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Дан обзор архитектуры малых форм, выполненных из дерева. Приведен анализ основ применения малых архитектурных форм, определена их роль и место в архитектурно-пространственной среде. Показано, что малые архитектурные формы из дерева создают наиболее комфортную, эмоционально ориентированную среду, гармонично взаимодействующую с человеком. На конкретных примерах выявлены современные тенденции формирования малых архитектурных форм из дерева. ; The modern world dictates severe conditions, involving people in a continuous process of changes in the environment. Active building and construction work, urban densification are rapidly transforming environment, creating a new architectural space with intense impact on people. In this regard, there is much tension around the issue of provision of urban amenities, forming comfortable environment for a full human life. The comfort of the urban environment is determined by a set of visual perception of the constituent elements of this environment: architecture, design, landscape and their harmonious unity with nature. A remarkable component of visual perception, making urban space aesthetically appealing, is small architecture.Small architecture in Russia has always played a special role. Being perceived in the context of space, creating at the same time a certain mood and emotions, small forms diversified architectural environment, making it aesthetically appealing. The question about the direction of urban policy in the field of provision of urban amenities was made in 1921, when the first Congress on improvement of populated areas took place. With this legislation originated overall urban development approach as inseparable system layout of the city, its architectural appearance and landscaping. Architectural workshops developed model projects of small forms with recommendations for improvement, which helped to inexpensively create individual features in urban development. At present, the provision of urban amenities have moved to a new level, becoming more grandscale, capital-intensive.The main requirements for small architectural forms are to create a harmonious space, the fusion of architecture with the natural elements. The most harmonious perception of small architectural forms in the environment is achieved through the use of natural building materials. The use of natural materials in urban environment represents nature, creates a comfortable environment psychologically close to a person.Wood, among other natural materials, has an undoubted advantage. Absolute compatibility, unique design quality, expressive possibilities of the material and its ability to form a comfortable living environment, harmoniously combined with other materials, provide greater demand for wood in modern architecture.In the architecture of small forms wood is used everywhere: on the territories of residential quarters, parks and recreation areas, areas of office and commercial development, road environment, etc. A leading role in shaping the public space belongs to small structures for various functional purposes, such as benches, gazebos, sheds, sports facilities, children's playgrounds.In the modern wooden architecture of small forms two directions are clearly traced. In the first one there is the desire to escape from the boring similar forms, transforming small architectural forms in art objects representing not only material, but also artistic value. The second direction is based on the centuries-old practice of folk art. Having been formed for centuries folk culture and national traditions fully meet the artistic tastes of the modern society. Summing up, it should be noted that the use of wood in architecture of small forms is a universal solution to shape the ecological framework of the urban environment, which is especially important in solving the problems of the modern city.

Mental health has become a critical global issue over the last century, adversely impacting individual happiness, social costs and human capital, all of which devastate national competitiveness, urging government leaders to take immediate action to solve this problem. Caring professionals have studied medical and non-medicinal solutions, including counselling, which may interface with religion. The integration of Buddhist elements and therapies is increasingly prevalent, with positive effects. However, very few of these psychotherapeutic approaches adopt canonical evidence to support their theories, even though many are associated with Tibetan or early Buddhism. Focusing on first-hand data and employing interpretivism and plurality, this exploratory research interprets the ideas of bodhisattva and the four immeasurables within the Vimalakīrti Nirdeśa Sūtra, an influential Mahāyāna text, and translates them into a counselling framework from the Chinese Buddhist perspective, cross-referenced with qualitative fieldwork. Through purposive sampling, 38 participants were recruited through cold calls, social networks, and electronic mails, including helping practitioners, Buddhist masters, volunteers, and beneficiaries who have overcome life challenges through Buddhist wisdom. In addition to 44 semi-structured, in-depth individual as well as two focus group interviews analysed through interpretative phenomenological analysis, multiple resources were also utilised, such as participatory observations, expressive art, television programmes, and autobiographies. The ATLAS.ti 7 software package was used for both scriptural and interview data analyses. Triangulation was conducted to enhance rigour, involving expert consultation, member-checking, and a peer analysis that resulted in an inter-rater reliability of 92%, which reflects the credibility, dependability, confirmability, and transferability of this project. Results finalised two super-ordinate themes (philosophical concepts and propositions for counselling) from 14 emergent themes arising from 40 themes, proposing a bodhisattva-spirit-oriented counselling framework, highlighting the social dimension and illuminating constructs that are disregarded by the extant models. These outcomes correspond to research questions which achieve the research objective, and support the research assumption regarding the inherent therapeutic functionality of Buddhism. This mixed-method inter-disciplinary work not only supplies a direct Buddhist voice, which differs from available literature, but also provides theoretical underpinnings for researchers and practitioners to enrich their practice and expand the horizon of Buddhist-related interventions. This indicates the practicability of the bodhisattva path in the human service industry, as witnessed by the lived experience of the participants, implying the applicability of Mahāyāna wisdom, which has evolved over 2,000 years, to our modern society. In conceptualising this comprehensive counselling framework, this study opens up a doctrinal approach to substantiate Buddhist-informed interventions, revealing the significance of canonical data for such research and marking the originality and feature of this project. However, this proposed framework is being developed with little exploration of operational procedures. Future studies are suggested to develop non-medicinal and non-intrusive programmes based on this framework, and to explore other concepts of Chinese Buddhism for therapeutic purposes. In conclusion, this research, recapturing the Buddhist power of discourse in the caring field, sheds light on how the bodhisattva spirit can be put into practice via self-transcendence and a quest for well-being in contemporary cultures, through self-benefiting altruism. ; published_or_final_version ; Social Work and Social Administration ; Doctoral ; Doctor of Philosophy

Latecomers to high culture, Americans are obsessed with identifying and canonizing indigenous art forms. In recent years, much of this attention has been lavished on jazz. One challenge in the study of both jazz and musical theater is locating the specific historical moment or the precise works in which the genres assume an identity, especially an ''American'' one, distinct from their influences. For musical theater, those sources would include European operetta of the later nineteenth century-specifically the works of Johann Strauss, Offenbach, and Gilbert and Sullivan-as well as vaudeville, burlesque, revue, minstrel shows, variety shows, melodrama, and British musical comedy. In the first few years of the twentieth century, these traditions coalesced in the works of Victor Herbert (notably his Babes in Toyland, 1903) and George M. Cohan (his first big hit, Little Johnny Jones, 1904). Herbert (1859-1924) had been born in Ireland, raised in London, and trained in Germany, but arrived in the United States in 1886 and made his career in this country. Cohan (1878-1942) was a Yankee Doodle Dandy from the start, born, as the world knows, on (or near) July 4 in Rhode Island. The historiography of the American musical also exhibits a special tension, not shared by other art forms, between the whole and the part, between the shows (or movies) and the individual numbers. In general, the highest value has been placed on the "book" musical, one in which the elements are subsumed within an overall musico-dramatic design. Yet for many people, the songs, not the framework, embody the American musical. Indeed, although a musical is the product of many collaborators, we usually (as I have done above) identify it by its composer, or by composer and lyricist. Tin Pan Alley, the popular song industry that flourished in New York from the last decade of the nineteenth century through the first half of the twentieth, became intimately connected, but not completely coextensive, with staged shows. Harold Arlen never wrote a hit show (his music was featured in several successful movies), but is rightly acknowledged as one of the greatest composers of American popular music. Another tension in the scholarly treatment of the American musical, as in much writing about other American art forms (including the novel and film), arises between what might be called internalist and contextualist approaches. Internalists tend to look at the works (or individual songs) for their structural and expressive qualities. Contextualists seek to embed the works and their creators within the American social, cultural, and political milieu. Since many musicologists are formalists at heart (we fetishize our objects, as one ethnomusicologist tartly remarked some years ago), the internalist approach has dominated in writing on American musicals. Of course, these perspectives are not mutually exclusive: scholars and commentators will often move back and forth from work to context. The authors of the studies under review here handle these tensions in different ways according to their backgrounds and scholarly temperaments. Mark Grant describes himself as a writer and "composer [of] concert music and theater pieces"; his previous book was a history of classical musical criticism in America (1998). Steve Swayne is a young academic who received his PhD in 1999 and teaches at Dartmouth College; this book is a comprehensively revised version of his dissertation. Raymond Knapp is a senior musicologist at UCLA who has written extensively on late nineteenth- and early twentieth-century European concert music; his book has grown out of an undergraduate course that he teaches.

