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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The purpose of the article to follow the historic stages of the rapprochement between Chinese-east and uropean-west music area in last century, till the diffusion of the cultural stimulus in creative activity Tan Dun and other epresentatives of the Orient in European cultural space.The declared subject is determined by sum of the postavant-garde cultural wave of modernity where the ntegrative factors "Orient-West" occupy the significant place. In music world Tan Dun, chinese gеnius in european cоmpоser system of self-expression symbolizes deep diffusion of corresponding to cultural quality.The value of the chinese influence on French was displayed by C. Debussi. R. Retie states that C. Debussi's harmonic harmony is illusory, but the reality of the harmony constructions emerges mеlоdious tonality, linked his style with the Orient. Debussi, with delight said about to "rococo" painting, and used it in his composition "Chinese rоndеl" one of that this sort gallant (in initial meaning – kind, exquisite polite and good-hearted) art. This approach in analysis of the semantic esthetics become clear when "ethnological fine", which easy to reach by dint of quotation half tone melody, obvious and comprehensible all sign of the Orient. The composer didn't use this instance.M. Voloshin in his essay put the "exotic" of romantic of the romantics an against the symbolists. It is well known that in Russian music culture the ideas of symbolism art original were refracted in creative activity of the national Russian music leader of the modernist style A.Skrjabin and S. Rachmaninov.Beside A. Skrjabin's aesthetic principles of symbolism and style particularities sounded diversionary and declarative, pointing on the theosophical installation and on indian sources, Buddististical forming and its connection with Chinese religious world. In S. Rachmaninov's compositions that symbolism style factors are given in the complex joining of artistic inclines. In A. Skrjabin melodies the ideas of the cosmic gigantism found specific russian mаximalism in faithfulness of the Ideal Rachmaninov intended to national folklore tradition. At same time in Rachmaninov's compositions we can see the obvious installation on symbolism and estheticism in vocal lyric poet. The Role of the russian music in shaping the modernist style as a whole global has defined G. Eimert, which pointed out the russian root of the world avent-garde, generalised position chapters Köhln schools of K. Stockhausen comparatively the one of the Skrjabin base searching for "world theatre" in avаnt-garde tendencies in the second part of the XX century.The transformation from symbolism-expressionism modernism of A. Skrjabin to "new business ability" type "Gebrauchtmusik" german school 1920 years became the expressionism-primitiveness manifestations of the type "Miraculous tangerine" of B. Bartók (1919). This composition is exceedingly original, has carried out "chinese stamp" in european music. It was an pеntаtоnic of the Tangerine as semantic join her with pеntаtоnic style oldeuropean mеlоdiсs, in Hungarian variant united with Asiatic origins, which have been given the European nation.The theatre of B. Brecht is determined in adjectives such as "epic" theatre, its epic principle has generated his deep knowledge of music. The music part of such show is subordinated by popular-cultural type of the expression, where the structure of songs-hits includes the scenic actions in timeless. In this context music of Brecht's performances can be compared with the cian of Chinese opera moreover, in variant ciuj-pe, "provincialism", which nature forms their deep value.But the main expressive acceptance, which has invented the theatre of Brecht and Peking opera was the agitation-sharp manner of scansion in pronouncing of the text. It is enough to match the fragments an readings from Czincziuj's shows with alive authentic record (not all theatres capable to do it, but only Moscow Theatre level on Taganka with participation V. Vysockij 1970 years!) of the shows Brecht to make sure these phenomena in deep sense resemblance.The one line of the Czincziuj's influences is a ballet of R. Glier "Red flower". It is well known that this show got significant success in 1927 in Soviet Russia (Moscow, Big theatre), but then it was subsequently postponed on the secondary scenes of the country. Glier's ballet did not take categorically the individual psychology traditional music thinking, in revenge after "new youth" blast 1920 years. His ballet consisted of duet of Soviet Captain and Tai Hoa, dancers, the main to heroines on motive of the Internationale such as joining of ideological music sign and intimaty of larval relations did not comply with the classics of the ballet european theatre by the most categorical image.The new stage is an interaction with Chinese theatre, where the culture of the ballet naturally has grown up from dance-acrobatic "military" shows of Beijing operas Jingju. The Opera of J. Adams "Nixon in China" has opened the way of Chinese art in the popular cultural area and became the triumph in 2000 years of the production kuncuy in USA then the process was marked amicable agreement popularity Tan Dun as the genius of American music and the megaphone of Chinese cultural music in system of European music. ; В статье автор прослеживает исторические этапы сближения китайского (восточного) и европейского (западного) музыкальных ареалов на протяжении ХХ столетия, вплоть до диффузии культурных стимулов в творчестве Тан Дуна и других представителей Востока в европейском культурном пространстве. Это определено итоговостью поставангардной культурной волны современности, в которой интегративные показатели "Восток-Запад" занимают значительное место. ; У статті автор прослідковує історичні етапи зближення китайського (східного) і європейського (західного)музичних ареалів протягом ХХ століття, аж до дифузії культурних стимулів у творчості Тан Дуна та інших представників Сходу в європейському культурному просторі. Це визначено підсумковістю поставангардної культурноїх вилі сучасності, в якій інтегративні показники "Схід-Захід" займають значне місце.
