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Copyright of Frontières is the property of Universite du Quebec a Montreal, Revue Frontieres 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.)

Cet article entend mobiliser le champ du théâtre et des arts de la scène pour mener un questionnement théorique sur les spatialités. En faisant de la dramaturgie un récit spatial(isé) – ce qui permet de dépasser l’opposition entre espace et spatialité – l’article interroge les modalités des récits qui se déploient sur scène. Dès lors la scénographie devient une condition pour l’avènement de ces récits. Cette discussion théorique s’appuie sur le spectacle Espæce créé par Aurélien Bory à partir d'Espèces d’espaces de Georges Perec.

Dans cet article, nous avons voulu montrer que l’hybridité générique perçue et avérée dans le texte de Nora Sari était un effet des enjeux de diverses tendances du contexte de production dans le choix du sujet à traiter, d’une part la vie de la famille et le récit de soi du principal personnage du roman, d’autre part le contexte historique prévalant durant la période concernant cette tranche de vie. Cette hybridité révèle un souci de posture en phase avec les discours et orientations du champ social et littéraire au sein duquel la romancière cherche à inscrire sa place. Elle montre également une volonté de dépasser un clivage profond installé dans la problématique des langues dans ce même champ.

This article shows that the generic hybridity perceived and proven in the text of Nora Sari was an effect of the stakes of various tendencies of the context of production in the choice of the subject to treat: on one hand, the life of the family and the self-story of the main character of the novel; on the other hand, the historical context prevailing during the period concerning this slice of life. This hybridity reveals a concern for posture in line with the discourses and orientations of the social and l iterary field within which the novelist seeks to inscribe her place. It also shows a desire to overcome a deep split in the issue of languages in this same field. [ABSTRACT FROM AUTHOR]

This paper aims to identify and analyze scenographies and discursive ethos manifested in linguistic practices about the work of housewife teachers. The theoretical framework is based on the enunciative-discursive perspective of Maingueneau (2018a, 2020) in interface with the ergological studies of Schwartz and Durrive (2010). The research is exploratory, with bibliographic and field procedure and has a qualitative approach. The research corpus consists of unstructured interviews with two housewives and teachers. We noticed, through the statements that constitute and build the enunciative scenography, the debate of norms and values about the activity and the dramatics of the use of the body self, revealing discursive ethos of resilience, competence, and professionalism, showing that, even in the face of the current pandemic context, the professionals manage themselves for the welfare of the individuals involved in the work activity. [ABSTRACT FROM AUTHOR]

Dans un contexte plurilingue caractérisant les pays africains comme le Burkina Faso, où la langue de transmission des connaissances est le français, comment rendre populaire la philosophie ? C’est autour de cette grande question que se développe tout le discours philosophique de Savadogo. L’auteur s’assigne pour tâche de construire une langue philosophique en moore, langue nationale au profit des masses désirant s’initier aux connaissances philosophiques. L’objectif du présent travail, c’est de saisir les caractéristiques du discours philosophique de Savadogo en privilégiant la perspective de Maingueneau (1995 ; 2005 ; 2019), Maingneneau et Cossutta (1995), Cossutta et Maingneneau (2019), en analyse du discours. L’étude démontre que le discours philosophique de Savadogo privilégie des activités énonciatives diverses et fonctionne comme un discours à visée métalinguistique, c’est à dire, un discours questionnant la langue elle-même. Abstract In a multilingual context characterizing African countries like Burkina Faso, where the language of transmission of knowledge remains French, how to make philosophy popular ? It is around this important question that all of Savadogo’s philosophical discourse develops. The ambition of the author is to build a philosophical language in moore local language for the benefit of peoples wishing to learn philosophical knowledege. The objective of this study is find the characteristics of Savadogo’s philosophical discourse by favoring the theorical perspective of Maingueneau (1995 ;2005 ; 2019), Maingneneau and Cossutta (1995), Cossutta and Maingneneau (2019) in discours analysis. The study demonstrates that Savadogo’s philosophical discourse favors various enunciative activities and functions as a discourse whith a metalinguistic aim, that is to say a discourse questionning the language itself.