We consider the significance and place of the images in the art, including choreography.The influence of basic cultural trends and the correlation to these with regard to images in the art works of different times are factors that should be evaluated. We consider the significance and place of the images in the art, including choreography. The influence of basic cultural trends and the correlation to these with regard to images in the art works of different times are factors that should be evaluated.We consider the artistic image is the main element by which the artist reflects personal attitude to the existing state of general cultural process. Every kind of art has its own specific laws of reflection of life, their special forms, expressive methods and its material. The task of any artist-poet, writer, musician, director or choreographer is to reproduce the atmosphere of that time by means of his art, which he describes in his work through the display of a specific event, that is, to create an artistic image.Choreographic image is a complex fact. Its visible components (movement, facial expressions, and postures) serve not only the material for creating the internal structure, in which emotion, sensory perception of a life situation, actions play the main role. He carries the imprint of the external socio-cultural context inside. Choreography as part of the culture in general, reveals the type and peculiarities characteristics of culture in a definite cultural- historical era with artistic means of the plastic language and ballet performance.Thus, examining the transformation and evolution of the images in the ballet we can analyze and change the main trends of development of world civilization and main lines of general cultural process or some of its structural elements. For example, studying the normality of changes in women's images in the choreography, we can conclude about the development of the feminist movement and its influence on art.Artistic image, as the main purchase in creation works of artistic composition, brings the imprint of culture and changes according to the major trends in world civilization. Of course, like any art, dance is a picture of the existing cultural system, and any changes or trends affect the ballet performances, their structural and ideological content and artistic images arise as the driving power thanks to which these changes can be observed.Artistic image is such a main element in the choreographic art that some choreographers consider usual the possibility to avoid creation of any plot line. For example, representatives of the world modern choreography- Merce Kennynhem andAlvinNykolays. These choreographers' main assertion is that the only component of the dance is dance itself. Representatives of the similar trends which are common in European countries and theUSAgive up the idea that the "plot" and any "content" are necessary for the ballet. They affirm independence of the dance as exclusive movement complex. Seek of managing the inspired, poetical nature of the dance finds expression in appeal to the special, emotionally different from other music, and leads, according to Merce Kennynhem, to "image creation, which creates world beyond imagination".Point of life, sense reaction on the flows running through people, body reflection and quick reaction make sense of the modern art. The artist finds plots and materials for his works everywhere: in politics, in the stereotypes of consciousness, ideology, religion, manufacture, publicity, theatre and rites of workaday life. It's fair to say that there is no ranch where you cannot find creation: "As a result of sense, bodily innervated elements more and more coming into a structure of aesthetic perception, they organize and determine themselves less through images and present operative range of practice and events, which is run through by libidinal energy from outside. The thing we call "art" moves away from the figurative creation space to the operation space"- german investigator's thought totally refers to actionism. In the range of set up forms action art distinguishes from one hand quickness and reaction spontaneity, and from the othercompleteness and extensionality, or as it is normal to characterize art of the epoch of formation of homo sapiens. Its dependence from interactive surroundings makes to examine expression techniques to the side of the speeding up of information.In different times images had different contents and different aims. Thus, esthetic principles of classical dance meet objective concepts and notions of the beautiful. Classical dance system harmony consists in the symmetry, proportionality, softness, completeness and integrity of all elements. Harmony and beauty of the outer physical air is always identical in the system of the inner harmony, beauty and spirit. Esthetic standards of classical dance are converted into people lives spiritual norms. The beauty in each movement is a source of huge power of emotional influence of the classical dance. In the modern ballet performances choreographers try to reflect the realities of life, solve the most painful problems, the modern ballet performances' aims are to captivate spectators, touch their sensual sides.The images are sometimes more bright, purposely dramatic. For the artist performance is a play on the spectators feelings, the more it touches his emotions, the more successful performance is. Nowadays beauty and esthetic admiration of the work come aside. Usually classical heritage serves as a plot for modern ballets, nevertheless the dramatic line is so different that sometimes the ballets have nothing in common. Modern dance choreographers differently from the authentic plots, changed images adding them bright colors and modern themes.Choreographers seek for the shocking, try to shock spectators, so art images become shocking differently from the decorations and basic plot lines. Art image appears in front of us as a basic motive power, which creates art and the other components only frame it. Meaning of the plot, contests and form is also huge, but without images it is helpless and impossible. During some time exactly art images changed greatly, we can observe a tendency of images and culture development reflection, which will become a subject for the further investigation. ; В статье автором рассматривается значение и место художественного образа в искусстве, в частности хореографическом. Исследовано влияние и взаимосвязь основных культурных тенденций на смену образов в художественных произведениях разных времен. ; У статті автором розглядається значення та місце художнього образу в мистецтві, зокрема хореографічному. Досліджено вплив та взаємозв'язок основних культурних тенденцій на зміну образів у мистецьких творах різних часів.

The national origins of musical artifacts (in the composership, as well as in performance) in many cases are the inherent implication that determines the particularities of the concepts, image systems, the composition and the structure of musical integrity, as well as the character of the special means selected by an artist to embody nuances of meaning.Each nation has a specific mentality, which embodies the facets and nuances of the conscious character and of the "collective unconscious" (Jung), expressed as a specific characteristics of the ethnic group in general: mental sets, worldview images, automatic actions, patterns of behavior, associations and others.Features of mentality are determined by the configuration of the ethnic dominants, by cognitive and emotional benchmarks, which include: geographical and climatic conditions, language, nuances of synesthesis, stereotypes of national character and behavior, national feeling of time and space, religious and contemplative world settings, historical and political factors, cultural traditions, rituals, etiquette, fashion and so on.It is difficult to study the mentality because of its integrity and the specific nature of the system. The initial element of this system is a combination of factors that form the specific relationships between themselves, while saving the factor of heredity. These relationships can be transformed, causing the inclusion (or exclusion) of certain elements in the system while maintaining the inherent shape of the overall configuration.Therefore, to identify the particularities of the national logic, we need to compare the integrity of the being of one nation with the same integrity of the other. When you create certain conditions and establish the contextual links, the etno-differentiative contextual factors may acquire the status of national mental determinants of musical creativity.For example, vocal orientation of Italian art is determined by:- features of the Italian speech (non-reduced vowels, clear articulation and the active work of the entire speech apparatus, the prevalence of open syllables, the alteration of vowels and consonants, the match between the intonation contour of the utterance and the original code of the articulation complex, a significant range of the speech sound, the permanent emphasis which provides the rhythm of the sound, the presence of numerous hiatuses, many double consonants which create the physiological precondition of the high palatal position, high speed speech which forms virtuosity in the process of performance and in the conditions of musical perception);- paralinguistic factors (active gestures and facial expressions);- specific climate (warm sunny climate determines muscular freedom, lack of pinches in the singing apparatus);- historical features of formation of bel canto school, the rich vocal tradition that existed in the Roman Church, and others.Musical mentality is also presented as a multi-level system of many elements of the musical text (from the tone, the single sound, to the dramatical and conceptual opus features or performing artifact), which, due to the subsign nature of musical speech (M. Bonfeld), can selectively "respond" to the manifestations of qualities (or properties) of the national mentality. Moreover, the etno-differentiative features of the musical mentality may be a more general phenomena: the tradition of music-making, the main genres, the factors of synesthesis, the dominant emotional and psychological characteristics of musical images and the tendencies of their implementation, etc. Thus, the term "etno-differentiative musical properties" denotes the subsigns of the musical language – the elements of musical text, the properties of musical expression, the nuances of the scenic behavior, musical traditions and trends which:1) while actualized at some moment in some context, acquire the status of the value;2) while perceiving and reflecting the specific etnomental context, represent the national musical mentality.To indicate the actual time of response, of the communication between the systems of "national mentality" and of "music mentality", at the point (or in the area) of intersection of their semantic fields, we offer the term "mental-semantic resonance." The phenomena of mental-semantic resonance can occur in any versions of combinations of the subsystems and their individual elements.We develop the concept of "representative type of art" proposed by J. Melchakova with introducing its' purely musical projections: 1) The representative genre: a genre of music that symbolizes features of the national music culture. For Spain, for example, the representative genres are flamenco and cante hondo. The musical and expressive specificity of these genres became the basis of hispanisms which embody the "Spanish dream" in other national cultures. 2) Representative type of music: the type of musical communication that is predominant for the national musical culture. For example, the representative type of music in Sweden is the choral singing.Representative national musical culture types (genres, types of music, etc.) are the basis of the etnomental music model, a kind of "emanation of mentality" (L. Gumilev) that stimulates the international interest in this phenomenon. We term the energetic and the charismatic phenomena the emanation of the mental field in music (passionate image of Spain, meditative image of the East, the charm of French chanson, etc.) that give rise to echoes and imitations in a foreign musical cultures.Therefore, in the article the author's theoretical concept of national mental determinants of musical creativity is proposed and its' nature is explored. Musical mentality is considered as an integral variable system in the light of its determinism of national mental factors. Within etnomental approach, the concept of "musical speech" (as a potential (composer's work) or topical (performing interpretation) expression) is interpreted as a way of displaying the nuances of national mentality in musical creative activities. ; В статье предложена авторская теоретическая концепция национально-ментальных детерминант музыкального творчества и раскрыта ее сущность. Музыкальная ментальность рассмотрена как целостная вариабельная система в ракурсе ее детерминированности национально-ментальными факторами. В рамках этноментального подхода понятие "музыкальная речь" (как потенциальное (композиторское творчество) или актуальное (исполнительская интерпретация) высказывание) трактуется как способ проявления нюансов национальной ментальности в музыкально-творческой деятельности. ; У статті запропоновано авторську теоретичну концепцію національно-ментальних детермінант музичної творчості та розкрито її сутність. Музична ментальність розглянута як цілісна варіабельна система у ракурсі її детермінованості національно-ментальними чинниками. У межах етноментального підходу поняття "музичне мовлення" (як потенціальне (композиторська творчість) або актуальне (виконавська інтерпретація) висловлення) потрактовано як спосіб прояву нюансів національної ментальності у музично-творчій діяльності.

The present research seeks to analyze and understand the following paradox: the strong - or rather intense - presence of young people in the public scene, especially the political one; a presence, however, that is strangely coupled with a low involvement of these young people in the traditional political structures. This is despite the fact that the post-revolutionary Tunisian society has set many challenges, especially those pertaining to the way of apprehending the aspirations and demands of young people. The latter represented one of the main actors of the revolution, who had paved the way for a political change and a reconfiguration of the Tunisian public space. Paradoxically, since the first test of the democratic transition, which was none other than the 2011 elections, things were marked by the absence of young people who all the more reason would have constituted an important electoral reservoir of supporters of freedom of expression. However, it turns out that the youth abstention is far from expressing a lack of civic commitment. This bias is by no means arbitrary; it is in fact a mode of political expression peculiar to them. It is in a way a response to the uncertainty that continues to plague the lives of these young people and to maintain them into a precarious state. This is not unrelated to a persistent unemployment, mainly in the absence of a "new" model of development likely to rekindle hope among them and allow them to integrate - and enjoy - the era of consumerism and hedonism propagated by the "world culture" and new communication technologies.In the meantime, these young people show they are concerned, indeed, but otherwise; they take part of a new political range, rather. The reconfiguration of the Tunisian public space is a manifestation of the emergence of such new forms of political commitment among young people and the remodeling that they operate in their relations to politics. So this research refers to these newly-invented forms of expression that convey distinctive values, imprinting young people's political action by specific ways and means of doing things. These means are multiple, characterized by a plurality of expressive channels and forms of involvement. Thus, the art of the street, body language, lifestyle, etc., all perfectly illustrate that, behind their disinterest in the traditional political circuits, other methods and mechanisms of mobilization are taking shape and unfolding; they are certainly still ambiguous and undefined, but yet innovative, autonomous, plural, heterogeneous and, above all, unconventional and individual. ; Notre recherche a pour objectif d'analyser et de comprendre le paradoxe suivant : la forte - ou plutôt intense - présence des jeunes sur la scène publique, notamment politique. Présence, toutefois, étrangement assortie d'un faible engagement de ces mêmes jeunes dans les structures classiques d'engagement politique. Et ce bien que la société tunisienne postrévolutionnaire ait fixé de nombreux défis, dont en premier chef celui du politique et de la manière d'appréhender les aspirations et les revendications des jeunes. Ces derniers ont représenté l'un des principaux acteurs de la révolution, lesquels avaient ouvert la voie à un changement politique et à une reconfiguration de l'espace public tunisien. Paradoxalement, dès la première épreuve de la transition démocratique qu'ont été les élections de 2011, celles-ci furent marquées par l'absence des jeunes qui auraient d'autant plus constitué une importante réserve électorale de partisans de la liberté d'expression. Or, il s'avère que l'abstentionnisme de ces derniers est loin d'exprimer un manque d'engagement citoyen. Ce parti pris n'est nullement arbitraire ; il est en fait une modalité d'expression politique propre à eux. Il est en quelque sorte une réponse à l'incertitude qui continue à ronger l'existence de ces jeunes et à les plonger dans un état de précarité. Celui-ci n'est pas sans rapport avec un chômage perdurant, faute d'un « nouveau » modèle de développement à même de raviver l'espoir chez eux et de leur permettre de s'intégrer à – et profiter de – l'ère du consumérisme et l'hédonisme propagés par la « culture monde » et les nouvelles technologies de la communication.Ce faisant, les jeunes s'engagent mais autrement ; ils s'inscrivent dans un nouveau répertoire politique. La reconfiguration de l'espace public tunisien est une manifestation de l'émergence de nouvelles formes d'engagement politique chez les jeunes et les reconstitutions qu'ils opèrent sur leurs rapports au politique. Par cela, nous renvoyons à leurs nouvelles formes d'expression inventées qui véhiculent d'autres valeurs, imprimant ainsi leur action politique par des manières et modalités de faire spécifiques. Ces modalités sont multiples caractérisées par une pluralité de canaux d'expression et de formes d'engagement. Ainsi, l'art de la rue, l'expression corporelle, le mode de vie, etc., illustrent bel et bien que, derrière leur désengagement des circuits politiques traditionnels, se trament et se déploient des modalités et des dispositifs de mobilisation distincts. Modalités d'expression certes encore ambiguës et inachevées, mais innovantes, autonomes, plurielles et hétérogènes, voire surtout non conventionnelles et individuelles.