Статья посвящена генезису образа неаполитанского импровизатора в повести А. С. Пушкина «Египетские ночи». Центральным в ней является вопрос о причинах, заставивших Пушкина изменить распространенной романтической традиции изображать поэта-импровизатора итальянцем вообще, но сделать его именно неаполитанцем. В поисках ответа на этот вопрос и чтобы уточнить представление о генезисе незавершенной повести Пушкина автор попытался привлечь к исследованию источники, обнаруженные в реальных исторических событиях той эпохи и в журнальных публикациях первой трети XIX в., а также многочисленные литературные произведения, среди которых главное внимание уделено роману Г.-Х. Андерсена «Импровизатор», написанному в 1833 г. ; The numerous studies of the history of Egyptian Nights and the theme of Cleopatra in Pushkin''s works hardly mention two possible sources of imagery and themes in Pushkin''s short story: the translated articles "Egyptian Nights" and "Improvisatori". Both translations were published in Vestnik Evropy (The Herald of Europe) in 1802 and 1803 respectively. Their titles contain obvious imagery and lexical associations with the text by Pushkin. The wide European public got interested in Egypt and Egyptian themes in literature and journalism due to Napoleon''s campaign that came amid collecting materials for the monumental work The Description of Egypt. The systematic study of Egyptian antiquities revived a forgotten culture. The cult of Egypt captivated Europe, and formal elements of Egyptian art left their mark on the style of the era, giving start to the Egyptian fashion. The Russian periodicals of the early 19th century focused on Egypt as well. Egypt became a cross-cutting theme in Vestnik Evropy that published articles and essays about Egyptian culture and modern political life. It was obvious that the passion for everything ''pseudo-Egyptian'' was a well-spread tendency, too. It included mystical phenomena steeped in with mysteries and horrors of the ancient civilization. The article "Egyptian Nights" could influence the title of Pushkin''s short story Egyptian Nights. Besides, it is worth mentioning the similarity of narrative structures between the journal essay and the prose passage of the third chapter in Pushkin''s short story in both texts it is the rout with improvised ''scary'' stories the plots of which are based on erotic and thanatological motifs. The second essay, "Improvisatori", has a subhead "Translation from a French traveler, not yet published". It corresponds to the motif of travel in Egyptian Nights. "Improvisatori" in Vestnik Evropy is written in the form of a diary entries or essay: it is accompanied by the topographical indication "Naples", dated by April 7 and begins with the phrase: "Improvisators in Italy are poets who write poems and sing songs on any given subject". The way the poet looks in the journal publication resembles much that of the poet in Pushkin''s short story. The reminiscences from the essay are obvious in some expressive details of Pushkin''s Egyptian Nights: both texts contain a clear association of the improvisatore''s image not just with Italy, but particularly with Naples and the same numbers and letter abbreviations appear in the journal publication and in the short story. However, despite some cross-cutting motifs and association of details, the image of the im-provisatore in Pushkin''s short story bears such properties that have no analogues in any of the cited texts: the image of the improvisatore grows to the symbolic figure of the art discourse, artists and art. So, it is worth paying close attention to H.-C. Andersen''s novel The Improvisatore (1833). The most striking parallel between Andresen''s novel and Pushkin''s short story is the psychological outline of the main character, with evident autobiographical motifs emphasized by the first person narrative. The hero of the novel, like that of Pushkin''s short story, combines the talent of an improvisatore and a poet. The words ''poet'' and ''improvisatore'' in the course of the narrative are mainly used as synonyms. It should be noted that in the early editions of Egyptian Nights Pushkin also frequently used the words ''improvisatore'' and ''poet'' either as an apposition (poet-improvisator), or as synonyms. Like Pushkin, Andersen describes two appearances of the hero. Antonio sings his first improvisation to the accompaniment of guitars, like Pushkin''s improvisatore. In both texts the improvisation is dedicated to sublime matters: immortality in Andersen''s and vocation of the poet in Pushkin''s. It should be noted that both texts contain a repeated motif of an associative analogy between the art of improvisation and the skill of the sculptor. In Egyptian Nights the motif of sculpturing is the main arguments in the discourse about the mysteries of creation. Although the cited fragments of Andersen''s novel and Pushkin''s short story are more than similar on the basis of their plot-forming motifs, it is still unknown whether this rapprochement contact or purely typological. If Pushkin was familiar with Andresen''s novel, he could most likely do it via the Roman circle of artists and art lovers that gathered around Bertel Thorvaldsen in the 1830s. However, it is impossible to clarify this question within this article, thus it remains a promising issue for future research. Yet, the texts that are currently put into scientific circulation as potential sources of Pushkin''s information about improvisa-tori and the art of improvisation traditionally attribute this branch of art to the nation of Italians as a whole. And the fact that Pushkin''s hero is not just Italian, but particularly Neapolitan improvisatore draws attention to those texts of the Pushkin''s epoch that demonstrate either associative or causal connection of improvisatori or the art of improvisation with the Neapolitan locus as to possible sources of imagery in Egyptian Nights.