Copyright of Percées is the property of Societe Quebecoise d'Etudes Theatrales (SQET) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

By using the term "work ergonomics" to address the term "scenography", this article develops the idea that the design of digital tools adapted to being used by horses on stage allows them to actively participate in the theatrical representation until they produce new forms. We will discuss about some scenography devices and the way they induce behavioral modifications or modify the work of horse on stage in an emancipating way. [ABSTRACT FROM AUTHOR]

The success of ephemeral scenographic event representations is partly explained by the capacity of the event to touch the spectator and to immerse him in a multisensory experience likely to awaken and appeal to his senses. The scenographic representation offers the spectator the possibility of experiencing the urban space in a different and plural way. This multisensory perception of the place of performance offers a new vision of space. The spectator realizes an association between the real space and the space perceived through his senses. By combining time, space and act, the spectator perceives the scenographic event space as a cognitive act that deepens his understanding of his ephemeral spatial environment. In other words, ephemeral event creation makes it possible to interpret the place and design the space differently (Eisenstein, 2007). Indeed, through the process of perception and identification, the spectator constructs a mental image of a temporary reality and is part of a process of physical and symbolic transformation of the place of the installation. This multisensory process upsets the viewer's relationship with the space and permanently modifies the social space. We will focus in this article on the study of the multisensory experience of the spectator in the scenographic representation by taking the example of the Festival of Lights in Lyon in 2019 and that of the Immersive Art Festival which took place in Paris in October 2019. We will first seek to highlight the perceptual-active process and the relationship between the viewer and the space. Secondly, we will illustrate the extent to which walkable scenography is capable of mutating space spatially and socially. Finally, we will demonstrate the influence of the perceptions that the individual may have on the very existence of space. [ABSTRACT FROM AUTHOR]

The experience of visits in cultural places has been a source of fruitful questioning for more than a century. Alongside the professional practices and the scenographic devices themselves, it is a question of capturing and documenting the behavior and experience of visitors, in particular in their forms that are both the most common and the most complex: in a situation of co- free tour. The phenomena observed are heterogeneous and constitute a web of determinations, impressions, behaviors that are difficult to circumscribe and which are often latent. After having presented the experience of the visitor in co-visit (1), the present work proposes an approach articulating the observation of behaviors between humans and their relationship to exhibits and exhibition objects in contexts characterized by a scenographic device (2). Thus, a model emerges that articulates (i) situation and context of visit, (ii) transactions and human relations and (iii) cultural objects and tools. At their intersections are questioned the scenographic productions, the coordination of actions and the phenomena of affordance and guidance. An example of an instrumented device for observing these interactions, from the Scenoscope research project, is then presented, which the work of Illanes and Vena, published in this volume, will detail. [ABSTRACT FROM AUTHOR]

Scenography is a labour comprised of interrelationships between art and expert. It is based on space projection and news temporalities effort (production) and participate to a declaratory context (reception). Our ethnolinguistic approach describe and analyze practicals problems exposed by scenographers during professional moments and how they resolve them interactionally. In this article, we develop scenographic production and describe a particular activity : exposition space projection. For that, we explain a part of our scientific corpus (extract from Scenoscope project) that rest on Jewels exposition implementing in the city of Agde. We have collected observations and survey datas during several working sessions where principals actors of this cultural project were. Through this research field, we must define projection activity as a typical part of scenographic work. [ABSTRACT FROM AUTHOR]

Copyright of Civilisations is the property of Institut de Sociologie - ULB 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.)

