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International audience; Cet article examine les relations personnelles, politiques et littéraires entre Louis Aragon, un des plus grands poètes français du XX e siècle, et les poètes et intellectuels yougoslaves et serbes, depuis la fin de la Deuxième Guerre mondiale jusqu'aujourd'hui. En prenant comme point de départ la présence de la Yougoslavie dans les oeuvres d'Aragon publiées durant cette période, ainsi que ses relations personnelles avec les auteurs serbes, l'article montrera que la politique joue un rôle crucial dans le rapprochement entre Aragon et les intellectuels yougoslaves, en particulier avec Marko Ristić. L'article expliquera également l'éloignement d'Aragon d'avec la politique yougoslave et ses anciens amis après la Résolution du Kominform, puis mettra en évidence le reflet de ses pensées dans ses écrits et l'influence de la politique dans la réception de son oeuvre dans le milieu yougoslave et serbe.

International audience

International audience

International audience

Avec le soutien de l'Université de Poitiers ; Avec comme partenaire le Centre culturel international de Cerisy; International audience; Les articles réunis ici tentent de faire la lumière sur l’extension du genre du roman noir, travaillant les codes pour les adapter comme Tardi, transposant J.-P. Manchette ou Black Sad, dont les auteurs reprennent les images du film noir dans le roman graphique. Le genre noir se fait le porte-parole de réalités criminelles à l’œuvre dans nombre de sociétés, et il utilise sa « fiction » pour les dénoncer, et ceci aussi bien dans les romans (D. Meyer, H. Mankell, A. Indridason) que dans les films (J. Gray, M. Scorsese, A. Egoyan) ou les séries (The Wire).

International audience

see publication #027 - HAL‑xxxxxxxx; International audience; Sign Languages (SLs) are the visual-gestural languages of the deaf. Although not provided with an “ordinary” writing system, there have been numerous attempts to represent them graphically; this work deals with the graphic system that seems most promising: SignWriting (SW). SW is composed of nearly 40 000 glyphs (symbols), which are organized into Classes and Families on the basis of some functional and/or graphical affinities.During the years, the creator, Valerie Sutton, and her collaborators have developed different versions of SW, adding new glyphs always maintaining its original structure; however, in 2010, with the aim of comply with Unicode requirements, SW went through a substantial make-up, still without touching the core of the system. As a consequence, the latest version is more coherent but remains somehow inconsistent, as it is full of exceptions that do not allow establishing a clear linkage between a glyphic "prototype" and all of its connotations, making SW apparently very complex to master.Therefore, the aim of this study is to reorganize SW, of course without changing its nature, but nevertheless shaking the foundations and modifying some methodological pillars of SW, in order to re create the regularities that were lost during its evolution, and which are necessary to facilitate learning and use, both on paper and with computer programs, thus allowing a greater diffusion of SW in the deaf community and within the linguistic research.The new classification and arrangement of SW "bricks" is based on graphic and functional features, whose primary purpose has been to promote SW teaching to deaf and hearing signers, but which thereafter became also the basis for developing a novel editor for texts written in SW, called SWift (SW improved fast transcriber).

The French regionalist publishing industry, still unknown by a large majority of the public and literary researchers, is yet an important actress in French regions. However, regionalist publishing houses struggle to find a place on the French literary market: as the monopoly of the big publishing houses and the disinterest of the younger populations is not helping, regionalist publishing houses needs to set up a strategy to promote and boost the visibility of their catalogues. This M.A. thesis therefore aims to study the different forms of mediation that a regionalist publishing house can put in place to secure itself a place in the French literary market in a sustainable way. As the territory is an important concept for such a structure, we are wondering about the connection that it can maintain with the mediation of a regionalist publishing house. Furthermore, with the development of the Internet in recent years, it is essential that regionalist publishing houses follow suit and expand their online mediation. Mediation is an essential strategy to put in place for the regionalist structure, which then gains in visibility and recognition. The recent health crisis having undermined the French literary industry, it is also important that we ask ourselves about the changes that it has been able to bring to the mediation of regionalist publishing houses and what forms it can take in the future.; L’édition régionale, encore méconnue du grand public et de la recherche littéraire, est néanmoins une actrice importante de nos régions. Pourtant, les maisons d’édition régionales peinent à se faire une place sur le marché littéraire français : le monopole des grandes maisons d’édition et le désintérêt des populations plus jeunes n’aidant pas, l’édition régionale a alors besoin de mettre en place une stratégie afin de promouvoir la visibilité de son catalogue. Ce mémoire vise alors à étudier les différentes formes de médiation qu’une maison d’édition régionale peut mettre en place afin de s’assurer une place sur le marché littéraire français de manière durable. Le territoire étant une notion importante pour une telle structure, nous nous interrogeons sur le lien que celui-ci peut entretenir avec la médiation d’une maison d’édition régionale. De plus, avec le développement d’Internet ces dernières années, il est primordial que les maisons d’édition régionales suivent le mouvement et étendent leur médiation en ligne. La médiation est une stratégie primordiale à mettre en place pour la structure régionale, qui alors gagne en visibilité et reconnaissance. La crise sanitaire ayant mis à mal l’industrie littéraire française, il est également important que nous nous interrogions sur les changements que celle-ci a pu apporter à la médiation de l’édition régionale et quelle forme celle-ci peut prendre pour le futur.