CRITICAL DISCOURSE ANALYSIS OF RACISM IN DJANGO UNCHAINED MOVIE Tiara Magda Amelia English Literature Study Program, Faculty of Languages and Arts, Surabaya State University Tyara_46@hotmail.com Widyastuti, S.S., M.Pd. English Literature Study Program, Faculty of Languages and Arts, Surabaya State University Wid_unesa@yahoo.com Abstrak Rasisme masih muncul seperti halnya membandingakan antara ras orang jawa dan ras cina. Rasisme muncul karena dalam masyrakat, ada yang memiliki kekuasaan banyak ataupun sedikit. Jadi, dalam jurnal yang berjudul "Analisa Wacana Kritis Rasisme pada film Django Unchained" akan berfokus pada (1) tipe rasisme apa yang muncul pada pengucapan orang kulit putih sebagai grup yang dominan dan (2) bagaimana kekuasaan bisa mengontrol masyarakat yang di lakukan oleh orang kulit putih sebagai grup dominan. Analisa Wacana Kritis mempunyai hubungan istilah dengan kekuasaan, kesinambungan dan dominasi. Jadi, Analisa Wacana Kritis merupakan teori yang tepat untuk menganalisa tutur kata. Jurnal ini menggunakan metode qualitative untuk memberi penjelasan yang lebih jelas melalui teory Van Djik. Jurnal ini berfokus pada rasisme di film Django Unchained. "Django Unchained" berisi tentang rasisme yang dilakuakan orang kulit putih sebagi dominan grup. Jurnal ini berfokus pada tutur kata rasis yang dilakukan oleh orang kulit putih. Hasil dari jurnal ini yaitu ditemukan tutur kata yang mengandung representative, expressive, commisive and directives. Orang kulit putih menggunakan dasar kekuasaan mereka dan juga menggunakan kekuasaan akses dan discourse, dan pengontrol pikiran untuk mengontrol masyarakat. Selain menggunakan kekuasaan, orang kulit putih juga sosial dan kesadaran manipulasi untuk memanipulasi masyarakat. Keywords: rasisme, analisa wacana kritis, kontrol, kekuasaan dan manipulasi Abstract Racism still appears such as comparing race between javanesse and chinesse people. Racism appears because of having less or more power in society. So, this journal which title "Critical Discourse Analysis of Racism in Django Unchained Movie" will be focused on (1) in what way white people as dominant group show their racism and (2) how power can control society which is done by white people as dominant group. Critical Discourse Analysis has a great deal with the names of power, inequality and dominant. So, Critical Discourse Analysis is a good scholar to analyse the utterances. This study uses qualitative method in order to get clearer explanation through Van Djik's theory. This study focuses on racism in society in "Django Unchained" movie. "Django Unchained" movie contains of racism which is done by white people as dominant group. Thus, this data focuses on the utterances of dominant group as exerciser of racism. Here, the result of this study is white people as the dominant group utter racism in representative, expressive, commisive and directives. They also use the base of power rosurces, access and discourse and mind control to control over society. Besides using power, they also use social and cognition manipulation to manipulate society. Kata Kunci: racism, critical discourse analysis, control, power and manipulation INTRODUCTION Racism is not abstract systems of social inequality and dominance. Power abuse can be defined as dominance, for example in terms of the violation of norms and human social rights. Racist can be defined as ideology of racial thinking of people who have more power to do their belief in society. Fiske (1994) says racist discourse is in the media consists of a list of words, images and texts that threaded together, produce an understanding of the world and position and status of people of color in that world. Changing nature is the most complex aspect in racist. The racist behaviour can see by insulting, harrasing each other in the school, workplace or in public, doing racial graffiti, and similar aggressive anti-social acts. However, the beliefs and behaviours of social deviants are not limited in individual racism. Racism can be seen by how people act each other by their behaviour and talk. For example mocking, saying bad thing to other people, threatening or the other else by using their utterances. Yule (1996) says speech act is action which is done via utterances. According to Searle (1979) there are five kinds of classification speech act, they are : Declaration Declaration is the word which can change the world by using utterance. In declaration usually use expression of "I bet", " I declare", "I resign". For example : " I baptise this boy Michel Meyer". Representative Representative is type of speech act which is contain of believe. The statement consist of assertions (someone who say something clearly without any hestitation), conclusions (someone who has say everything all of the conversation, he or she conclude his conversation by saying "so" or "it means that" or "it can be said"), and description (someone who wants to describe something for example describe person, personality, events, news etc). Expressive Expressive is type of speech act which is about speaker's feel. The statement is like pleasure (someone who feels happy or exciting, joy ), pain ( someone who feels hurt by somebody else, the words which are usually used "hurt" and "sick" "pain"), like (someone who love or pond of something) , dislike (someone who does not like something and the words are usually used "dislike", "hate", "can not stand", "can not bear"), or sorrow (someone who is in bad condition or uncomfort zone ). The word of expressive such as: happy, sad, upset, love, like, hate, fear, and so on. For example "being rich is wonderful". Directives Directive is type of speech act which want to someone do something. Usually the word of directives contains of requesting, (using question words such as who, what, why, which, whose, and how), commanding is about how to people give a command to someone to do something, usually in imperative sentence like "open the door!"), inviting (a person who wants to invite someone to join or attend his or her event), forbiding (usually to ask someone not to do the harm thing), suggesting (the word, usually use in suggesting is should or ought to). Commisive Commisive is type of speech act which speaker wants to commit himself to some future actions. Like promising (the word which is used in promising is "promise", "will"), threatening (threatening is like someone who wants to say something rude and harm to person, it has impact to the future), refusing (the word which is usually appeared in refusing sentence is "no", it is like person who does not want to do something of accept a thing). For example : "I will pick up you tomorrow". Critical Discourse Analysis Critical Discourse Analysis (CDA) deals with social power abuse, dominance, inequality and the way these are reproduced by the social group member through text and talk (Van Djik, 1998a). Wodak and Meyer (2001) say that Critical Discourse Analysis is the term of language as social practice. CDA focuses on between discourse and society, the social problem is about rising inequality in the society. Moreover Fairclough (1941) explains more about CDA that CDA not only shows how to investigate language which has relationship with power , but also shows the discursive nature of much contemporary social and cultural change.In CDA, language is not the most powerful part but language can reach power which is done by powerful people who use power to maintain society for their interest. That is why CDA often chooses the perspective of those who suffer (powerless group), and critically analyses the language use of those in power, who are responsible for the existence of inequalities. Power Critical Discourse Analysis deals with power abuse. The meaning of power is, according to Max Webber in Empowerment and Community Planning, power as probability that someone follow somebody's will, eventhough his will resistance to it in social relationship. In addition, Robert Dahl (1961) argues that power is exercised which done by individuals who are prevented from doing what they want prefer to do in community. Access and Discourse The dominance can control society because they have the base resources. These are the base resources of power such as wealth, income, good job, status, knowledge and education. Social power has relation with access and discourse. In this case the language users or communicator or speaker can have more or less in the use special discourse or may be in specific communicative events and contexts. It means that the speaker have more or less to control and access the discourse. Mind Control Influencing mind, somehow influence readers and hearers in news report, political propaganda, advertising, religious sermons, corporate directives or scholarly articles. They influence by knowledge, affecting opinion or changing attitudes. In specific context, the hearers or reader who given knowledge and belief reject, disbelieve, or otherwise mentally act in opposition to the intentions of powerful speaker or writer. The powerful speakers or writers have relative freedom to use discourse in their own interest. There are points of discursive mind control is a form of power and dominance if such control is in the interest of the powerful and if the recipients have 'no alternatives', i.e., no other sources (speakers, writers), no other discourses, no other option but to listen or read, and no relevant other beliefs to evaluate such discourses. Eventhough, the speaker or writer has many freedom, in other hand in the recepients are many coercion. The status of powerful writer and speaker is the function of properties of text and talk. The powerful speaker may be lied to, manipulated, persuaded to influence in their interest. The "victims" who have lack of knowledge or lack of power resources, they can not detect lies and manipulation from powerful people. For example journalist or writers have enough experience to influence society by message in their mind idea. They know how to change opinion and knowledge of readers. It is notion of changing people's mind. They change opinion and knowledge by emphasizing specific topic (headline and summaries in newspaper). They may influence mental model structure include discourse comprehension. Manipulation Influencing people's mind by controlling their action and attitudes needs persuasion and manipulation way to do it. But in Critical Discourse Analysis, manipulation needed to require as further theoritical analysis (Van Djik, 2006). Besides using power to control society, some speakers do manipulation to affect people's opinion and belief. Manipulation is a form of talk in conversation or interaction among people, manipulation deals with power abuse. Manipulation is illegitimate notion because, manipulation not only consist of power but also power abuse which is done by dominance. Thus, manipulation has negative sense rather than persuasion. Pictures, photo, movie or other media are exercised of manipulation by influencing the "victim". Manipulation in Society Power dimension in society takes apart to involve control people who exercise over other. In exercising control over other, manipulation needs social actor to satisfy personal and social criteria which can influence other. The group membership can define their power by their position, profession, and material. For example, parent can manipulate their children because of their power and authority in the family and professors can manipulate their student because of position and their knowledge. Everyday, in society, people may practice the kind of social manipulation in their group rather than personal Cognition Manipulation Manipulating people, it can be called manipulating their mind. People's mind is about people's belief like their knowledge, opinion and ideology which reflect to their actions. The mind is very complex process. So, it needs real time and action to apply it efficiently. The manipulator will decrease understanding their explanation while speaking, by speaking faster, less clearly and speaking with complex sentence, difficult word and confused topic. So, the hearer will get no idea what manipulator say or get a weak understanding from manipulator. In the one hand, the dominant group will facilitate their understanding with their interest in their information while doing manipulation. It is mean that the context model of the speaker has a clear plan to hamper the understanding. This research uses 2 research questions. They are in what type of speech act white people as dominant people show their racist utterances and how white people control society by using their power. the puposes of this study is to describe and show white people do racism and to describe how white people control society by using their power. all of the research questions are about in "Django Unchained" movie. METODE This research uses descriptive qualitative. The differentiate qualitative and quantitative is qualitative concerned with how and why something is, while quantitative focused on how much or how many (Litosseliti, 2010). The