstrates the possibility of organising extra­curricular work to study the history of France. Knowledge and skills gained in linguistic and cultural studies are updated in the new context of a museum of art. Dealing with works of art and intensive search activities reinforce students’ positive attitude to learning the subject of study. The French language skills being improved relate to understanding the quest tasks, reading the necessary literature, as well as reporting about the quest results and sharing impressions after visiting a museum.

Selon Jeremy Bentham : « la publicité est l’âme de la justice » . Celle-ci ne saurait être secrète ; elle se doit au contraire d’être transparente. Or cette exigence n’est pleinement satisfaite que lorsque tout citoyen peut avoir connaissance des décisions de justice en y accédant, à la fois matériellement, en les obtenant, et intellectuellement, en en comprenant le sens et la portée. La première dimension renvoie à l’accessibilité stricto sensu et la seconde à l’intelligibilité, pour reprendre la terminologie employée par le Conseil constitutionnel il y a près de vingt ans lorsqu’il a consacré l’objectif à valeur constitutionnelle d’accessibilité et d’intelligibilité du droit. La justice administrative a engagé une réflexion sur l’accessibilité et l’intelligibilité de ses décisions. Un groupe de travail sur la diffusion de ses productions, présidé par Christian Vigouroux a rendu un rapport en 2010. Un autre groupe de travail, présidé par Philippe Martin a rendu un rapport sur la rédaction des décisions de la juridiction administrative en 2012. Bien que les deux dimensions, matérielle et intellectuelle, de l’accès aux décisions de la justice administrative interagissent, il convient de les distinguer en abordant d’abord l’accessibilité (I) puis l’intelligibilité (II).

Cette étude présente le phénomène de la polyphonie dans le discours publicitaire en ligne. On analyse une publicité audiovisuelle et une publicité à image fixe, les deux au chocolat Milka, et l’impact que les slogans peuvent avoir sur les gens. Dans la publicité audiovisuelle, la polyphonie est illustrée par l’ironie et, dans la publicité à image fixe, la polyphonie est contenue dans l’intertexte. En ce qui concerne l’impact des slogans, l’article se concentre sur la polyphonie réceptive illustrée par les commentaires des internautes, deux pages Internet et les résonances actuelles au niveau discursif. Le concept linguistique de polyphonie peut être utilisé pour mieux comprendre la structure profonde du discours publicitaire en ligne.

This paper shows how the reproduction of the same images and the iconographic variations create and fix geographical and national stereotypes. Iconographic palimpsestes in the representations of a city or a country lead us to view the territory as always the same. In three different examples from the Thirties, I study the circulation of images, their relationships with graphic layouts and textual elements and the influence they have on their reception. I show how visual and textual clichés work together in the production and reproduction of national stereotypes. [ABSTRACT FROM AUTHOR]

While Canada, like most other nation states, has adopted various aspects of neoliberalism, the recent Cannabis Act presents ideological tensions and practical concerns given its advertising and promotional restrictions. Given the rise of neoliberalism within the dominant social, economic, and cultural system of consumer capitalism, it seems contradictory for the Canadian state to develop legislation that creates (or at least, legalizes) a new market wherein advertising and promotions (i.e., the driving forces of consumer capitalism) are effectively made absent. This article identifies and interrogates the existing tensions and contradictions between the Cannabis Act and the promotional cultures of consumer capitalism, as well as the ways in which the Trailer Park Boys (TPB) "brand" and performers (as promotional intermediaries) have attempted to circumvent the existing promotional restrictions. Beginning with a review of the existing literature regarding relevant theoretical perspectives and key concepts, the article provides a brief overview of the Cannabis Act, its promotional restrictions, and the exemptions and legal loopholes thereof. Finally, in presenting and engaging with a case study, this article concludes that the TPB brand has, effectively, circumvented the Cannabis Act's existing restrictions and subsequently become a multi-platform promotional intermediary. [ABSTRACT FROM AUTHOR]

Background: This article examines how Canadian cannabis companies promoted their new brands after legalization in late-2018. Analysis: Nearly 4,000 items were collected from the websites and social media of 20 cannabis brands and triangulated with insight from the trade press. The promotional practices are contextualized in two areas: the history of tobacco advertising in Canada, as legal precedent for the Cannabis Act, and theories of branding. Conclusion and implications: Brands are navigating the Cannabis Act's promotion restrictions by embodying what it means to be a brand in the twenty-first-century media environment. This reveals an incompatibility between regulations and contemporary marketing. [ABSTRACT FROM AUTHOR]