Among the many ways of distributing books that exist today, a new concept appeared less than 10 years ago : literary boxes. They are based on a subscription system that delivers the customer to their home, and contain one or more books, as well as many surprises. Their lack of seniority has led them to set up numerous systems, both to attract customers and other players in the literary market, but also to build loyalty. The aim of this thesis is to show how literary boxes, as a new concept, fit into the book market. The problematic we will answer is the following: in what way do literary boxes, which seek to insert themselves as a new player in the literary market, present themselves as a new means of disseminating reading to a public that they will build loyalty around a literary community ? As this subject is still relatively recent, few studies have been carried out on the boxes, and none on the specificity of literary boxes. In order to answer this question, a collection of data and information, collected on numerous sites and during an internship, was carried out. After evoking the concepts that inspired the boxes and tracing their history, their atypical functioning was explained, as well as the advantages they bring, both to the other actors of the literary market with whom they are partners, and to the customers. To build consumers loyalty, they use various techniques, but the evolution of the book market allows us to speculate on the future of such a concept.; Parmi les nombreux moyens de diffusion du livre qui existent aujourd'hui, un nouveau concept a fait son apparition il y a moins de 10 ans : les box littéraires. Elles reposent sur un système d’abonnement livrant un ou plusieurs livres au client à son domicile, ainsi que de nombreuses surprises. Son manque d’ancienneté les amène à mettre en place de nombreux systèmes, à la fois pour attirer les clients et les autres acteurs du marché littéraire, mais aussi pour les fidéliser. L’objectif de ce mémoire est de montrer comment les box littéraires, en tant que nouveau concept, s’insèrent sur le marché du livre. La problématique à laquelle nous allons répondre est la suivante : en quoi les box littéraires, qui cherchent à s’insérer comme un nouvel acteur sur le marché littéraire, se présentent-elles comme un nouveau moyen de diffuser la lecture auprès d’un public qu’elles vont fidéliser autour d’une communauté littéraire ? Ce sujet étant encore relativement récent, peu d’études ont été réalisées sur les box et aucune sur la spécificité des box littéraires. Pour répondre à cette question, je prendrais appui sur des données et des informations collectées lors de mon stage et de mes recherches sur des sites Internet. Après avoir évoqué les concepts qui ont inspiré les box, et retracé leur histoire, puis expliqué leur fonctionnement atypique, je montrerais les avantages qu’elles apportent, à la fois aux autres acteurs du marché littéraire avec qui elles sont partenaires, et aux clients. Pour fidéliser ces derniers, elles mettent en place diverses techniques, néanmoins, l’évolution du marché du livre permet d’émettre des hypothèses sur l’avenir d’un tel concept.

International audience

International audience

International audience

Scholar; International audience; In the last years, many ways have been explored to write Sign Languages (LS) through the invention of notation systems. The presentation of three of them allows explaining certain choices, which may open the question of their taxonomic hybridization. The LS and their writings recall in their production the same articulators (upper body) and in their reception the same visual mode: these circumstances of unprecedented sharing put writing and orality co-existence, where scripturality may arise from formal and gestural intrinsic dimensions of orality and expression of LS. This potential is variously implemented by these writing systems, which raises questions about the implications of updating the writing systems to each other. Some systems, like SignWriting, try a pictorial analogy between the glyph and what it represents; others, like Typannot, tend to exploit the sign weaving as dynamic. The multilinearity of LS remains a challenge, due to the complexity of the registers to be represented. From these constraints, an overview of the writings of LS is presented, with an interdisciplinary approach that combines linguistics, typography and calligraphy.; Depuis quelques décennies, les langues des signes (LS) connaissent des tentatives d’écritures à travers l’invention de systèmes de notation. La présentation de trois d’entre eux permet d’expliquer certains choix à même d’ouvrir la question de l’hybridation taxonomique des systèmes scripturaux. Les LS et leurs écritures convoquent dans leurs productions les mêmes articulateurs (membre supérieur) et dans leurs réceptions la même modalité visuelle: ces circonstances inédites de partage placent l’écriture et l’oralité dans un rapport de co-existence où la scripturalité peut se manifester comme un jaillissement à partir des dimensions formelles et gestuelles intrinsèques de l’oralité et de l’expression des LS. Ce potentiel est saisi ou non par ces systèmes d’écritures, ce qui pose des questions quant aux implications d’une forme d’actualisation de l’écriture par rapport à une autre. Certains, comme SignWriting, recherchent une analogie imagique entre l’unité glyphique et ce qu’elle figure de la scène; d’autres, comme Typannot, tendent à exploiter le tracé du signe en tant que dynamique. La multilinéarité des LS reste un défi à cause de la complexité des registres à représenter. À partir de ces contraintes, un tableau général des écritures en LS est présenté dans une approche interdisciplinaire mêlant linguistique, typographie et calligraphie.; Da qualche decina d’anni, si sta tentando di scrivere le Lingue dei Segni (LS) tramite l'invenzione di sistemi di notazione. La presentazione di tre di loro permette di spiegare certe scelte capaci di aprire la questione della loro ibridazione tassonomica. Le LS e le loro scritture richiamano nella loro produzione gli stessi articolatori (estremità superiore) e la loro recezione nella medesima modalità visiva: queste circostanze inedite di condivisione pongono scrittura ed oralità in un rapporto di co-esistenza, dove la scritturalità può scaturire dalle dimensioni formali e gestuali intrinseche dell’oralità e dell'espressione di LS. Questo potenziale è variamente recepito da questi sistemi di scrittura, il che solleva domande circa le implicazioni dell’aggiornamento di una scrittura rispetto all’altra. Alcuni sistemi, come SignWriting, cercano un'analogia di immagine tra il glifo e ciò che rappresenta; altri, come Typannot, tendono a sfruttare la trama del segno come dinamica. La multilinearità delle LS resta una sfida a causa della complessità dei registri da rappresentare. Da questi vincoli, viene presentata una panoramica delle scritture di LS con un approccio interdisciplinare che combina linguistica, tipografia e calligrafia.