The purpose of the article is to identify the transformational form-creating processes of the Ukrainian television art of the 21st century on the example of the genre of documentary drama in the context of postmodern trends. Research Methodology. The following methods have been applied in the article: analytical and historical, cultural methods (to understand process of infotainment formation and development in the context of the Ukrainian television space at the beginning of the 21st century), cultural method (to develop the necessary view of the modern Ukrainian television art, the special feature of the postmodern concept implementation in the media space, the issues of mass culture and mass communications), the method of art history, conceptual and cognitive analyses, which contributed to the understanding of the conceptual representation of information and entertainment presentation of material in the modern Ukrainian television. Scientific Novelty. The article presented an attempt to determine the peculiarity of the aesthetics of the Ukrainian documentary drama in the context of infotainment of domestic television, and also to demonstrate its main artistic, figurative and technological features; to identify challenges and prospects for further development of a new genre of the modern television art. Conclusions. In the development of the domestic docudrama, wide possibilities of video editing and post-production technologies are used, but the creators are particularly demanding in choosing the means that are organic to the artistic language of films. The use of video editing and computer visual effects is an expressive tool for creating a "digital chronotope" that can reveal the philosophy of documentary drama and inject it with virtuality. Evolution tendencies of the Ukrainian documentary drama in the process of infotainment of television art give evidence of the establishment of a democratic screen language aimed at a wide audience, and at the same time of the strengthening of the philosophical sound of works. In our opinion, the process of globalization and convergence of techniques and methods of television documentary and infotainment, interaction and interpenetration of various verbal and non-verbal characteristics in the near future will have transition from quantity to quality. ; Целью статьи является выявление специфики трансформационных формообразующих процессов украинского телеискусства XXI века на примере жанра документальной драмы в контексте постмодернистских тенденций. Методы исследования. Применены аналитический и историко-культурный методы (для осмысления процесса формирования и становления инфотейнмент в контексте специфики отечественного телевизионного пространства начала XXI в.), культурологический метод (для выработки необходимого взгляда на современное украинское телеискусство, специфику реализации постмодернистской концепции в медийном пространстве, проблематику массовой культуры и массовых коммуникаций), метод искусствоведческого, концептуального и когнитивного анализов, которые содействовали осмыслению проблематики концептуальной репрезентации информационно-развлекательной подачи материала в современном украинском телеискусстве. Научная новизна. Предпринята попытка определить специфику эстетики украинской документальной драмы в контексте инфотейнментизации отечественного телеискусства, а также определить ее основные художественно-образные и технологические особенности. Выявлены проблемы и охарактеризованы перспективы дальнейшего развития нового жанрового образования современного телеискусства. Выводы. В процессе развития отечественной докудрамы используются широкие возможности технологий видеомонтажа и постпродукции, однако создатели проявляют особую требовательность в выборе средств, органических для художественного языка их фильмов. Использование видеомонтажа и компьютерных визуальных эффектов – выразительные инструменты создания «цифрового хронотопа», который способен раскрыть философию документальной драмы и привнести в нее виртуальность. Тенденции эволюции украинской документальной драмы в контексте процесса инфотейнментизации телеискусства свидетельствуют об утверждении демократического экранного языка, обращенного к широким зрительским массам и одновременно усилении философского звучания произведений. По нашему мнению, процесс глобализации и конвергенции приемов и методов телевизионной документалистики и инфотейнмента, взаимодействия и взаимопроникновения различных вербальных и невербальных характеристик в ближайшее время перейдет из количественного в качественное. ; Метою статті є виявлення специфіки трансформаційних формотворчих процесів українського телемистецтва ХХІ ст. на прикладі жанру документальної драми в контексті постмодерністичних тенденції. Методи дослідження. Застосовано аналітичний та історико-культурний методи (для осмислення процесу формування та становлення інфотейнмент у контексті специфіки вітчизняного телевізійного простору початку ХХІ ст.), культурологічний метод (для вироблення необхідного погляду на сучасне українське телемистецтво, специфіку реалізації постмодерністської