use of qualitative method is to analyse in what type utterances which contain of racism utter by white people as dominant group, second to analyse how white people as dominant group control society by using their power. The data is taken from the movie of "Django Unchained", the source of data is taken from utterances in "Django Unchained" movie. The data is movie which contain of racism. The movie is directed by Quentin Taratino. Data collection techniques are done by observation. In this case, the writer using non-participation technique in which the writer observes the data through taking notes of the object and without making interview or questionnaire as what Wray, Trott, Bloomer, Reay, & Butler (1998) had said that observing data is consisting of recordings, transcriptions, and notes relating to your subject's behaviour and language (spoken and or written). In this study, the data are from the utterances which contain of racism and power in "Django Unchained" movie will be observed. By doing observation, the use of transcription is important to support the utterances of data. According to Miles and Huberman, they defined analysis as consisting of three current flows of activity: data reduction, data display, and conclusion drawing or verification (1994). In this data analysis, the writer also uses these three activities. Data Reduction. In this research, the writer reduced the data that she does not focused on and need. There are so many conversations that produced by the characters in this "Django Unchained" movie. In this case the writer reduced the conversation which does not contain of power and racism. Data Display After reducing the data, analysing will be the next step. The analysis will be display as in data display. The data is displayed by using two tables in first and second research question. The tables are used when collecting the data. The first (1) contains of scene, utterances, utterances of racism and types of speech act. The writer identifies the appearing racism in that movie. The racism utterances are like how white people behave to black people with racism behaviour such as mocking insulting, harrasing each other, doing racial act, and similar aggressive anti-social acts. After indentifying the writer will analyze appearing racism by using what types of speech act which related to utterances of the conversation. The table (2) contains of scene, utterances, power and manipulation. The writer tries to analyze how white people as dominant group controls society. The dominance group is white people who have more power than black people. So, the dominance group's conversation will analyze in concept how power can control society. After knowing conversation which contain of power, the writer will analyze how and which power of white people use to control the society. After that analyze the power by using manipulation way is taken from Van Djik. Table 3.1 Speech act of racism utterances by white people. No. Scene Utterances Utterances of Racism Types of Speech act Table 3.2 The use of power and manipulation by white people. No. Scene Utterances Power Manipulation Conclusion Drawing and Verification No. RACISM KIND OF SPEECH ACT R1 Poor devils Representative In data analysis technique, the data are obtained through several steps based on the research questions. Finally, after doing reducing and displaying data, the researcher can be drawn and verified by using theory which used are power and manipulation, racism by Van Djik. RESULTS AND DISCUSSION Table of Racism R2 It's against the law for niggers to ride horses in this territory. Representative R3 They ain't never seen no nigger on a horse before. Expressive R4 Not on my property. Not around my niggers, he can't. Expressive R5 your fancy-pants nigger Expressive R6 Get that nigger outta here Directives R7 your loveliest black creatures Directives Table of Power No. UTTERANCES POWER MANIPULATION P1 Mr. Bennet : You and your Jimmie rode from Texas to Tennessee to buy one of my nigger gals? No appointment, no nothin'? Access and dsicourse - P2 Mr. Bennet : Betina, sugar, could you take Django there and take him around the grounds here and show him all the pretty stuff. Betina : As you please, Big Daddy. Access and dsicourse - P3 Mr. Monsieur Candie : - No, no, no, no, no. no beggin'. No playin' on my soft heart. I done paid $500 for you. When I pay $500, then I expectto get five fights out of a nigger, - 'fore he roll over and play dead. Black people : sir. . Mr. Monsieur Candie : Mr. Stonesipher?, Let Marsha and her bitches, send D'Artagnan to nigger heaven. Access and dsicourse - P4 Mr. Monsieur Candie : One more moment, doctor! Dr. King Schultz : What? Mr. Monsieur Candie : It's a custom here in the South. once a business deal is concluded that the two parties shake hands. It implies good faith. Dr. King Schultz : - I'm not from the South. Mr. Monsieur Candie : - But you are. in my house, doctor. - So I'm afraid I must insist. Dr. King Schultz : -insist. On what? That I shake your hand? Access and dsicourse Social Manipulation and Cognition manipulation P5 Dr. King Schultz : Is there one amongst you who was formerly a resident of the Carrucan plantation? Djanggo : I'm from the Carrucan plantation. Dr. King Schultz : Who said that? What's your name? Django : Django Mind control - Based on the result, the data proved that racism appear in "Django Unchained" movie. Racism is kind of belief that ignoring people who have different color of skin and the status of them. In this case, white people are drawn as the dominant group who has more power than black people. The dominant appear in society because of having differences power. Having differences of power reproduces inequality. Reproducing inequality in society can make racism, as in "Django Unchained" movie. Appearing racism is because of having inequality of power in the movie. Because of inequality, white people in "Django Unchained" do power abuse in order to they want to control black people and society in their interest. White people do power abuse, because they have more power than black people and white people has more than one in the base power resources like money, status, and job. Thus, they have more access to control black people and society. The word inequality and power abuse make a deal with the theory of Critical Discourse Analysis (Van Djik, 1998a). CDA tents to power, inequality and dominant. In this case, the function of CDA is to improve the way of thinking of society through "Django Unchained" movie. "Django Unchained" movie contains of racism. Van Djik (1995) adds that CDA focuses on text and talk especially in discourse and society. Text and talk contain of words and utterances. Utterances have relationship with study of speech act. According to Yule (1996) speech act contains of action which is done by utterances. Deborah (1994) adds that specch act is basicly concerned with what people "do" with language. So, people can do act by using language via utterances. There are many utterances appear in "Django Unchained" movie. So, in this case, speech act takes apart in analysis utterances. The use of speech act is to describe the conversation of the actors in "Django Uncahined" movie. Why describing conversation through speech act, because speech act can explain the action of the speaker through utterances. According to Yule (1996) people do not only produce utterances which contain of grammartical structure and words, but also show their action through utterances. Searle (1979) adds that people express their feeling and attitude, and they do all of them via utternaces. Speakers will emphasize what they want to speak by using the clearer words. According to Searle (1979), he does classification speech act into five, they are declaration, representative, expressive, commisive, and directives. By using classification of speech act, the reseacher can analyse the type utterances of speech act which white people as dominant group do racism. Thus, as the examples of classification of speech act, in R1 shows that the utterances contain of racism in representative speech act. Like, white people mock black people with uncommon utterances, as in R1 the white people called black people with "poor devil". The word "poor devil" in this utterance means that black people as poor people, because job of black people is only as slave. White people are always under or lower than white people, so white people mock black people as a poor. The word "devil" is a part of the satan who never does a good thing in their life. White people describe the life of black people as a devil. The others example of racism in the data is like R8, racism appear in the rules of law, the law forbids the black riding a horse, the reason is the status of black people, and only white people can ride a horse. In the R1 and R2, show racism through the status between white people and white people. The status between them makes an inequality in society. From the data R1 and R2, those are the prove that racism show by doing discrimination which done by white people. According to Essed (1991) racism is done by discrimantion through intimidation minority group and law. Pendakurs (1995) adds that racism can do by insulting, harrasing minority group. Those can happend because dominanted group use their power to do power abuse. According to Van Djik (1998a), inequality in society appear because a group or people who have more power than other group do power abuse. It implies that the dominanted group can control other group in order to follow the interest of dominanted group. Like in P3, white poeple who have the base resources of power show such as money, job, and status acn control society by using their the base of power resources. The conversation shows that Mr. Candie has more money to pay the black people. The status of black people is lower than Mr. Candie because Mr. Candie is the boss of black people. Having all of the power white people do power abuse. Besides having the base of power, white people have power of access and discourse and mind control in order to get good way to control society. Here in P1 conversation shows that Mr. Bennet as the owner of plantation has the base resources of power. He has higher status than others, because he is the boss of the plantation. Absolutely, he has a good job than others. It means his financial is better than others. P1 shows, Mr. Bennet as the owner of plantation, he can do many things in his plantation because he has access in his own plantation to control his plantation and society around the plantation. In P5, Dr. Schultz do mind control by changing his attitude in good attitude in order to Django will do what he wants, usually white poeple do bad thing in black people but in this case white people do a good thing in order to get his interest. Besides controlling by using the base resources of power and, access and discourse and mind control, white people use social manipulation and cognition to manipulate society by using good actor in order to society can not detect the lie from the white people. Doing manipulation, according to Van Djik (2006) that manipulators make others believe do things that are in the interest of the manipulatorinterests of the manipulated. It can againts the interest of the victim of manipulation. Lacking of knowledge can make manipulator do his manipulation well. Because the "victim" has no choice to belief or accept the knowledge itself. Like in P4 Mr. Candie do social and cognition manipulation, he does manipulation to his interlocutor follow his will. Mr. Candie is good social to do manipulation, because he succes does manipulation, he also use their knowledge to manipulate his interlocutor, it supports by his interlocutor does not about custom knowledge in South, so his interlocutor has no choice to reject what Mr. Candie wants. The term of racism can not be separated from power. People who use racism will deal with power. They use power in order to control society, controling society has purpose is to get their will through society. CDA is the key to know how power, inequality and dominant take apart in this movie. After discussing how power works in "Django Unchained" movie, people know how to use power in order to avoid power abuse around society. CONCLUSION AND SUGGESTIONS Conclusion This study reveals the relationship between racism and power. Those can not be separated because racism appear because of having more or less power between each group society. White people abuse their power to do bad thing in black people. Thus, CDA is a term to take deeper analysis in order to get improvement among society through text and talk. Text and talk which contain of words and utterances can define what people act. It is term of speech act which scholar analises act through utterances. So, people can know how people act through their utterances. Based on the results of the study, there are some proves that the movie contains of racism utterances. The racism shows through utterances. The white people do racism by mocking them, the way