ABSTRACT: The fighting literature of century of Enlightments has had as ways lot of productions, such as encyclopedic dictionaries which often permit to represent ideas conflicts. What is noticed in Dictionnaire philosophique of Voltaire who widely exceeds the explanatory principle and proceeds at an argumentation which questions all kind of untrue reasonments. The study considers to demonstrate the mechanism of this writing ethics in this work, using Discourse Analysis. After theoretical framework, we are interested to this text scenography before stressing the fallacies that denounces the philosopher to finish by the weight of his utterance authority. RÉSUMÉ : La littérature de combat du siècle des Lumières a eu pour canaux bien des productions, telles les dictionnaires encyclopédiques qui permettent souvent de représenter les conflits d’idées. Ce qui s’observe dans Dictionnaire philosophique de Voltaire qui y excède largement le principe explicatif et procède à une argumentation qui remet en cause les raisonnements fallacieux de tout genre. L’étude entend démontrer le mécanisme de cette éthique de l’écriture dans cette oeuvre, en se servant de l’Analyse du Discours. Après le cadrage théorique, nous nous intéressons à la scénographie de ce texte avant de mettre en relief les paralogismes que dénonce le philosophe pour finir par le poids de son autorité énonciative.

The storytelling activity coupled with that of playing and sharing a ‘story’ is part of the traditional repertoire of language didactics. In the context of a language project, a group of foreign Master’s students at the Ecole Centrale de Nantes were asked to use two tools: the Baludik (a gamified circuit editor) and eZoomBook (an enriched book editor). Our article reports back on the methodology used to offer students creative activities based on the Baludik and eZoomBook editors, and analyses the students’ results and feedback. Our goal is to suggest possible pedagogical uses of these circuits and book editors, appli-cable to the learning of different foreign languages.

À quelles conditions un espace produit-il du récit? C’est précisément dans son atelier que le·la scénographe va tenter, par sa pratique, de répondre à cette question. Il·elle manipule, pour ce faire, un certain nombre d’outils qui, au-delà de constituer de simples moyens de communication, forment de véritables matrices. L’approche de Richard Peduzzi, Raymond Sarti et Philippe Quesne, trois scénographes contemporains, nous montre que le dessin, la maquette et le plan peuvent ainsi créer du jeu et prolonger le regard.

This article examines the friendship and collaboration of theatre director Stephen Katz and production designer Mary Kerr, who created a series of nine innovative productions together between the years 1970 and 1976. A brief introduction establishes Katz and Kerr's career trajectories as celebrated Canadian theatre artists, while also situating Katz in the context of artists whose legacies have been complicated/obscured by their premature death from AIDS. This is followed by an interview with Kerr in which she speaks to the unique aspects of her creative synergy with Katz as well as the specifics of their collaborative process beginning with student work at the University of Toronto. Kerr speaks to the team's first professional experience at Toronto's Tarragon Theatre, as well as later work on larger stages such as the Vancouver Playhouse and the Shaw Festival. The article goes on to present Kerr's thoughts on the ideal director/designer collaborative/working relationship, the training of theatre artists, and the myriad ways in which her work with Katz was informed by both the experimental cultural milieu and radical politics of the late 1960s and early 1970s. [ABSTRACT FROM AUTHOR]

Copyright of Ars Bilduma is the property of Ars Bilduma 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.)

Réflexion autour de Lições de voo [Leçons de vol] (2019), création du Théâtre de Marionnettes de Porto, dans une mise en scène d’Isabel Barros. Un spectacle qui part de la poétique de l’acte de voler et met en lumière l’animisme dans le théâtre de marionnettes. Scénographie et chorégraphie se côtoient pour créer un espace onirique, nous invitant à prendre des risques et à récolter les désirs de vol et d’utopie logés dans notre imaginaire.

La littérature-médecine est une variante fictive qui aborde les questions de la maladie dans l'espace littéraire. Dans J'ai le SIDA, Blasius Ngome présente un personnage affaibli par une appréhension psychologiquement déstabilisante : il pense être le porteur de VİH/VİH. L'auteur entraîne ensuite le lecteur dans le dédale d'une histoire à suspense dont la trame est ponctuée de nombreuses manœuvres d'espionnage. Comment se déroule la narration de ce malaise, qui plonge le héros de Ngome dans un traumatisme obsédant qui le subjugue du début à la fin de l'histoire ? La sociocritique et la psycho-critique guident notre réflexion. Toutes deux prennent en compte l'immanence de l'analyse littéraire. De plus, la première théorie s'intègre habilement dans la seconde, tandis que la seconde ouvre la voie à un "réseau obsédant" et à un déploiement du "mythe personnel" de l'auteur qui se négocie à travers les éléments constitutifs de la diégèse. Nous concluons en examinant les grandes lignes du message du démiurge face à cette pandémie qui fait toujours rage dans les villes du monde plusieurs décennies après la découverte de son existence.

