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Copyright of Contemporary Accounting Research 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.)

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.

La voix humaine est un outil souvent sous-estimé dans la pratique clinique et les recherches psychosociales, passant fréquemment inaperçue dans le domaine du soin psychique et des dispositifs thérapeutiques, alors qu'elle peut véhiculer des pensées, des affects et raconter l'histoire d'un individu au-delà du langage. Partant de l'intuition clinique selon laquelle les professionnels experts du travail transculturel pourraient être particulièrement attentifs à la voix humaine – étant donné que cette pratique entre les cultures implique souvent une barrière de langue surmontée grâce aux interprètes et invite à s'intéresser à la musicalité des voix et des langues – les chercheurs ont mené une enquête qualitative pour émettre des hypothèses sur le rôle joué par la voix humaine dans le soin psychique. Les résultats de l'étude montrent que la consultation transculturelle est exemplaire pour démontrer l'importance de la prosodie de la voix des soignants, car elle peut être un véritable levier psychique explicite dans ce contexte. Cependant, l'enquête démontre également que la voix du soignant se transforme implicitement alors que le soignant est pris dans la relation avec les patients. La voix humaine joue un rôle primordial pour permettre un accueil bienveillant, une résonance humaine entre le patient et le soignant, et pour signaler l'envie de tisser une alliance thérapeutique suffisamment forte. L'impact de la voix du thérapeute dans le travail clinique n'est pas suffisamment mis en avant dans les recherches psychosociales et cliniques. The human voice is an often underestimated tool in clinical practice and psychosocial studies and research. Paradoxically, despite being a primary means of expressing emotions and sharing intimate feelings, the human voice is often neglected in clinical psychotherapeutic work. Despite its importance for psychotherapists, psychiatrists, and caregivers, a lack of theories and deeper explorations of its potential impedes its explicit utilization in the mental health care environment. This article focuses on the importance of the caregiver's voice when working with patients from different cultures and languages, particularly in transcultural clinics, such as transcultural consultations, which emphasize the therapeutic characteristics of the voice that clinicians often overlook. The authors examined the clinical intuition of experienced caregivers, including nurses, psychologists, and psychiatrists, who work with patients from diverse cultural and linguistic backgrounds. The prosody and musical elements of the spoken voice play a particularly important role in these clinical settings that transcend language barriers. Through a qualitative inductive study involving six experienced clinicians, the authors developed themes highlighting the importance of the caregiver's voice. These themes were based on the experiences and clinical anecdotes of participants specializing in transcultural therapeutic approaches, accustomed to collaborating with interpreters who bridge the language divergence between French and the patients' native languages. The transcultural consultation constitutes a unique therapeutic approach comprising a team of co-therapists with diverse cultural backgrounds and languages, along with patients, their family members, and professionals providing administrative, medical, or psychological help. The principal therapist is responsible for setting the stage for the consultation and may invite co-therapists to share mental images or proposals while listening to the patient. In this group setting, attentiveness to the voice is crucial, as it provides the therapist with direct audible cues from the patient, and it is also what the patient receives from the caregivers. Before language is translated by an interpreter, the patient perceives the sound of the therapist's voice, its musicality, prosody, and conveyed emotions. The results of this qualitative study suggest that the therapist's voice in a transcultural clinical setting is essential in creating a positive work environment, conveying good intentions to patients, and establishing a therapeutic alliance through prosodic elements. Furthermore, the voice plays an important implicit and explicit role for the participants in this study. They note that their voice unconsciously varies, and they can use it explicitly as a therapeutic tool to create an impulse or mood. Important aspects of the patient-caregiver relationship can be exclusively transmitted by the tone of the voice and by the musicality of the linguistic content of statements made by the caregiver, who wields an important clinical tool that is often taken for granted. The study also highlighted the important contrast between the explicit role of the caregiver's voice as a conscious therapeutic tool and the implicit, unconscious influence on the caregiver's voice linked to the relationship with patients. Further interdisciplinary studies of the human voice as a tool in a clinical and psychotherapeutic context are therefore essential, and the transcultural approach could inspire future research. [ABSTRACT FROM AUTHOR]