they mock black people are using kind of speech act such as directives, expressive, commisive and representative. White people do racism because they ignore the kind of thing which is different with them like color of skin, status, job and wealth. Inequality in society reproduces racism. Racism contains of power and manipulation. The inequality in society appears because each group has more or less power, for example the base resources of power are job, status, and wealth and also access and discourse power, and mind control. Inequality itself reproduce dominant among society. In addition white people do manipulation instead of using power to get easier to control and manipulate society. Suggestions As sugesstion for the future researcher, needs to take a deep analysis racism in others mass media. In this study the researcher takes a movie as her data. Movie is one of the member of mass media. So, the next researcher ca take others mass media like news, magazine, newspaper, radio, news televison etc. Another suggestion is from the area in Critical Discourse Analysis. Critical Discourse Analysis has many areas such as politic and society. In this data the researcher takes society. It means that next researcher can take other area In CDA. In addition, the way of analysis is so widely in the data. CDA can analyse from the power or even in ideology. In this study researcher takes racism to be analyzed in the scope of power and how the way dominant group utter racism. Thus, the next researcher can analyse the data from the behaviour of dominant group in racism area pschology in racism. REFERENCES Dahl, Robert. (1961). Power In Empowerment and Community Planning. Essed, Philomena. (1991). Understanding Everyday Racism: An Interdisciplinary Theory. Newbury . In Frances Henry and Carol Tator (eds.) Racist Discourse in Canada's English Print Media. The Canadian Race Relations Foundation, 2000. Fairclough, N. L., (1941). Language and Power. New York : Longman. Fiske, John. (1994). Media Matters: Everyday Culture and Political Change. Minneapolis: University of Minnesota Press. In Frances Henry and Carol Tator (eds.) Racist Discourse in Canada's English Print Media. The Canadian Race Relations Foundation, 2000. Litosseliti, Lia. (2010). Research Methods In Linguistics. New York : Continuum. Miles, M. B., & Huberman, A, M. (1992). Qualitative Data Analysis. New Park: SAGE Publications, Inc. Pendakur, Krishna and Ravi Pendakur. 1995. The Colour of Money: Earning Differentials among Ethnic Groups in Canada. Strategic Research and Analysis. Ottawa: Department of Canadian Heritage. In Frances Henry and Carol Tator (eds.) Racist Discourse in Canada's English Print Media. The Canadian Race Relations Foundation, 2000. Searle, J. (1979). Expression and Meaning. Studies in the Theory of speech Act. New York: Cambrige University Press. Van Dijk, T.A. (1998a). Critical discourse analysis. In Jaffer Sheyholislami In Critical Discourse Analysis. Van Dijk, T. A. (2006). Discourse and Manipulation in Discourse and Society. London : Sage Wodak, R,. & Meyer, M. (2001). Methods Of Critical Discourse Analysis. London : Sage. Wray, A., Trot, K., Bloomer, A., Reay, S., & Butler, C. (1998). Project in Linguistics: A Pratical Guide to Researching Language. China: Edward Arnold PublisherLtd. Yule, George. (1996). Pragmatics. Oxford University Press.

XXIe Congrès de la SFSIC. MSH Paris Nord, 13, 14, & 15 juin 2018Créez ! Soyez (tous) créatifs ! Et, bien sûr, soyez innovants ! Les appels à la création et la créativité sont devenus comminatoires tels des « impératifs catégoriques », quel que soit le secteur d'activités : les problématiques de l'innovation hantent tous les discours, sinon toutes les pratiques, y compris info-communicationnels, au travail et dans la culture, dans les territoires et les laboratoires de recherches, dans les entreprises - celles du CAC40 comme les startups. Ces injonctions ne sont-elles qu'un discours de ré-enchantement de la vie des individus, de la vie au travail, du marché, de la relation-client ?Entre une création qui agit sur le symbolique et l'imaginaire social et une créativité qui implique une dynamique et agite les pratiques, quelles approches les recherches en Sciences de l'Information et de la Communication développent-elles sur les médiations instituées et organisées dans toutes les activités de la société pour inciter à des actions de création et de créativité ?Ces questions ne sont pas nouvelles. Elles sont au cœur de la réflexion sur l'aptitude de l'humanité à faire émerger des formes nouvelles, qu'il s'agisse de la création artistique, des objets et des machines, des formes organisationnelles, des supports et des modalités d'écriture et de création d'images, de sons. Tous ces processus apparaissent également récents parce que les technologies numériques et les logiques qu'elles véhiculent les ont incontestablement réactivés, renforcés et modifient notre perception du monde. L'augmentation du nombre de productions, la réactivité des consommateurs pour des produits éphémères conduisent à créer en permanence, la multiplicité des conditions qui mobilisent la création et la créativité. Le renversement des logiques d'innovation par la prise en considération des usagers et des citoyens, les possibilités de coordination et de coopération déterritorialisées rendent nécessaires une investigation scientifique par notre discipline mais aussi une approche opérationnelle et une réflexion éthique. Comment les Sciences de l'Information et de la Communication éclairent-elles les processus qui se mettent ou sont mis en place, et s'impliquent-elles dans les actions toujours plus nombreuses et scientifiquement exigeantes ?Ce XXIe Congrès organisé en partenariat avec le LabSIC propose d'étudier, d'analyser et de mettre en débat les thématiques de la création, de la créativité, de l'innovation et des médiations. Il invite à donner un ou des sens info-communicationnels à des idées de plus en plus mobilisées socialement, dans tout le spectre de notre approche disciplinaire mais aussi du point de vue de disciplines adjacentes dont les Sic doivent se distinguer : créativité (management, psychologie), création (esthétique et sciences de l'art, économie libérale de la culture), médiations (sociologie de la culture ou de l'action sociale, sciences politiques).Les propositions s'articuleront autour de 3 axes :Philippe BOUQUILLION (LabSIC) [sommaire] Au sein de l'axe 1, l'objectif est d'interroger les processus de création et de créativité du point de vue de leur dimension idéologique, des enjeux sociaux qu'ils soulèvent et des politiques publiques dont ils bénéficient. Les processus de construction sociale et idéologique de la création et de la créativité sont aujourd'hui omniprésents. Ces processus ont une longue histoire. L'importance se note,à partir du Quattrocento, de la construction du rôle du créateur comme artiste au savoir-faire et aux réalisations singulières, tandis que les fondateurs des théories des industries culturelles ont eux aussi insisté sur l'importance de la construction de la personnalité artistique du créateur central d'une production culturelle pour fonder la valeur de celle-ci. Depuis le début des années 2000, les promoteurs de l'économie créative développent d'importants discours idéologiques sur le rôle supposé de la création et de la créativité pour la redynamisation des économies, des territoires et la transformation des rapports sociaux sous toutes les latitudes. Le design, pris au sens le plus large, est alors envisagé comme une courroie de transmission de la créativité vers l'économie et la société. Ce faisant, le design est aussi un outil d'incorporation de représentations sociales diverses (vision des rapports sociaux, des appartenances de genre, du travail, etc.) au sein des productions économiques mais aussi des politiques publiques (design de politiques publiques). Ainsi, fondant de plus en plus leurs stratégies de construction de la valeur de leurs productions sur ces représentations sociales, nombre d'acteurs économiques font commerce de celles-ci, à l'instar d'Apple qui offre un exemple emblématique du recours au modèle de l'industrie des biens symboliques.L'emprise de l'idéologie de la créativité portée par les discours dans la sphère politique et l'espace public est ainsi au cœur des interrogations développées dans cet axe. Que ces derniers soient le fait d'acteurs institutionnels, industriels, issus de l'innovation ou de l'art, ils marquent la prégnance du terme créativité, qu'il conviendra d'interroger quant à ses contextes de référence et mobilisation, et comme marque ou le témoin de changements sociaux et politiques majeurs. En effet, la valorisation économique et symbolique des métiers, produits ou structures créatifs s'accroît et s'institutionnalise selon des voies et des logiques qu'il conviendra d'analyser et de prendre en compte, et pourquoi pas jusque dans l'Université qui s'ouvre au design ? De même, les politiques culturelles, les soutiens au développement des territoires, l'accompagnement de « l'économie numérique » témoignent de choix de transition dans les modèles économiques et de valorisation du potentiel créatif de certains acteurs, ou équipes-projets.Les tensions entre idéologies et actions, entre discours et acteurs témoignent de contradictions structurantes (ou dé-structurantes) formulées par un lexique omniprésent : innovation, pro-am, innovation ascendante, participation, etc. qui consacre à la fois une idéologie spontanée de l'innovation et de la créativité, comme si elle était sui generis du milieu numérique et des programmes d'actions extrêmement répandus.Sont donc attendues dans l'axe 1, des propositions relatives aux thématiques évoquées ci-dessus et en particulier : aux processus de création et de créativité, aux médiations et constructions sociales dont ils font l'objet, dans la culture, les industries culturelles et créatives, le numérique ou le design ; aux politiques publiques dans la création, en particulier celles en faveur des processus de créativité et de leur déploiement dans divers champs sociaux ; aux enjeux pour l'espace public soulevés par la création et la créativité et, en retour, aux enjeux pour la création et la créativité de sa présence dans l'espace public, des médiatisations et médiations qu'ils suscitent ; aux questions sociétales et aux idéologies sociales liées à la création et la créativité et les concours ainsi apportés aux constructions des genres, du travail, du politique et des sociétés.Interrogeant leur articulation aux Sciences de l'information et de la communication, les propositions pourront relever des diverses approches courantes dans la discipline (étude des discours, approches socio-politique, socio-historiques ou socio-économiques, etc.). Les propositions de communication apportant un décloisonnement et un renouvellement des perspectives, mais aussi une approche critique, et intégrant les dimensions liées à la mondialisation sont encouragées. Axe II. Modèles et stratégies d'acteursCoordonné par Laurence CORROY et Dominique BESSIÈRES(SFSIC),Bertrand LEGENDRE (LabSIC)[sommaire] Cet axe se propose d'interroger la créativité et la création et leurs médiations par le prisme des acteurs et des stratégies qu'ils mettent en œuvre. Souvent, la créativité peut être reliée à des réalisations innovantes, en fonction des environnements dont elles doivent tenir compte et qui peuvent les conditionner en partie. L'adaptation suggère que la créativité est à considérer à l'aune du contexte dans lequel elle s'exprime. Elle peut par son pouvoir d'innovation bouleverser la société ou, plus modestement, apparaître lorsqu'un sujet trouve une nouvelle idée, une formulation originale d'une thématique déjà connue, en somme une variation. Elle peut aussi correspondre à un travail d'acteurs spécifiques dans les activités de création communicationnelles et symboliques (concepteur-rédacteur, créatifs d'agences de communication…). Les conditions de la créativité sont souvent reliées à des dispositions individuelles. En psychosociologie, on parle des « marginaux séquents », c'est-à-dire des personnes qui font partie d'un sous-système social dont ils maîtrisent les codes, mais suffisamment déviantes par rapport aux règles et aux normes pour pouvoir aborder sous un angle différent les objets, les organisations, c'est-à-dire innover.Création et créativité s'apparentent ainsi à des passages de « frontières ». Mais s'il faut pouvoir être crédible pour être entendu par des pairs, cette nécessité est soumise aux conditions par lesquelles la médiation peut faire partager des innovations scientifiques et/ou technologiques. C'est ce qu'illustre l'exemple archétypal, souvent évoqué, de Semmelweis qui, avant la découverte des microbes, affirmait sans succès que les médecins, en passant de l'examen des cadavres à l'auscultation des femmes enceintes sans se laver les mains, provoquaient une surmortalité au sein des populations défavorisées - les populations aisées choisissant d'accoucher à la maison pour des raisons de sécurité.Aujourd'hui, création et créativité