International audience

International audience; In 1716, Andrew M. Ramsay published a speech in defence of Fénelon's Les aventures de Télémaque (1699). Later, in 1756, José Linares y Montefrío offered his translation into Spanish. Although the censorship of the Spanish edition guarantees the accuracy of his translation, a comparison with the original text reveals that it is an adaptation. While Ramsay confronts the rigid classicism of epic theory, the translator reformulates its key elements. This study aims to analyse how the practice of literary theory in the Enlightenment does not respond to a universalist approach, but is constituted according to the tendencies of each literary field.; En 1716, Andrew M. Ramsay publicó un discurso en defensa de Les aventures de Télémaque (1699) de Fénelon. Más tarde, en 1756, José Linares y Montefrío ofreció su traducción al castellano. Pese a que la censura de la edición española garantiza la exactitud de su traducción, una comparación con el texto original desvela que se trata de una adaptación. Mientras que Ramsay confronta el rígido clasicismo de la teoría épica, el traductor reformula sus elementos clave. Este estudio pretende analizar cómo la práctica de la teoría literaria en la Ilustración no responde a un carácter universalista, sino que se constituye según las tendencias propias de cada campo literario.

International audience

L’ouvrage propose une réflexion sur l’adaptation des « théories de la lecture » (Iser, Jauss, Eco, Jouve,…) au domaine de la poésie. Il pratique également une analyse des théories poétiques (Deguy, Dessons, Gullentops, Tsur,…) en choisissant l’angle d’attaque constitué par la lecture. Enfin, il propose une mise à l’épreuve de ces théories à l’aune de quatre textes de poésie contemporaine de la deuxième moitié du 20è siècle et du début du 21è siècle (Aimé Césaire, Bernard Noël, Dominique Fourcade, Florence Pazzottu).Qu’en est-il de l’immersion du lecteur dans la poésie actuelle ? Le lecteur peut-il « entrer » dans la lecture de poésie, par une immersion ou par promenade d’un corps mentalisé de lecteur dans un univers non complet ? Nous verrons qu’il y est guidé par des traces de mimésis, par les sensorialités des images et des rythmes, vécus de façon oblique. Le mode de lecture spécifique à la poésie éveille à la fois la perception de la forme et du sens, la première n’étant pas évincée au profit du second. Les analyses de textes font apparaître les grains, les textures spécifiques de chaque œuvre : ainsi se combinent les perceptions des images, des rythmes et des sons, par le lecteur qui peut y investir ses affects aussi. Finalement, l’ouvrage cherche à montrer que la lecture poétique ne passe pas par de l’immersion mais par des moments d’intensité dans la lecture vécus par un corps imaginaire.

International audience

International audience

International audience

International audience; Comment, de Rousseau à Jean-Paul Goux, se fait la découverte d'un genre lors des lectures d'enfance

International audience; Comment, de Rousseau à Jean-Paul Goux, se fait la découverte d'un genre lors des lectures d'enfance

International audience; The reading of Lautreamont and Gracq, at the age of sixteen, opens to Jean-Paul Goux the world of literature and writing. From the outset, he conceives the reading of a strongly structured prose as the place for a decisive aesthetic experience that he will be willing to offer in all his novels and narratives. His poetics are based on a very personal phrasing that rejects any auctorial domination, and suggests the intertwining of space and time. It thus tries to let the reader experience, in a fragmented world, the feeling of the continuous.; La lecture de Lautréamont et Gracq en classe de première ouvre à Jean-Paul Goux le monde de la littérature et de l’écriture. D’emblée, il conçoit la lecture d’une prose fortement charpentée comme le lieu d’une expérience esthétique déterminante qu’il cherchera à retrouver en mettant en œuvre, de roman en récit, une poétique romanesque fondée sur un phrasé très personnel, un refus de la voix auctoriale dominante, un entrelacement de l’espace et du temps dans la description de « l’acte d’habiter ». Il tente ainsi d’offrir au lecteur, dans un monde fragmenté, une expérience du continu.