During the period between 1890 and 1909, the press played a crucial role in the dissemination of gender identities. It would be through the media of this era where the different expressions of masculinity and femininity were condemned, signaled, and promoted. In this investigation, the Madrid newspaper, EL ÁLBUM IBERO-AMERICANO, is the principal source used in order to trace these alterations. The methodology used to localize the marks of these changes, above all those related to the masculine, has been to select the opinion articles most connected with the modifications in these gender paradigms. The information obtained from the analysis of these articles has been complemented with the localization of the advertising section of the newspaper, of products linked to these changes, such as Pastillas Bonald or the Polvos Coza. This research concludes that EL ÁLBUM IBERO-AMERICANO was more than a feminine newspaper. From its pages, masculine alternatives were offered so that their readers would leave aside social expressions that were more typical of what from this medium was defined as «ugly sex» than of men who intended to live in an open society with parity between the sexes. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Economic Sciences, Management & Commercial Sciences (JESMCS) is the property of Association of Arab Universities 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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La viralité est un phénomène communicationnel qui a connu son essor depuis le développement d’Internet, du Web 2.0 et des médias et dispositifs socionumériques, et qui demeure aujourd’hui un phénomène majeur de la culture Web. Elle constitue un phénomène complexe qui est la résultante d’une multiplicité de facteurs potentiellement à son origine, qui lui sont favorables et/ou qui l’orientent. Malgré plusieurs travaux étudiant ces divers facteurs, il ne semblerait cependant qu’aucun d’entre eux ne se soit penché sur l’influence du genre dans un phénomène viral. L’enjeu du présent article est de démontrer, par la méthode expérimentale, la significativité de l’influence d’un tel effet sur les intentions de partage selon les genres. Nos premiers résultats permettent déjà de dégager une première tendance quant à l’hypothèse formulée : le genre ne semble avoir aucun effet significatif sur le phénomène viral.

Cet article est consacré à l’étude sémiotique de la notion de vide et du sens qu’elle peut prendre en marketing, et plus particulièrement en communication comme en design de produits. Il s’appuie sur un exemple international originaire du Japon, celui de la marque MUJI. Le cadre méthodologique choisi pour cette analyse du discours non verbal tenu par une marque est le modèle interactionnel développé en socio-sémiotique par E. Landowski. L’étude s’efforce de rendre compte de l’efficacité stratégique attendue de l’indétermination sémantique délibérément affichée dans les campagnes publicitaires de la marque, là où l’on s’attendrait classiquement à des significations clairement articulées. Elle montre sur quelle base (à savoir la syntaxe de «l’ajustement») et avec quels effets les récepteurs sont invités à attribuer par eux-mêmes un sens aux très grands espaces vides apparaissant sur les affiches MUJI. Elle explique en outre comment une politique publicitaire aussi inhabituelle est devenue une philosophie de marque, et comment cette philosophie a été également appliquée au design des produits : le cœur de l’étude vise à montrer comment une «éthique de marque» et une «esthétique de marque» peuvent se manifester à la fois dans des signes bidimensionnels et tridimensionnels (c.-à-d. dans des affiches et dans des produits), et exploiter ensemble le même régime interactionnel de l’«ajustement». Enfin, l’étude se termine sur l’analyse de la structure énonciative mise en œuvre dans l’ensemble des productions de la marque. La dernière partie de l’article est ainsi consacrée aux différents types d’énonciataires construits par ces « textes » (publicités et produits), ainsi qu’à la notion de méta-choix, un concept proposé par Landowski, et comment cette nouvelle approche de la gestion de la marque remanie l’ensemble du paradigme marketing.

Lieu de construction et reflet de valeurs sociétales propres au contexte dans lequel elle s'inscrit, la publicité propose des contenus et des scénarios caractéristiques, des ‘artefacts’ qui se prêtent idéalement à la sensibilisation pour l'altérité culturelle. Dans le cas de l'enseignement d'une langue étrangère, elle se présente comme un outil particulièrement riche pour faire découvrir aux étudiants le phénomène sous diverses facettes. Cet article présente des pistes didactiques destinées à explorer la dimension interculturelle en classe de FLE (français langue étrangère), en se penchant sur la dernière campagne publicitaire de la compagnie Air France intitulée « France is in the Air ». Étudiée dans une perspective comparative, cette campagne recèle de nombreux éléments caractéristiques d'une ‘exception française’ en matière de communication publicitaire : émotion sous diverses formes (rêve, évasion, romantisme), esthétique visuelle et verbale, narcissisme culturel, grand spectacle, séduction, amour, humour. Destinée à porter les valeurs nationales à l'étranger, elle offre à son public-cible un modèle symbolique propageant l'idéal irréel d'une France magnifiée, mythique et atemporelle. D'un point de vue sociosémantique, ce que nous fait miroiter la campagne d'Air France est, avant tout, la réalité d'une nation en quête d'identité et de sens, éternellement nostalgique de sa grandeur passée.

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