sont souvent au cœur des discours et des stratégies portés par des organisations de toutes natures (milieux économiques, politiques, syndicaux, académiques, médiatiques…). Elles sont aux prises avec des difficultés où se mêlent des effets de résistance, les excès - sur fond de success stories - d'une croyance inconsidérée dans les vertus de la créativité, les travers et faces cachées du « management créatif »…Par exemple pour les Tice, d'un côté, l'État a porté des discours favorables aux innovations pédagogiques instrumentées, mais, de l'autre, l'État a toujours de grandes difficultés à reconnaître financièrement les investissements de certains acteurs sociaux précurseurs d'innovations pédagogiques dans le domaine des Tice. C'est la condition des soutiens matériels et financiers aux innovations qui est à questionner ainsi que la mesure de leurs effets chez les apprenants et les enseignants (Tice, éducation aux médias et à l'information…).Par ailleurs, nombre d'organisations privées et publiques se convertissent plus ou moins fortement au management de projet, cherchant justement à définir et prodiguer des règles, des normes, des dispositifs pour favoriser la création et la créativité par le développement de la communication dans les organisations. Faire communiquer des personnels de statuts, de niveaux hiérarchiques, de compétences diverses est censé permettre une plus grande faculté d'innovation par un enrichissement croisé des points de vue (intelligence collective). Une double promesse est ainsi escomptée : celle d'une organisation plus fructueuse que les anciens systèmes de gestion pyramidaux et bureaucratiques (modèle taylorien), et celle d'une « agilité » accrue de ces organisations dans un contexte de concurrence exacerbée. Enfin, les Tic sont censées favoriser l'innovation par la réduction des coûts (disruption) dans la société capitaliste contemporaine en transformation.Comment susciter la création et la créativité ? Quels acteurs et quelles stratégies sont à l'œuvre ? Quels rôles pour l'information et la communication dans cette perspective ? Quels regards critiques peut-on porter sur les stratégies des acteurs qui mobilisent ces notions ? Telles sont les questions principales à aborder par les propositions dans l'axe 2. Axe III. Objets techniques, dispositifs et contenus Coordonné par Philippe BONFILS et Bruno CHAUDET (SFSIC),Dominique CARRÉ (LabSIC)[sommaire] Cet axe se propose de questionner la place des objets techniques, des dispositifs (en règle générale et au sens foucaldien en particulier) et des contenus dans les processus d'innovation, de création et de créativité. Machines de Turing, machines à communiquer, machines numériques, machines learning… Les objets techniques, plus particulièrement numériques mais pas uniquement, ont colonisé notre quotidien au point de nous accompagner, de nous prolonger ou encore de se substituer à nous dans un ensemble de tâches de plus en plus complexes. La reconnaissance des formes, par exemple, que nous pensions être une compétence strictement humaine est désormais assurée par l'intelligence artificielle qui équipe la Google Car. Qu'est-ce que la créativité et comment être créatif dans un univers machinique contraint par les mécanismes, les procédures, les rouages, les instructions, les modes d'emploi, les prescriptions d'usages ? Et est-ce que les machines dites organisantes et désirantes sont sources de création ? Quelles situations communicationnelles sont-elles alors installées ? Il s'agit donc d'observer si l'actualisation des couplages hommes/machines fait émerger de nouvelles formes organisationnelles, de nouvelles relations, de nouveaux usages ou encore de nouveaux contenus. Cet axe porte ainsi une double interrogation. Dans quelle mesure avons-nous recours ou intégrons-nous des dispositifs de création et de créativité dans la conception même des machines à communiquer (objets, applicatifs, algorithmes, usages) et, en retour, de quelle manière ces machines dans leur propre mode de fonctionnement favorisent-elles au quotidien la mise en œuvre de la création et la créativité ? Dit autrement, que font les machines à la créativité et en retour que font création et créativité aux machines ?Les propositions de communication dans l'axe 3 auront pour vocation à s'inscrire dans cette orientation en travaillant les objets médiateurs mais aussi les dispositifs dans lesquels ils s'insèrent et les contenus qu'ils portent.Les contributions pourront analyser la place du tournant que l'on désigne comme créatif dans le processus d'informatisation sociale en cours, la manière dont s'inscrit le numérique dans le tournant créatif, ou encore les dispositifs sociotechniques qui s'appuient notamment sur les réseaux socio-numériques, les plateformes, les algorithmes, et qui organisent la mise en relation, favorisent l'accès aux contenus tout en structurant peu à peu les pratiques relationnelles, expressives, communicationnelles, créatives. Il s'agit également d'analyser les pratiques créatives qui ont recourt à des agencements techniques supposés favoriser l'engagement, la mobilisation et les nouveaux modes de coopération et de valorisation des savoirs et de la connaissance. En somme, comment analyser les nouvelles médiations qui ont faitirruption pour modifier les échanges entre univers artistique et industriel ?Cet ensemble de contributions permettra d'interroger la manière dont la technè, c'est-à-dire la relation sujet-objet, en se transformant, favorise (ou non !), une interface renouvelée, plus créative et moins instrumentale dans les domaines les plus variés : organisationnel, culturel, ludique, artistique, scientifique, technologique ou industriel. À travers ces trois axes, le Congrès 2018 sollicite les chercheur-e-s afin de discuter les concepts, les stratégies, les méthodes ou les terrains permettant d'élucider les usages multiples de la création et de la créativité dans leurs relations aux médiations dans nos sociétés qui en font désormais un usage récurrent.Les propositions de communication peuvent relever aussi bien de l'information et de la documentation que de la communication et s'insérer dans des champs de recherche déjà identifiés ou émergents de recherche. Elles pourront être :- d'ordre épistémologique et porter sur une analyse théorique croisant d'autres disciplines, et, dans ce cas, les auteur-e-s devront dégager l'éventuelle spécificité des Sic ;- d'ordre empirique et porter sur des objets précis mais, dans ce cas, les auteur-e-s devront dégager, dans une dynamique inductive, ce qui vaut pour de plus vastes ensembles ;- d'ordre stratégique et porter sur des actions mobilisatrices de la création, de la créativité et de l'innovation mais, dans ce cas, les auteur-e-s devront en dégager les enjeux communicationnels tant sur le plan opérationnel que sur le plan de la démarche de recherche. ; International audience ; After studying about fifteen public support funds for creation, in various artistic fields (visual arts, music, digital creation, audiovisual, theater, heritage and historical monuments, reading), this communication identifies some common endogenous characteristics from the communication sciences point ov view. We consider the funds as socio-technical systems generating discourse and we propose some methodological milestones allowing to observe the social transformation of a double mediation: the recognition and the assessment of creativity. ; Après avoir étudié une quinzaine de fonds de soutien à la création, dans des domaines artistiques divers (arts plastiques, musique, création numérique, audiovisuel, théâtre, patrimoine et monuments historiques, lecture), cette communication en identifie quelques caractéristiques endogènes se prêtant à l'analyse info-communicationnelle. Nous envisageons les fonds de soutien, instruments de gouvernance publique, comme des dispositifs sociotechniques générateurs d'un discours d'escorte et proposons quelques jalons méthodologiques permettant d'observer la transformation sociale d'une double médiation : la reconnaissance et l'évaluation de la créativité.

Зроблена спроба проаналізувати ключові напрями використання інформаційних технологій у виховних практиках навчального закладу. Наведено основні функції соціальної комунікації: інформаційна; експресивна; прагматична. Використання інформаційних технологій повинно передбачати створення єдиного освітнього простору. Потрібна інтеграція інформаційних технологій і традиційних форм патріотичного виховання. ; Предпринята попытка проанализировать ключевые направления использования информационных технологий в образовательной практике учебного заведения. Представлены основные функции социальной коммуникации : информационная; экспрессивная; прагматичная. Использование информационных технологий должно предусматривать создание единого образовательного пространства. Необходима интеграция информационных технологий и традиционных форм патриотического воспитания. ; The article deals with modern information technologies in the educational practices of an educational institution. The questions of the theory and practice of using modern information technologies are described in scientific researches of recent years and developed in different ways: the preparing specialists in the system of higher education for the usage of computer information management of educational institution, the development of students' information culture in the process of studying informatics, the usage of information and communication technologies in the process of teaching other subjects. The essence of information and communication technologies integrates the semantics of the term "communication" and involves the process of communication, exchange of views, knowledge, feelings, patterns of behavior, as well as the joint activities of communication participants in the process which produces a common view of things, events and environment. Basic functions of social communication: information (information about objects, its properties, phenomena, actions and processes); expressive (defines the ability of social communication to transmit evaluative information about objects or phenomena); pragmatic (social communication is a means that prompts a person to act and act).It is specially noted that diversity of communication situations that are created in a virtual informational environment, gives each person the opportunity to realize and develop their personal qualities as a patriot citizen. These particular features of the usage of new information technologies are the most valuable in organizing the education of students who feel the need to take their own position in society, to realize themselves as members of a civil society, to understand themselves and their possibilities.It is shown that the usage of modern information technologies in the development of the information space of an educational institution allows to differentiate information flows in the program plan so that thematic unity of information is not violated, the functional purpose of information blocks was preserved, content of materials corresponded to the needs of a certain category of users.It is reported that in order to increase the efficiency of the activities of military patriotic education of students, it is proposed to use the content part of the unified electronic educational and teaching environment of the educational institution: hypertext and multimedia educational and methodical complexes, electronic textbooks, the usage of native and foreign information reference systems, electronic libraries, as well as information resources of the native electronic newspapers and magazines about patriotism; to create an information block in the structure of the only educational institution's information space, where the heroic and patriotic subjects and traditions of the Ukrainian people would be described.The author emphasizes that according to some scholars, the education of patriotism and the usage of information technology, should have: the creation of the only educational space; formation of social and cultural environment in the educational process; introduction of the regional component in the educational process; the complex usage of various types of educational and extra-curricular work for the implementation of patriotic education; regular monitoring with the aim of studying the effectiveness of work on patriotic education; development of students' creative abilities.It is analyzed that there is a tendency towards the gradual change of traditional forms in favor of information technologies in the developed countries of the world in the field of patriotic education, especially, the gaming computer industry. For patriotic education, it is necessary to carry out an information exchange between the subjects of the only information environment of educational institutions through the usage of information technology. In modern conditions of the formation of an information society, there is a need for the integration of information technologies and traditional forms of work on patriotic education for its most effective usage.