International audience; Comment un enfant lit-il les Fables de La Fontaine ? Pour tenter de répondre à cette question, l’auteur de l’Émile choisit une fable parmi celles qu’il juge les plus adaptées aux jeunes lecteurs, « Le Corbeau et le Renard », et essaie de la lire depuis ce qu’il pense être la perspective d’un enfant de dix ans. Mais la conclusion à laquelle Rousseau parvient au terme de cet exercice déjoue les attentes. Cet effort inédit de caractérisation de la lecture enfantine aboutit in fine à un ajournement de celle-ci : Rousseau conclut de cet exercice qu’Émile enfant ne saurait lire les Fables de La Fontaine, dont il repousse la découverte à ses dix-huit ans. À cette éviction de la littérature dans l’enfance, seul Robinson Crusoé, lu entre douze et quinze ans, constituera une exception. Pourquoi cette possibilité de rencontre avec la littérature à dix ans est-elle finalement repoussée ? Ce refus nous surprend aujourd’hui car il prend en partie le contre-pied de notre conception contemporaine de la lecture : dès notre enfance, nous nous incorporons des livres qui nous guident pour voir le monde. Nous lisons pour apprendre à vivre. Rousseau recommande tout le contraire : la lecture ne fait pas partie de l’apprentissage d’Émile, ou fort tardivement, et ce n’est qu’une fois sa raison et sa sensibilité déjà formées que Rousseau jugera qu’il a les armes pour affronter enfin la littérature… Dans l’Émile, il faut apprendre à vivre afin de pouvoir lire.

International audience; Comment, de Rousseau à Jean-Paul Goux, se fait la découverte d'un genre lors des lectures d'enfance

International audience; This paper studies the theoretical, literary and æsthetic references in the epic poetry published in the journal Correo de Sevilla (1806), where it appeared a comparison between Virgil and Tasso, besides a curious biography of John Milton. As a consequence of reading Juan Andrés’ masterpiece Origen, progre‑sos y estado actual de toda la literatura (1784-1806), two articles were published, one of them by Manuel María de Arjona. He analyzes Virgil and Tasso’s style and reveals the matter of keeping epic poetry as a literary genre through an emotional reading following the theorical rules.

Most of the research on Sign Languages (SLs) and gesture is characterized by a focus on hands, considered the sole body parts responsible for the creation of meaning. The corporal part of signs and gestures is then blurred by hand dominance. This particularly impacts the linguistic analysis of movement, which is described as unstable, even idiosyncratic. Boutet’s Kinesiological Approach (KinApp) repositions the speaker’s body at the core of meaning emergence: how this approach considers and conceptualizes movement is the subject of this article. First, the reasons that led SLs researchers to neglect the analysis of the sign signifying form, focusing on the hand, are exposed. The following part introduces KinApp which, through a radical change of point of view, allows revealing the simplicity and stability of movement: understanding the cognitive and motor reasons for this stability is the subject of research whose methodology is described. Setting the body at the center of analysis requires a descriptive model capable of accounting for the SLs signifying form, thus going beyond existing transcription systems. The last part is devoted to the presentation of Typannot, a new transcription system, aimed not only at a kinesiological description of SLs but also at assisting researchers to modify how they understand and analyze movement.

International audience; L'immigration actuelle des «grands nombres» a mis au premier plan les questions de l'assimilation, de l'adaptation, de la marginalisation. Ce domaine de recherche relativement récent a mis en évidence l'importance de l'adaptation de l'émigré à l'espace étranger, seule capable de transformer le pays d'accueil en « deuxième patrie ». Quand il est question, non plus d'un individu isolé, mais d'une diaspora, on observe la création d'une topographie particulière à ce groupe, condition d'une survie réussie sur le plan identitaire et culturel. L’émigration russe offre l’exemple d’une communauté structurée qui fonctionne comme un sas, permettant une intégration sans assimilation : au niveau de la deuxième ou de la troisième génération, la fidélité aux racines se conjugue avec l'attachement à la patrie française.; Современная массовая иммиграция выдвинула на первый план вопросы ассимиляции, адаптации, маргинализации. Феномен эмиграции стал объектом комплексного изучения, в том числе географии культуры. Успешная адаптация эмигранта к новой стране проживания зависит от благополучного освоения чуждого ему пространства. Только тогда может он воспринимать приютившую его страну как «вторую родину». Если речь идет не об одном индивиде, а о целой диаспоре, то создается особенная этнокультурная топография, позволяющая данной группе сохранить свою индентичность и свое культурное наследие. Этот аспект убедительно даказан опытом культурного выживания первой русской эмиграции, осевшей в столице Франции, Париже.