Starting from a reflection on the voice of the essay in Michel de Montaigne, Filomena Molder and Pascale Quignard, this text confronts the figure of Philomela. The historical investigation of narratives, texts and images around this figure leads to "brushing history against the grain", in a discussion of the genre of the voice that dialogues with Anne Carson. In this trajectory, essay and poem converge and diverge at porous thresholds. [ABSTRACT FROM AUTHOR]

Cet article vise à mettre en évidence les effets cliniques d'un dispositif de musique immersive utilisé comme lieu de médiation thérapeutique auprès d'enfants autistes. L'immersion musicale étant basée sur l'hypothèse que l'espace est une composante du timbre, il s'agit donc de croiser de manière inédite deux grandes questions problématiques de l'autisme : l'espace et la voix. Pour ce faire, les référentiels psychanalytiques post-freudiens et lacaniens sont mobilisés et discutés. Après avoir présenté techniquement le dispositif immersif et expliqué les caractéristiques spatiales et esthétiques des œuvres qui y sont jouées, les auteurs déploient le cas clinique d'un enfant autiste de 11 ans et en repèrent différents temps. Les effets de contenance apparus initialement se sont vite trouvés limités, et le dispositif presque rejeté par l'enfant. Ce n'est qu'à l'occasion d'une œuvre basée sur différentes spatialisations d'une voix que l'enfant a pu réinvestir le dispositif et la relation avec le soignant en qualité de double, allant jusqu'à inventer des jeux l'incluant. Pour éclairer les effets subjectivant de ces séances, les auteurs font un premier rappel du rapport spécifique que le sujet autiste entretient avec la voix comme objet a, en s'appuyant notamment sur la notion de « délocalisation de la voix » qui est active dans tous les dispositifs de mise à distance du timbre, ce dernier étant compris comme un des noms du Réel de la voix. L'article s'attache ensuite à décrire précisément les caractéristiques spatiales de l'œuvre à laquelle l'enfant s'est montré si sensible en renouvelant son rapport à l'autre. Or, après analyse, l'œuvre en question s'avère en fait être composée non pas d'un seul espace unifié ou unifiant, mais de plusieurs espaces sonores, parfois diffusés simultanément. La notion de délocalisation de la voix est alors confrontée au fait que l'œuvre de musique immersive peut offrir bien plus qu'un simple point de délocalisation de la voix dans le même espace : elle offre l'expérience de plusieurs espaces sonores simultanés, ce que nous proposons de nommer une « délocalisation de la délocalisation de la voix », permettant d'alléger d'autant plus le sujet autiste de ce que Lacan appelle le « poids réel du sujet » mis en jeu par l'objet voix. L'article est l'occasion de plusieurs points de discussion : d'une part, les œuvres musicales immersives ne doivent pas être considérées comme recréant un environnement sonore réaliste (de type réalité virtuelle), mais bien comme proposant des espaces sonores impossibles. À ce titre, il existe un enjeu aussi bien esthétique qu'éthique dans l'usage clinique qui peut être fait de ces dispositifs musicaux immersifs. D'autre part, la construction de l'espace autistique ne relève pas seulement du regard mais aussi de la voix en sa dimension pulsionnelle. Enfin, la délocalisation de la délocalisation de la voix permettrait au sujet autiste d'en expérimenter la part atopique, c'est-à-dire son impossible localisation. La construction de l'espace se ferait donc autour d'un point atopique. L'article cherche à démontrer l'intérêt que la clinique des médiations thérapeutiques par l'art peut trouver dans les recherches actuelles en composition électroacoustique, permettant de relancer les questionnements théorico-cliniques aussi bien sur l'espace que la voix. La dimension immersive est ainsi prise à la fois sur son versant musical et son versant transférentiel. The aim of this article is to highlight the clinical effects of an immersive music device used as a therapeutic mediator with autistic children. As musical immersion is based on the hypothesis that space is a component of timbre, the aim is to bring together in a novel way two major problematic issues in autism: space and voice. To do this, post-Freudian and Lacanian psychoanalytical references are mobilized and discussed. After a technical presentation of the immersive device and an explanation of the spatial and aesthetic characteristics of the works played on it, the authors describe the clinical case of an 11-year-old autistic child and identify the different stages of the relationship. The initially observed effects of containment were quickly limited, and the child almost rejected the system. It was only during a work based on different spatializations of a voice that the child was able to reengage with the device and with the relationship with the caregiver as "a double," going so far as to invent games that included him. To shed light on the subjectivizing effects of these sessions, the authors first recall the specific relationship that the autistic subject has with the voice as an "a object," relying in particular on the notion of "delocalization of the voice," which is active in all devices for distancing the timbre, the latter being understood as one of the names of the Real of the voice. The article goes on to describe in detail the spatial characteristics of the work to which the child was so sensitive in renewing his relationship with the other. After analysis, the work in question turns out to be composed not of a single unified or unifying space, but of several sound spaces, sometimes broadcast simultaneously. The notion of the delocalization of the voice is then confronted with the fact that the work of immersive music can offer much more than a simple point of delocalization of the voice in the same space: it offers the experience of several simultaneous sound spaces, which we call a "delocalization of the delocalization of the voice," making it possible to relieve the autistic subject of what Lacan called the "real weight of the subject" implied by the voice object. The article raises several points for discussion: firstly, immersive musical works should not be considered as recreating a realistic sound environment (of the virtual reality type), but rather as proposing impossible sound spaces. In this respect, there are both aesthetic and ethical issues at stake in the clinical use that can be made of these immersive musical devices. Moreover, the construction of autistic space is not just a matter of the gaze but also of the voice in its impulsive dimension. Finally, the "delocalization of the delocalization" of the voice would enable the autistic subject to experience the atopic part of it, i.e. its impossible localization. Space is thus constructed around an atopic point. The article seeks to demonstrate how the clinical use of therapeutic mediation through art can intersect with current research in electroacoustic composition, making it possible to revive theoretical and clinical questions about both space and voice. The immersive dimension is thus considered from both a musical and a transferential perspective. [ABSTRACT FROM AUTHOR]