Зроблена спроба проаналізувати ключові напрями використання інформаційних технологій у виховних практиках навчального закладу. Наведено основні функції соціальної комунікації: інформаційна; експресивна; прагматична. Використання інформаційних технологій повинно передбачати створення єдиного освітнього простору. Потрібна інтеграція інформаційних технологій і традиційних форм патріотичного виховання. ; Предпринята попытка проанализировать ключевые направления использования информационных технологий в образовательной практике учебного заведения. Представлены основные функции социальной коммуникации : информационная; экспрессивная; прагматичная. Использование информационных технологий должно предусматривать создание единого образовательного пространства. Необходима интеграция информационных технологий и традиционных форм патриотического воспитания. ; The article deals with modern information technologies in the educational practices of an educational institution. The questions of the theory and practice of using modern information technologies are described in scientific researches of recent years and developed in different ways: the preparing specialists in the system of higher education for the usage of computer information management of educational institution, the development of students' information culture in the process of studying informatics, the usage of information and communication technologies in the process of teaching other subjects. The essence of information and communication technologies integrates the semantics of the term "communication" and involves the process of communication, exchange of views, knowledge, feelings, patterns of behavior, as well as the joint activities of communication participants in the process which produces a common view of things, events and environment. Basic functions of social communication: information (information about objects, its properties, phenomena, actions and processes); expressive (defines the ability of social communication to transmit evaluative information about objects or phenomena); pragmatic (social communication is a means that prompts a person to act and act).It is specially noted that diversity of communication situations that are created in a virtual informational environment, gives each person the opportunity to realize and develop their personal qualities as a patriot citizen. These particular features of the usage of new information technologies are the most valuable in organizing the education of students who feel the need to take their own position in society, to realize themselves as members of a civil society, to understand themselves and their possibilities.It is shown that the usage of modern information technologies in the development of the information space of an educational institution allows to differentiate information flows in the program plan so that thematic unity of information is not violated, the functional purpose of information blocks was preserved, content of materials corresponded to the needs of a certain category of users.It is reported that in order to increase the efficiency of the activities of military patriotic education of students, it is proposed to use the content part of the unified electronic educational and teaching environment of the educational institution: hypertext and multimedia educational and methodical complexes, electronic textbooks, the usage of native and foreign information reference systems, electronic libraries, as well as information resources of the native electronic newspapers and magazines about patriotism; to create an information block in the structure of the only educational institution's information space, where the heroic and patriotic subjects and traditions of the Ukrainian people would be described.The author emphasizes that according to some scholars, the education of patriotism and the usage of information technology, should have: the creation of the only educational space; formation of social and cultural environment in the educational process; introduction of the regional component in the educational process; the complex usage of various types of educational and extra-curricular work for the implementation of patriotic education; regular monitoring with the aim of studying the effectiveness of work on patriotic education; development of students' creative abilities.It is analyzed that there is a tendency towards the gradual change of traditional forms in favor of information technologies in the developed countries of the world in the field of patriotic education, especially, the gaming computer industry. For patriotic education, it is necessary to carry out an information exchange between the subjects of the only information environment of educational institutions through the usage of information technology. In modern conditions of the formation of an information society, there is a need for the integration of information technologies and traditional forms of work on patriotic education for its most effective usage.

El espacio urbano es, al menos en nuestra concepción actual, el hábitat natural de la civilización moderna. La mayoría de los problemas sufridos por la sociedad hoy en día están relacionados con su condición urbana, no importa si son económicos, tecnológicos o de naturaleza política. La ciudad se ha convertido hoy en un escenario de conflicto natural para el imaginario colectivo, al menos en la misma forma que se considera el medio más creativo o el emporio comercial principal. Pero hay una realidad profunda más allá de este icono simbólico: la historia es muy expresiva sobre el tema de la relación entre la seguridad, la sensación de seguridad y la evolución de la ciudad. Esto no es sólo asunto de interés para planteamientos académicos ligados a la investigación, es también reconocido como un gran problema por las Naciones Unidas y otras instituciones internacionales. La percepción general sobre la seguridad urbana no es, de hecho, una cuestión de interés científico, sino una raíz profunda de la ansiedad cotidiana. Hay una sensación difusa en la cultura contemporánea que vincula el futuro de la sostenibilidad social a una cuestión de control de la conducta antisocial en el entorno urbano. Por supuesto, esa sensación se fundamenta en el temor y puede abrir la puerta a un sistema muy peligroso basado en las tecnologías de vigilancia. Sólo por esta razón, es muy necesaria una reflexión acerca de las razones de porqué las ciudades no están cumpliendo con la función de garantizar la seguridad, o simplemente de proporcionar una sensación de seguridad de sus habitantes. Tratando de hacer este análisis, podemos encontrar por lo menos un factor de influencia obvia en el medio ambiente urbano: la estructura física de la ciudad. Y hay un par de disciplinas relacionadas con la estructura urbana: la planificación urbana y el diseño urbano. El propósito de este trabajo es describir algunos casos de la contribución de estas disciplinas a la falta de seguridad urbana, tomando ejemplos del pasado para comprender nuestro presente, y quizá nuestro futuro. ; The urban space is, at least in our actual conception, the natural habitat for modern civilization. Most of the problems suffered nowadays by society are related with it´s urban condition, does not matters whether they are economical, technological or mainly political. The city itself has become nowadays in a natural conflict scenario for the collective imagination, at least in the same way that is considered the most creative environment or the main commercial emporium. But there is a deep reality beyond this symbolic icon; History is very expressive about the issue of the relation between security and safety and the city evolution. But this is not only subject of interest for several scholars, it is also recognised as a huge problem by the United Nations and other international institutions. The general perception about urban safety is not, indeed, like a question of scientific interest, but as a deep root of everyday anxiety. There is a diffuse feeling in contemporary culture that links the future of social sustainability to a matter of asocial behavior control in urban environment. Of course, that feeling in based in fears and can open the door to very dangerous system based in surveillance technologies. Just for this reason, is very necessary a reflexion about the reasons because the cities are failing with the function of providing security or merely a safety sensation to their inhabitants. Trying to make this analysis, we can find at least an obvious influence factor in the urban environment: urban physical structure. And there are a couple of domains related with urban structure: the urban planning and the urban design.The purpose of this paper is to describe some cases of the contribution of these domains to the urban lack of safety, taking examples from the past to understand our present, and perhaps our future.

The urban space is, at least in our ac­tual conception, the natural habitat for modern civilization. Most of the problems suffered nowadays by society are rela­ted with its urban condition, does not matters whether they are economical, technological or mainly political. The city itself has become nowadays in a natural conflict scenario for the collective imagi­nation, at least in the same way that is considered the most creative environ­ment or the main commercial emporium. But there is a deep reality beyond this symbolic icon; History is very expressive about the issue of the relation between security and safety and the city evolution. But this is not only subject of interest for several scholars, it is also recognized as a huge problem by the United Nations and other international institutions. The general perception about urban safety is not, indeed, like a question of scientific interest, but as a deep root of everyday anxiety. There is a diffuse feeling in con­temporary culture that links the future of social sustainability to a matter of asocial behavior control in urban environment. Of course, that feeling in based in fears and can open the door to very dangerous system based in surveillance technolo­gies. Just for this reason, is very neces­sary a reflection about the reasons becau­se the cities are failing with the function of providing security or merely a safety sensation to their inhabitants. Trying to make this analysis, we can find at least an obvious influence factor in the urban environment: urban physical structure. And there are a couple of domains rela­ted with urban structure: the urban plan­ning and the urban design. The purpose of this paper is to describe some cases of the contribution of these domains to the urban lack of safety, taking examples from the past to understand our present, and perhaps our future. ; El espacio urbano es, al menos en nuestra concepción actual, el hábitat natural de la civilización moderna. La mayoría de los problemas sufridos por la sociedad hoy en día están relacionados con su condición urbana, no importa si son económicos, tecnológicos o de naturaleza política. La ciudad se ha convertido hoy en un escenario de conflicto natural para el imaginario colectivo, al menos en la misma forma que se considera el medio más creativo o el emporio comercial principal. Pero hay una realidad profunda más allá de este icono simbólico: la historia es muy expresiva sobre el tema de la relación entre la seguridad, la sensación de seguridad y la evolución de la ciudad. Esto no es sólo asunto de interés para planteamientos académicos ligados a la investigación, es también reconocido como un gran problema por las Naciones Unidas y otras instituciones internacionales. La percepción general sobre la seguridad urbana no es, de hecho, una cuestión de interés científico, sino una raíz profunda de la ansiedad cotidiana. Hay una sensación difusa en la cultura contemporánea que vincula el futuro de la sostenibilidad social a una cuestión de control de la conducta antisocial en el entorno urbano. Por supuesto, esa sensación se fundamenta en el temor y puede abrir la puerta a un sistema muy peligroso basado en las tecnologías de vigilancia. Sólo por esta razón, es muy necesaria una reflexión acerca de las razones de porqué las ciudades no están cumpliendo con la función de garantizar la seguridad, o simplemente de proporcionar una sensación de seguridad de sus habitantes. Tratando de hacer este análisis, podemos encontrar por lo menos un factor de influencia obvia en el medio ambiente urbano: la estructura física de la ciudad. Y hay un par de disciplinas relacionadas con la estructura urbana: la planificación urbana y el diseño urbano. El propósito de este trabajo es describir algunos casos de la contribución de estas disciplinas a la falta de seguridad urbana, tomando ejemplos del pasado para comprender nuestro presente, y quizá nuestro futuro.