International audience

(poster); International audience; Two main issues are still at stake for the transcription of gestures (i.e., co speech gestures and SL signs): i/ the time used to transcribe; and ii/ a sole system for these two kinds of transcriptions (Slobin et al., 2001). The time needed to annotate gestural phenomena restricts drastically the size of the corpus and therefore the possible generalizations; on the other side, the lack of a common transcription system makes difficult any comparison across studies of sign or gesture forms (see the description of “pointing gestures with a functional point of view” [Kita, 2003] and of “buoys in SL” [Liddell, 2003]) and means of expression (for example, many co-speech gestures introduced in SL discourse). This fact increases the differences between a “genuine” linguistic production and the co-speech gestures (Schembri et al., 2005; Goldin-Meadow & Brentari, 2017) and sometimes even essentializing these differences (Singleton et al., 1995; McNeill, 2015).A formal transcription system designed for SL (developed by the Typannot project) - but available for co-speech gestures as well - depicts each segment (hand, forearm, arm and shoulder) of the upper limb, palm orientation, handshapes and non-manual parameters (including mouth actions, facial expressions, head and torso positions). Each articulator is associated to a different OpenType font (e.g., Typannot_HandShape font, Typannot_MouthAction font, etc.) belonging to a specific font family (Boutet et al., 2018). Every character (in Unicode sense) of a Typannot_font contains only one specific information (for example, fingers, shape, angle and closeness between fingers are provided for handshapes; Bianchini et al., 2018) necessary to describe all the features of an articulator. An advanced system of typographic ligature allows the user to see a single “holistic” glyph containing every feature, assuring searchability in a readable way.Because of their formal approach, using these Typannot_fonts allows: i/ a comparison between SL and gestures/mimics in multimodal discourses; and ii/ in SL, detailed sub-parameter queries, e.g., about the angle of a segment according to a peculiar degree of freedom (e.g., full extension of the hand) and up to the relations among segments - it is even possible to discriminate pointing forms, regardless of a finger. A corpus of multimodal French discourses and French Sign Language (LSF), of several minutes each, has been transcribed (with ELAN) using the Typannot_fonts in manual and semi-automatic ways. This last kind of transcription in Typannot_fonts is made filming the speaker wearing an IMU device, and processing the video with OpenFace (Baltrušaitis et al., 2018).In this talk, we will present this family fonts system, its structure, the annotated features, the possible queries made at two levels, the characters themselves and their ligatured glyphs. Some transcribed data and preliminary results will be exposed, focusing on the time used for transcription, by comparison of the ratio between manual and semi-automatic processing.We propose, as a side event to the conference, to set up a tutorial session (3 hours, small group) to learn how to use the Typannot transcription environment. BIBLIOGRAPHYBaltrušaitis T., Zadeh A., Chong Lim Y, Morency L-P. 2018. OpenFace 2.0: facial behavior analysis toolkit. 13th IEEE Intl Conf. Automatic Face & Gesture Recognition (FG 2018): 59-66. doi.org/10.1109/FG.2018.00019Bianchini C.S., Chèvrefils L., Danet C., Doan P., Rébulard M., Contesse A., Boutet D. 2018. Coding movement in sign languages: the Typannot approach. Proc. ACM 5th Intl Conf. Movement and Computing (MoCo'18), sect. 1(#9): 1-8.Boutet D., Doan P., Bianchini C.S., Danet C., Goguely T., Rébulard M. 2018. Systèmes graphématiques et écritures des langues signées. in “Signatures: (essais en) sémiotique de l’écriture” (J.M. Klinkenberg, S. Polis eds). Signata, 9: 391-426.Goldin-Meadow S., Brentari D. 2017. Gesture, sign and language: the coming of age of sign language and gesture studies. Behavioral and Brain Sciences, 40(e46): 1-82.Kita S. 2003. Pointing: a foundational building block of human communication. in "Pointing: where language, culture, and cognition meet" (S. Kita ed.). Erlbaum (Mahwah NJ): 1-8.Liddell S.K. 2003. Grammar, gesture, and meaning in American Sign Language. Cambridge University Press.McNeill D. (2015). Why we gesture. in: "Why we gesture: the surprising role of hand movements in communication". Cambridge University Press: 3-20. doi.org/10.1017/CBO9781316480526.002Schembri A., Jones C., Burnham D. 2005. Comparing action gestures and classifier verbs of motion: evidence from Australian Sign Language, Taiwan Sign Language, and nonsigners’ gestures without speech. Journal of Deaf Studies and Deaf Education, 10(3), 272-290. doi.org/10.1093/deafed/eni029Singleton J.L., Goldin-Meadow S., McNeill D. 1995. The cataclysmic break between gesticulation and sign: evidence against a unified continuum of gestural communication. in: "Language, gesture, and space" (K. Emmorey, J. Reilly eds). Hillsdale NJ: Lawrence Erlbaum Associates Publishers: 287-311.Slobin DI., Hoiting N., Anthony M., Biederman Y., Kuntze M., Lindert R., Pyers J., Thumann H., Weinberg A. 2001. Sign language transcription at the level of meaning components: the Berkeley Transcription System (BTS). Sign Language & Linguistics 4(1-2): 63-104. doi.org/10.1075/sll.4.12.07slo