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.

Copyright of Études de Stylistique Anglaise is the property of Societe de Stylistique Anglaise 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.)

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.

For years, women's access to and consumption of quality education has been the outcry of the feminist movement and modern-day development initiatives like the Millennium Development Goals and the Sustainable Development Goals. Even with progress such as the introduction of free elementary and secondary education, the gender gap nevertheless widens at higher levels of education (tertiary levels). This is evident in Uganda where men tend to achieve higher levels of educational qualifications than women. This study, therefore, aims at establishing the extent to which women's educational achievement influences their voices during parliamentary deliberations. By employing a qualitative phenomenological and retrospective research design, women's voices in two bills are analysed. Additionally, one-on-one interviews were carried out with long-serving Ugandan parliamentarians to identify their opinions on the influence of women's educational achievement on their voices during legislative deliberations in parliament. Findings reveal that education as a whole, and most importantly higher levels of tertiary education, significantly influenced the voices of women legislators. As such, the study appreciates the need for the provision of alternative educational options to enhance women's voices in parliament. [ABSTRACT FROM AUTHOR]

Ce travail vise à examiner le rapport subjectif à la voix et à l'autre chez la personne autiste. Plus précisément, il vient interroger les possibilités d'expression de l'objet pulsionnel voix dans l'autisme, principalement à travers le geste dansé. À l'oralisation et à la sonorisation, les auteurs proposent un troisième mode de traitement de la voix : la visualisation. Cette hypothèse fut mise à l'épreuve à partir d'un projet de médiation par la danse avec un enfant autiste mis en place au sein d'une institution. Au fil des séances et à partir de l'exploration de mouvements orientés et adressés, ce dispositif a permis l'ébauche d'une grammaire gestuelle commune ouvrant la voie à la danse. En faisant l'hypothèse que la pulsion invocante peut se traduire dans le registre gestuel/visuel, impliquant la substitution d'une boucle pulsionnelle bouche-oreille par une boucle corps-œil, l'analyse des différents extraits cliniques présentés et l'identification des modalités de bouclage de la pulsion invocante a permis de témoigner d'une visualisation de la voix. La médiation par la danse ou par le mouvement pour la personne autiste pourrait favoriser l'établissement d'un lien à l'autre et rendrait possible l'expression de la voix comme objet pulsionnel. This work aims to examine the subjective relationship, for autistic people, to the voice and to the other. More specifically, it questions the possibility of expression of the object-voice in autism, mainly through dance. In addition to oral expression and voicing, the authors propose a third mode of processing the voice through visualization. This hypothesis was tested through a therapeutic dance project with an autistic child within an institutional setting. Over the course of the sessions, by exploring directed and addressed movements, this project allowed for the sketching out of a common gestural grammar leading to expression through dance. By making the hypothesis that the invoking drive can be transposed in movement through a passage from the mouth-ear drive loop to the body-eye loop, the analysis of the different clinical extracts presented and the identification of the invoking drive loop allow us to witness a visualization of the voice. Mediation through dance or movement for the autistic person could facilitate the establishment of interpersonal relationships and could make possible the expression of the libidinal voice. [ABSTRACT FROM AUTHOR]

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.)

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.)

This perspective explores the role of the bioethicist in shaping public discourse through the media, while accounting for the power of narratives and voice [ABSTRACT FROM AUTHOR]