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial 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 British Museum a accueilli la plus grande exposition de manga en dehors du Japon du 23 mai au 26 août 2019. L’une des trois curatrices, Nicole Rousmaniere, a accepté de répondre à nos nombreuses questions sur la mise en scène du manga, de la planche et des dessins originaux dans un contexte particulier où il faut à la fois poursuivre la politique de préservation des œuvres et attirer un nouveau public avide d’images « instagramable ». Elle nous explique comment son équipe a tenté d’exposer des objets initialement destinés à être lus, des dessins destinés à n’être qu’une étape intermédiaire avant l’impression de la planche, des productions culturelles originalement destinées à un public local.

The political in Côte d'Ivoire is closely linked to the media. Two media entities emerge from the relationship. This sociology journalistic context points out three typologies in the ivoirian media landscape. These are the « green newspapers » close to the RHDP the ruling coalition, the « blue newspapers » that defend the FPI vision, the political opposition and socalledindependant newspapers. The functionning of the first two categories(green newspapers and blue newspapers) in such that each person spreads the point of view of the political party whose ideology he supports. These newspapers, with in the same block, cultivate a kind of unanimity expression of their political ideology vis-à-vis the news. Subsequently, it can be inferred that « blue newspapers » and « green newspapers » are part of a kind of activism or even political commitment. In studing this crisis, it is a question of how political conflict becomes a journalistic conflictuality. More precisely, how this conflicuality stage dis reflected in the journalistic discourse ? In addition, the treatment of the news of the crisis at the FPI leads us to describe and understand the processes used by journalists of the staging of this conflict. Therefore, we make the assumption that the scenography of the FPI's crisis, suggests distinct discursive formations whose purpose is manipulation Therefore, this reflection, from a perspective of discourse analysis, underlines that the test of internal democracy, the block of « blue newspapers » like its political class, has bipolarized. [ABSTRACT FROM AUTHOR]

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial 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 storytelling activity coupled with that of playing and sharing a 'story' is part of the traditional repertoire of language didactics. In the context of a language project, a group of foreign Master's students at the Ecole Centrale de Nantes were asked to use two tools: the Baludik (a gamified circuit editor) and eZoomBook (an enriched book editor). Our article reports back on the methodology used to offer students creative activities based on the Baludik and eZoomBook editors, and analyses the students' results and feedback. Our goal is to suggest possible pedagogical uses of these circuits and book editors, applicable to the learning of different foreign languages. [ABSTRACT FROM AUTHOR]

Dans cet article, l’on veut démontrer que le développement de la formule des mémoires romanesques a été catalysé par le travail de Marivaux journaliste. Dans le Cabinet du Philosophe (janvier – juin 1734), dont la publication est contemporaine de La Vie de Marianne, Marivaux observe un changement de goût et le bouleversement de catégories esthétiques du Classicisme. Le style cesse d’être une question d’élocution pour devenir une manière de dire le « je ne sais quoi ». Quand les mots manquent pour dire ce qui est difficile à dire, la combinaison des mots en un récit offre une solution. Ce discours narratif prend pour objet l’être humain qui s’observe lui-même en se scindant en un moi qui observe et un moi qui est observé. Dans les sept feuilles qui composent ce périodique, Marivaux explore plusieurs scénographies, anciennes et nouvelles, pour s’arrêter enfin à une formule discursive où l’énonciateur ne se soucie pas de style et écrit en ignorant par qui il sera lu. Cette solution est proche du roman-mémoires dont Marivaux est en train de produire, au même moment, un des « modèles ».