International audience

The economic imbalances that characterize the world economy have unequally distributed costs and benefits. This raises the question how countries could run long-term external surpluses and deficits without significant opposition against the policies that generate them. We show that economic ideas, and their emphasis in the public discourse , help to secure mass political support for these policies and the resulting economic outcomes. First, a content analysis of 32,000 newspaper articles finds that the dominant interpretations of economic outcomes in Australia and Germany concur with very distinct perspectives: external surpluses are seen as evidence of competitiveness in Germany, while external deficits are interpreted as evidence of attractiveness for investments in Australia. Second, survey experiments in both countries suggest that exposure to these diverging interpretations has a causal effect on citizens' support for their country's economic strategy. Economic ideas, thus, are crucial to provide the societal foundation of national growth strategies.

International audience

International audience; In Fellini’s Roma, the famous sequence in which ancient frescoes are discovered during the construction of thesubway is a key scene and an allegory of his filmic and artistic approach. But Fellini’s boldness goes further. Duringthe sequence, the filmmaker, using a somewhat fantastic shortcut, breaks through the wall that separates the worldof the living and the forgotten world of ancient figures. He thus uses metalepsis at the heart of the film. Figures whowere about to fade away under the effect of the outside world come again to life in his film, just as, in Virgil, the soulsof the dead, grouped on the banks of the river Lethe, are waiting in the hope of returning to the world of the living.The film has often been compared to a patchwork, or a mosaic, imaging a complex and stratified city. But ratherthan a mosaic, we should speak of threshold crossings, that is to say rhetorical effects, amongst which the main onecould be metalepsis. Fellini’s Roma is not only a melancholic and hectic fresco of a visionary director, but also anever-moving network of initiatory paths. Through the Fellinian shifts and transgressions, it is the incessant renewalof Rome which is shown.

International audience

International audience

International audience

International audience; Multilingualism permits to compare elements of each known language, favoring the development metalinguistic awareness which helps to correlate the functioning of own reference languages (L1, L2, etc.). To all intents and purposes, signing Deaf are bilingual people with sign language (SL) as L1 and an own vocal language (VL) as L2. Since deafness affects only the auditory canal, it should be reasonable to expect that Deaf (signing or not) have the same competence in VL writing than hearing people; however, Gillot (1998) has demonstrated that 80% of French Deaf adults have a scarce level of literacy. On the other hand, Garcia et al. (2005) have proved that deaf signers have a better relationship with writing than Deaf not knowing SL, while Perini (2013) has evinced how SL knowledge helps the Deaf to understand the functions of writing, a fundamental activity for writing proficiency. To improve Deaf's writing it would therefore be even more useful to propose exercises comparing the written forms of SL and of VL. However, this is not simple, as SLs are historically pure "oral" languages, without an established writing system. That notwithstanding, experiments using Sutton's (1995) SignWriting, a graphic representation system of SL, have shown how the knowledge of a SL writing system allows, in very natural ways, the emergence of metalinguistic reflections which can then be reinvested to better understand the structure and functioning of the own reference VL.; Le multilinguisme permet de comparer des éléments de chaque langue connue, favorisant le développement d'une conscience métalinguistique pour corréler le fonctionnement de ses propres langues de référence (L1, L2, etc.). À toutes fins utiles, les sourds signeurs sont bilingues avec la langue des signes (LS) comme L1 et une langue vocale (VL) comme L2. Puisque la surdité n'affecte que le conduit auditif, il est raisonnable de s'attendre à ce que les sourds (signeurs ou pas) aient la même compétence en rédaction de LV que les entendants; cependant, Gillot (1998) a démontré que 80% des adultes sourds français ont un faible niveau d'alphabétisation. D'autre part, Garcia et al. (2005) ont prouvé que les signeurs sourds ont une meilleure relation avec l'écriture que les sourds ne connaissant pas la LS, tandis que Perini (2013) a montré comment la connaissance de la LS aide les sourds à comprendre les fonctions de l'écriture, une activité fondamentale pour maîtriser l'écriture. Pour améliorer l'écriture de sourds, il serait donc encore plus utile de proposer des exercices comparant les formes écrites de la LS et de la LV. Cependant, ce n'est pas simple, car les LS sont historiquement des langues "orales" pures, sans système d'écriture établi. Néanmoins, des expériences utilisant le SignWriting de Sutton (1995), un système de représentation graphique de LS, ont montré comment la connaissance d'un système d'écriture de SL permet, de manière très naturelle, l'émergence de réflexions métalinguistiques qui peuvent ensuite être réinvesties pour mieux comprendre la structure. et fonctionnement de la propre LV de référence.; Il multilinguismo permette di confrontare elementi delle lingue conosciute, favorendo lo sviluppo di una coscienza metalinguistica per meglio comprendere il funzionamento delle proprie lingue di riferimento (L1, L2,...). I sordi segnanti sono, a tutti gli effetti, persone bilingui con la Lingua dei Segni (LS) come L1 e la lingua vocale (LV) come L2. Dato che la sordità colpisce solo il canale uditivo, è lecito aspettarsi che i sordi (segnanti o meno) abbiano, nello scrivere le LV, la stessa competenza degli udenti; tuttavia, Gillot (1998) ha mostrato come 80% degli adulti sordi francesi ha uno scarso livello di literacy. D'altra parte, Garcia et al. (2005) ha trovato nei sordi segnanti un miglior rapporto con la scrittura che in quelli che non conoscono la LS e Perini (2013) ha sottolineato come la conoscenza della LS aiuta i sordi a comprendere le funzioni della scrittura, attività fondamentale per essere a proprio agio nello scritto. Per migliorare la capacità di scrittura dei sordi sarebbe quindi utile proporre esercizi in cui mettere a confronto le forme scritte della LS e della LV. Tuttavia ciò non è semplice in quanto le LS sono storicamente lingue prettamente "orali", non dotate di un sistema di scrittura accettato. La sperimentazione con SignWriting (Sutton, 1995), un sistema di rappresentazione grafica delle LS, ha mostrato come la conoscenza di un sistema di scrittura della LS permetta, in modo molto naturale, l’emergenza di riflessioni metalinguistiche da reinvestite per meglio comprendere il funzionamento della propria LV.