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]

Copyright of Rivista di Criminologia, Vittimologia e Sicurezza is the property of Societa Italiana di Vittimologia 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 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.)

Copyright of Revue des Sciences de l'Education is the property of Revue des Sciences de l'Education 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.)

Les traits de Personnalité Psychopathique (tPP) existent au sein de la population non clinique (PNC). La littérature souligne que ces traits sont associés à des difficultés de traitement de l'information émotionnelle, tel le décodage des émotions. Cependant, aucune étude n'a mesuré les relations entre les tPP et le décodage multi-niveau des émotions (visage, voix et posture) au sein de la PNC francophone. Cette recherche évalue les liens entre les tPP évalués au travers de la SRP-4 avec un protocole structuré de décodage multi-niveau des émotions (NimStim, GEMEP, Scénario EMOTAIX et BESST). L'échantillon est constitué de 34 individus (22 femmes et 12 hommes) de la PNC. Les corrélations indiquent de nombreuses associations négatives, au travers des différents canaux, majoritairement entre les traits interpersonnels-affectifs et le décodage de l'ensemble des émotions, et spécifiquement de la colère (vocal sémantique et postural), de la peur (vocal sémantique) et de la surprise (facial). À l'inverse, une corrélation positive existe entre les traits interpersonnels-affectifs, le style de vie-antisocialité et l'expression faciale émotionnelle de dégoût. Les analyses de régression linéaire simple et multiple renseignent l'impact positif des traits interpersonnels-affectifs sur le décodage de l'EFE de dégoût. En outre, elles indiquent également l'impact négatif de ces mêmes traits sur le décodage de la colère (vocal sémantique), de la peur (vocal sémantique) et de la surprise (facial). Subclinical Psychopathic Personality traits (PPt) are found in non-clinical population (NCP). It has been hypothesized that PPt are associated with socio-affective deficit, such as emotions recognition. Although previous studies yielded mixed results, to our knowledge, none has been undertaken among a French-speaker NCP. Our research investigates multi-level emotions recognition accuracy through the three main channels: face, voice (prosody and semantic) and body posture. We hypothesized negative and significant associations and influences between SRP-4 scores and mean emotions recognition accuracy scores (total score and scores by emotion) in each channel. The sample consists of 34 individuals (22 women and 12 men). After signing a consent form, a short anamnesis was undertaken to collect sociodemographic information. Subclinical PPt were assessed using SRP-4. Afterwards, three computerized emotion recognition tasks were presented to participants in this order: NimStim (colorized, gendered, multi-ethnic stimuli morphed and dynamized in 10-second videos), GEMEP (gendered prosodic stimuli), gendered homemade scripts categorized using EMOTAIX and synthesized using Acapela-Box, and finally, BESST (monochromatic, gendered, static stimuli). Stimuli depicted the six basic emotions and participants were asked to make a forced choice between these six emotions labels. Parametric (Bravais-Pearson's r) and Non-Parametric (Spearman's r) analyses indicated negative and significant correlations mainly between interpersonal-affective traits and the accurate recognition of all emotions, specifically anger (vocal semantic and body posture), fear (vocal semantic) and surprise (facial). However, a positive and significant correlation was found between interpersonal-affective traits scores, lifestyle-antisocial traits scores and the accurate recognition of disgust (facial). Significant correlations were followed by simple or multiple linear regressions. Our research partially confirmed previous findings about a negative associations and influence of PPt and accurate recognition of emotions. However, some unexpected results (disgust) or lack of expected results (fear), combined with limitations, invites us to consider our results with caution. [ABSTRACT FROM AUTHOR]