Oggi e oltremodo importante sperimentare metodologie didattiche innovative volte a facilitare l'acquisizione di una competenza comunicativa globale in Lingua Straniera (LS)/Lingua Seconda (L2), anche in considerazione delle piu recenti politiche linguistiche europee. L'ipotesi di partenza del presente lavoro di ricerca e che il coinvolgimento emotivo dell'apprendente e l'utilizzo di vari codici espressivi, in aggiunta al codice verbale, favoriscano risultati piu efficaci. Si vogliono pertanto dimostrare i vantaggi della glottodidattica teatrale in contesti specifici. Negli ultimi anni, abbiamo assistito, in tutta Italia, a significativi mutamenti dovuti da un lato alla globalizzazione e dall'altro, a livello "glocale", all'ondata migratoria che ha coinvolto l'intera nazione e che trova in Sicilia, vista la posizione geografica, uno sbocco obbligato. Si deve quindi ripensare ad una organizzazione del processo di insegnamento-apprendimento dell'Italiano L2 in chiave sociolinguistica, pragmatica e interculturale e prevedere percorsi inclusivi a piu ampio raggio che agiscano innanzitutto sulla motivazione e sull'abbassamento del filtro affettivo. Perche allora investigare sulla glottodidattica teatrale? Proprio perche quest'ultima risulta la combinazione vincente per conseguire obiettivi anche al di fuori delle scuole, in ambito sociale. Attraverso pratiche laboratoriali e strategie cooperative, si promuove una continuita educativa a spirale in termini di crescita e autonomia personale che si aggancia ai prerequisiti per ampliare e potenziare competenze trasversali in situazioni sempre nuove e differenziate. In ambienti educativi rilassanti si svolgono attivita dinamiche ed espressive a partire dal linguaggio del corpo e dalle azioni fisiche; contestualmente si attivano processi cognitivi e metacognitivi anche a stadi iniziali di interlingua. Si facilita cosi un piu rapido adattamento degli stranieri nel Paese di accoglienza. Il coinvolgimento fisico e plurisensoriale consente infatti una esperienza comunicativa intersemiotica che nell'uso della L2 significa apertura valoriale alla Cultura Seconda (C2) e confronto tra le peculiarita sociocomportamentali e pragmatiche delle due lingue in un'ottica di convivenza democratica. Il lavoro teorico prevede obiettivi generali e si concretizza in una serie di obiettivi specifici per i quali viene condotta un'analisi delle questioni in campo circoscrivendo infine la ricerca al territorio siciliano, precisamente quella parte della provincia di Messina che va da Capo d'Orlando a Milazzo. In particolare, si e voluta intraprendere una ricerca-azione sulle potenzialita del metodo Glottodrama in contesti migratori. ; Hoy es muy importante experimentar con métodos de enseñanza innovadores para facilitar la adquisición de una competencia comunicativa global en Lengua Extranjera (LE) / Lengua Segunda (L2), también en consideración de las políticas lingüísticas europeas más recientes. La hipótesis de partida de este trabajo de investigación es que la participación emocional del alumno y el uso de varios códigos expresivos, además del código verbal, consiguen multiplicar la eficacia de los resultados. Por lo tanto, nos proponemos demostrar las ventajas de la enseñanza de idiomas a través del teatro en contextos específicos. En los últimos anos, hemos asistido, en toda Italia, a significativos cambios debidos, por un lado, a la globalización y, por otro, a nivel "glocal", a la ola migratoria que ha implicado a toda la nación y que tiene su mayor impacto en Sicilia. La isla, por su posición geográfica se convierte en vía de paso para un número importante de inmigrantes. Por lo tanto, es necesario repensar una organización del proceso de enseñanza-aprendizaje del italiano como L2 en clave sociolingüística, pragmática e intercultural, y prever caminos inclusivos más amplios que actúen principalmente sobre la motivación y la reducción del filtro afectivo. . ¿Por qué entonces investigar la enseñanza de idiomas a través del teatro? Precisamente porque esta última es la combinación ideal para lograr objetivos también fuera de las escuelas, en ámbito social. A través de prácticas de laboratorio y estrategias cooperativas, se promueve una continuidad educativa en espiral en términos de crecimiento personal y autonomía que integra los requisitos previos para expandir y fortalecer las habilidades transversales en situaciones siempre nuevas y diferenciadas. En entornos educativos relajantes, se realizan actividades dinámicas y expresivas a partir del lenguaje corporal y las acciones físicas; al mismo tiempo, los procesos cognitivos y metacognitivos se activan incluso en las etapas iniciales de la interlingua. Esto facilita una adaptación más rápida de los extranjeros en el país de acogida. La participación física y multisensorial permite una experiencia comunicativa Inter semiótica que, en el uso de la L2, significa apertura a los valores de la Cultura Segunda (C2) y comparación entre las peculiaridades pragmáticas y la realidad social de la que los dos idiomas se hacen portadores en una perspectiva de coexistencia democrática. El trabajo teórico prevé objetivos generales y se concretara en una serie de objetivos específicos para los cuales se quiere realizar un análisis de las cuestiones en el ámbito, circunscribiendo finalmente la investigación al territorio siciliano, precisamente esa parte de la provincia de Messina que va desde Capo d'Orlando a Milazzo. En particular, queríamos proceder aplicando una investigación-acción sobre las potencialidades del método Glottodrama en contextos migratorios. ; Nowadays it is extremely important to experiment innovative teaching methodologies aimed at facilitating the acquisition of a global communicative competence in a Foreign Language (FL)/ Second Language (L2), also taking into account the most recent European language policies. The starting hypothesis of this research work is that the learner's emotional involvement and the use of different expressive codes, in addition to the verbal code, promote more effective results. We therefore want to demonstrate the advantages of learning and teaching a language by using drama/theatre techniques in specific contexts. In recent years, we have witnessed, throughout Italy, significant changes due on the one hand to globalization and, on the other, at "glocal" level, to the migratory wave that has involved the whole nation e that finds in Sicily, because of its geographical position, a forced outlet. It is therefore necessary to rethink the organization of the learning-teaching process in Italian as L2, in a sociolinguistic, pragmatic and intercultural way and to plan inclusive and wider educational paths that act primarily on motivation and on the lowering of the affective filter. Why then investigate drama/theatre techniques applied to language teaching? Precisely because they represent the winning combination to achieve objectives even outside of schools, in the social sphere. Through laboratorial practices and cooperative strategies, a spiraling educational continuity is promoted in terms of growth and personal autonomy which are linked to the prerequisites for expanding and enhancing transversal skills in ever new and differentiated situations. Dynamic and expressive activities are carried out in relaxing educational environments, starting from body language and physical actions; at the same time, cognitive and metacognitive processes are activated even at early interlanguage stages. This facilitates a more rapid adaptation of foreigners in the host country. In fact, the multi-sensorial, physical involvement promotes an intersemiotic communicative experience which, related to the use of the L2, means opening to the Second Culture (C2) values and comparing the socio-behavioral and pragmatic peculiarities of the two languages in a perspective of democratic coexistence. Theoretical work includes general objectives and takes concrete form in a series of specific objectives by carrying out an analysis of the topics at issue, finally narrowing the research to the Sicilian territory, namely that part of the province of Messina which goes from Capo d'Orlando to Milazzo. In particular, it was decided to undertake action research on the potential of the Glottodrama Method in migratory contexts.

This article explores the Scottish character of Groundskeeper Willie in the American animated sitcom The Simpsons with a pragmatic and social-psychological approach. It firstly introduces Willie's linguistic and visual features, the sample of three episodes the analysis is based on, Scottish stereotypes in Lindsay's (1997) sociological research, and Searle's (1976) taxonomy of illocutionary acts (representatives or assertives, directives, commissives, expressives and declarations). Secondly, the turns uttered by the groundskeeper in the sample are classified by applying Searle's taxonomy, and his illocutionary acts are examined in their contexts and compared with the list of national-ethnic Scottish stereotypes compiled by Lindsay. This study demonstrates that Willie's illocutionary acts and the stereotypes they convey depict him as a figure characterised by positive traits; nevertheless, the responses his illocutionary acts are met with not only counter his pleasant aspects, but also ultimately represent the Scottish groundskeeper as a ludicrous victim of his American fellow townspeople. ; University of Cagliari, Italy ; Daniela Francesca Virdis is an Associate Professor of English Language and Translation at the University of Cagliari. She is a steering group member of the International Ecolinguistics Association. She is the author of Serialised Gender: A Linguistic Analysis of Femininities in Contemporary TV Series and Media (2012), which was awarded the Italian Association of English Studies Book Prize 2013. Her current research interests include ecostylistics and metaphor theory. ; dfvirdis@unica.it ; 16 ; 32 (1/2021) ; 35 ; Aitken, A. J. & McArthur, T. (eds.). 1979. Languages of Scotland. 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The Convention on the Rights of the Child, approved by the General Assembly of the United Nations on 20 November 1989, states in Article 2 that "States Parties shall respect and ensure the rights set forth in the present Convention to each child within their jurisdiction without discrimination of any kind, irrespective of the child's or his or her parent's or legal guardian's race, colour, sex, language, religion, political or other opinion, national, ethnic or social origin, property, disability, birth or other status." Therefore, the child becomes a citizen from birth and is competent to learn from birth. Competent in learning, asking questions, seeking answers, and generating a culture of their own. By affirming the right to be recognised as a citizen of the present, competent, culture-generating, we affirm the strength and extraordinary potential of the child and their right to express it. Infant-toddler centres and preschools are excellent educational places, where to build the paradigm of care and community for the child as citizen. Not all-encompassing places for education, but essential. They help to process, rework and update childhood data, to define childhood and to be defined by them and to define societies. It is not just the care of the child, it is the child's culture, it is the child's look at the world, their generative whys. The great cultural and political "revolution" of the last century – never completely accomplished – is making children active protagonists, leaving them their autonomy, considering them as holders of rights and culture. But now we know that society needs its childhood, too. ; carla.rinaldi@unimore.it ; Fondazione Reggio Children – Centro Loris Malaguzzi (The Reggio Children – Loris Malaguzzi Centre Foundation) ; Acemoglu D., Robinson J. 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