see publication #025 - HAL‑xxxxxxxx[poster "elettronico" a distanza]; International audience; More than 90% of the spoken languages do not have a own written form; that notwithstanding, when the problem of their representation arises - for reasons of convenience, of preserving linguistic culture, of studying the language, etc. - it is possible to adopt or adapt one of the many existing writing systems for vocal languages. On the contrary, Sign Languages (SL), being based on gestuo-visual rather than phono-acoustic channels, are impossible to represent using a system developed for LV, be it the Latin alphabet, the Hangul, the hieroglyphics or else.Over the past two centuries, and even more so in the last 40 years, many attempts to transcribe SL have been devised, as well as a few aimed at methods suitable for everyday use. However, such systems are often difficult to read, slow to write and complex to learn, and are based on an idea of linear writing which, applied to a multilinear language such as SL, cannot convey much of the complexity (and thus the meaning) expressed by these languages. For these reasons, no writing system created so far has managed to be adopted on a large scale (and/or for a long time) by the signers of the various SL (about 140, altogether).Among the various existing systems, one seems to be an exception: SignWriting, created by Valerie Sutton (1995). It is a graphic system, considered by many to be alphabetic or featural (Bianchini, 2016) which is based on a set of about 37,000 characters (called symbols) describing all the formational parameters of the SL: shape, orientation and movement of the hands; contact of the hands with parts of the body; facial expressions; postures and movements of the head, torso and trunk. Despite the considerable number of characters that make up the system, various experiences with the deaf and hard-of-hearing have shown that it can be learned in a few hours1, since most of the symbols (about 36,500) are nothing more than the result of applying a few dozens of modifying rules over approximately 500 "prototypical" characters of highly iconic basis.Contrary to all the other systems of SL representation, which place these elements in a linear sequence of characters, SW organizes them into "vignettes", two-dimensional spaces that analogically represent the space where the signer creates the signs (called "sign space"). This expedient allows SW to be the sole system able to represent all those SL linguistic elements which are codified only by the peculiar use of the sign space, framed in a system whose reading is both rapid and intuitive.During the early 2000s, a group of deaf people (mostly SL teachers) at ISTC-CNR in Rome, was trained in SW and began researching SL2 using it, demonstrating since the first experiences the system ability to stimulate meta-linguistic considerations on SL, as well as meta-systemic thoughts on the most appropriate use of SW. These reflections continued to arise and grow over the years, e.g. when texts were created as working examples in the Italian translation of the SignWriting Manual or when creating the "Pear Corpus", composed of four different kinds of materials originated after viewing the Chafe's "Pear Stories" (1980): videonarrations, transcriptions in SW of video-narrations of other signers, narrations written directly in SW or read-alouds of the narratives written by other authors. Similar reflections emerged (albeit to a lesser extent given the lesser competence of students both in SL and in SW) also in SW teaching experience at the University of Poitiers.This work will show and classify the different meta-linguistic and meta-systemic reflections that have been observed by the author among SW users. As for the meta-linguistic considerations, those regarding the stylistic differences when creating a written text instead of an oral narration will be explored: adaptation of contextual and extra-textual references; changes in the representation of highly iconic structures (e.g., when a signer describes the visual characteristics of an object or "becomes" the character he/she is talking about to convey his/her actions or emotions); diversity in the presentation and segmentation of information; etc. These reflections are even more pregnant when remembering that most of the deaf people is functionally illiterate and therefore does not have the necessary skills to consider these things as evident. Some examples of the creation of new SL signs due to novel competences arising among the signers who participated in the working group will also be shown.Speaking of the meta-systemic skills, this work will show how the signers were able to adapt (or improve) SW to match their specific needs as signers-writers: in particular, new glyphs were invented for SW, as a result of the deep knowledge of the system. These considerations allowed Bianchini to propose a substantial reorganization of the SW system with the aim of facilitating not only its use but also its learning.In conclusion, providing a language lacking its own writing with a system apt to represent gives not just the possibility to write it down, but also offers the signers the opportunity to better understand how their language works.