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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.

Travaillant depuis plusieurs années dans un hôpital de jour, accueillant des jeunes TSA âgés de 4 à 14 ans, nous avons mis en place, depuis 2016, des ateliers thérapeutiques à médiation robotique. Nous avons pu montrer, à plusieurs reprises, en quoi le robot était un outil innovant et intéressant dans la clinique des TSA, notamment du fait de son apparence simplifiée, de sa répétitivité et de sa prévisibilité. Dans le cadre de cet article, nous nous attarderons plus particulièrement sur l'aspect simplifié de la voix du robot, autre élément essentiel à prendre en compte dans ce type de médiation thérapeutique. En nous basant sur le cas d'un enfant autiste que nous avons suivi en atelier à médiation « robotique », nous tenterons de montrer en quoi le robot peut se faire « support » ou « relai » du sujet qui le contrôle ou, en tout cas, contenir une part de la propre subjectivité de celui-ci. Working for several years in a day hospital receiving young people with ASD aged 4 to 14 years, we have introduced, since 2016, therapeutic interventions with robotic mediation. We have been able to show, in several publications, how the robot was an innovative and interesting medium in the ASD clinic, notably because of its simplified appearance, its repetitiveness and its predictability. In this article, we will focus on the simplified aspect of the robot's voice, an essential element to be taken into account in this type of therapeutic mediation. Based on the case of an autistic child that we have followed in "robotic" mediation therapy, we will try to show how the robot can be a "support" or a "relay" of the subject who controls it, or in any case contain a part of the latter's own subjectivity. David's case confirms that autistic subjects show a great difficulty to speak about themselves, in particular through the voice. Using the robot, and more precisely the text-to-speech function of the robot Nao, allows him to communicate his feelings. The live confrontation, too distressing for David, can thus be avoided by taking a roundabout way: making the robot speak for him, and thus trying to express his feelings orally, without being too personally involved. One of the interests of the robot will be to be the support of an out-of-body voice, not directly addressed to the one who will be the receiver, thus allowing the autistic subject to communicate without having to go through the vibration of his body provoked by the voice, nor to be confronted with the direct meeting with another subject situated in the field of the address of the speech. Thus, even when the autistic child speaks through the machine, something is said in what is heard. [ABSTRACT FROM AUTHOR]

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.)

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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.)

Björk’s Vulnicura (2015) engages the theme of the dissolution of a long-term relationship. As with much of Björk’s music, most listeners are drawn to her voice and the interplay between lyrics and vocal delivery. This article explores vocal prosody, conceived as the pacing and flow of delivery, in three tracks—“Lionsong,” “Black Lake,” and “Family”—through aspects of discontinuous phrasing, varied metric placement, melismatic embellishment, consonantal articulation, and vocal layering. Thinking about the sonic materiality of the voice broadly—and more specifically, understanding the prosodic aspects of Björk’s delivery on Vulnicura— help us probe the album’s expressivity and grasp the specific material elements that facilitate its emotional content. Though most prosodic elements on this album reflect Björk’s singing style more broadly, some—such as discontinuous phrasing—are intensified to specifically serve this album’s emotive aims. [ABSTRACT FROM AUTHOR]