International audience

International audience

International audience; Dans un premier temps l'auteur se penchera sur les relations littéraires, politiques et personnelles qu'entretenait Paul Éluard, écrivain surréaliste français, avec certains auteurs yougoslaves et serbes. Ensuite, cet article s'attachera à mettre en lumière la réception des oeuvres du poète dans le milieu culturel serbe. Pour ce faire nous nous appuierons sur le manuscrit d'un poème inédit déposé à l'Académie serbe des sciences et des arts qui témoigne des relations étroites qu'entretenait le poète avec le fondateur et théoricien du surréalisme serbe Marko Ristić.

International audience; This article proposes a reconstruction of the epic character from the literary theory of the Enlightenment. A new reading is offered that takes up the genetic approach between the disappearance of the epic and the appearance of the novel following the trail of the construction of the literary character. In this way, between the survival of the classical system and the tension with modern authors, the construction of the hero’s psychology advances towards more sensitive and emotional values, without neglecting its rational component. Also, the tension between two strong influences is discussed; the survival of the Virgilian epic as a legitimizer of political power, in front of the recovery of the figure of Socrates who grants heroic values to the philosopher. Finally, this reconstruction raises not only the emotional characterization of the character, but the transmission of sensitivity to the poet and the reader, who assume these heroic values.

International audience

International audience

International audience

International audience; This issue aims to explore the impact of French cinema criticism on texts and screen Shakespeare studies, applying two complementary perspectives: theory and critical reception.; Ce numéro explore l’impact de la théorie critique française (Bazin, Aumont, Bergala, Marie, Vernet, Deleuze, Metz) sur les textes et les adaptations filmées des pièces de Shakespeare. Les concepts de ces théoriciens sont de plus en plus traduits et utilisés par les chercheurs au plan international, au même titre que ceux des philosophes Derrida et Foucault, dans le cadre non seulement d’études cinématographiques, mais également d’études dramaturgiques ou textuelles. Ce numéro a fait le choix de privilégier deux axes : l’aspect théorique et la question de la réception.

I present new data from European French involving embedded polar response particles (a.k.a. yes/no particles) in response to negative questions and develop a novel proposal which integrates the insights of previous analyses (e.g. Holmberg in Lingua 128:31–50, 2013; Roelofsen and Farkas in Language 91(2):359–414, 2015). The main puzzle has to do with the interpretation of non ‘no’ (bare or followed by a clause), which may assert its antecedent or the negation of its antecedent. It is shown that the meaning of non-responses varies as a function of the scope of negation with respect to various operators in its antecedent. Polar response particles in French are analyzed as the spell-out of a Polarity head which has moved from a lower position. The various interpretations of polar response particles are modelled as being constrained by the interaction between the necessity of the movement of the Polarity head and a constraint on scope preservation. The ramifications of this proposal for related phenomena (e.g. ‘low negation’ in English, N-word responses) are then discussed.

L’inégalité est une thématique sociale, abordée de façon récurrente dans les médias. Appliquant une approche de « sémantique discursive », nous examinerons l’usage d’inégalité(s) dans le discours de presse en circonscrivant les principales dimensions sémantiques du nom à travers ses fonctionnements préférentiels en cotexte, étroit ou élargi. Après quelques questionnements sémantico-référentiels autour du mot, l’étude du corpus – constitué d’articles issus des journaux Le Monde, Libération et Le Figaro – montrera qu’inégalité(s) fonctionne, à la fois, comme un lieu d’observation, d’évaluation et de revendication. L’analyse conduit également à penser que l’usage partagé et consensuel du segment lutte contre les inégalités dans le corpus fait apparaître une forme de « langue de bois ». Inequality is a common social theme which arises regularly in the press. Using a semantic-discursive approach, we will examine the use of the word inégalité(s) (inequality(s)) in media discourse with the aim to circumscribe the main semantic dimensions of the word through its functioning in co-text. After some semantical and referential considerations, data analysis will show that inégalité(s) functions as lieu of observation, evaluation and political claims. The corpus contains newspaper articles from Le Monde, Libération and Le Figaro. The data analysis also lead to the assumption that the shared and consensual use of the segment lutte contre les inégalités (fight against inequality) shows features of some sort of doublespeak (“langue de bois”).