концепції в медійному просторі, проблематику масової культури та масових комунікацій), метод мистецтвознавчого, концептуального та когнітивного аналізів, що посприяли осмисленню проблематики концептуальної репрезентації інформаційно-розважального подавання матеріалу в сучасному українському телемистецтві. Наукова новизна. Здійснено спробу визначити специфіку естетики української документальної драми в контексті інфотейнментизації вітчизняного телемистецтва, а також виявити її основні художньо-образні та технологічні особливості; виявлено проблеми та охарактеризовано перспективи подальшого розвитку нового жанрового утворення сучасного телемистецтва. Висновки. У процесі розвитку вітчизняної докудрами використовуються широкі можливості технологій відеомонтажу та постпродукції, однак творці виявляють особливу вимогливість у виборі засобів, органічних для художньої мови фільмів. Використання відеомонтажу та комп'ютерних візуальних ефектів – виразні інструменти створення «цифрового хронотопу», що здатні розкрити філософію документальної драми та привнести в неї віртуальність. Тенденції еволюції української документальної драми в контексті процесу інфотейнментизації телемистецтва засвідчують утвердження демократичної екранної мови, спрямованої на широкі глядацькі маси, й водночас посилення філософського звучання творів. На нашу думку, процес глобалізації та конвергенції прийомів і методів телевізійної документалістики й інфотейнменту, взаємодії та взаємопроникнення різноманітних вербальних і невербальних характеристик у найближчий час перейде з кількісного в якісний.
The purpose of the article is to identify the transformational form-creating processes of the Ukrainian television art of the 21st century on the example of the genre of documentary drama in the context of postmodern trends. Research Methodology. The following methods have been applied in the article: analytical and historical, cultural methods (to understand process of infotainment formation and development in the context of the Ukrainian television space at the beginning of the 21st century), cultural method (to develop the necessary view of the modern Ukrainian television art, the special feature of the postmodern concept implementation in the media space, the issues of mass culture and mass communications), the method of art history, conceptual and cognitive analyses, which contributed to the understanding of the conceptual representation of information and entertainment presentation of material in the modern Ukrainian television. Scientific Novelty. The article presented an attempt to determine the peculiarity of the aesthetics of the Ukrainian documentary drama in the context of infotainment of domestic television, and also to demonstrate its main artistic, figurative and technological features; to identify challenges and prospects for further development of a new genre of the modern television art. Conclusions. In the development of the domestic docudrama, wide possibilities of video editing and post-production technologies are used, but the creators are particularly demanding in choosing the means that are organic to the artistic language of films. The use of video editing and computer visual effects is an expressive tool for creating a "digital chronotope" that can reveal the philosophy of documentary drama and inject it with virtuality. Evolution tendencies of the Ukrainian documentary drama in the process of infotainment of television art give evidence of the establishment of a democratic screen language aimed at a wide audience, and at the same time of the strengthening of the philosophical sound of works. In our opinion, the process of globalization and convergence of techniques and methods of television documentary and infotainment, interaction and interpenetration of various verbal and non-verbal characteristics in the near future will have transition from quantity to quality. ; Целью статьи является выявление специфики трансформационных формообразующих процессов украинского телеискусства XXI века на примере жанра документальной драмы в контексте постмодернистских тенденций. Методы исследования. Применены аналитический и историко-культурный методы (для осмысления процесса формирования и становления инфотейнмент в контексте специфики отечественного телевизионного пространства начала XXI в.), культурологический метод (для выработки необходимого взгляда на современное украинское телеискусство, специфику реализации постмодернистской концепции в медийном пространстве, проблематику массовой культуры и массовых коммуникаций), метод искусствоведческого, концептуального и когнитивного анализов, которые содействовали осмыслению проблематики концептуальной репрезентации информационно-развлекательной подачи материала в современном украинском телеискусстве. Научная новизна. Предпринята попытка определить специфику эстетики украинской документальной драмы в контексте инфотейнментизации отечественного телеискусства, а также определить ее основные художественно-образные и технологические особенности. Выявлены проблемы и охарактеризованы перспективы дальнейшего развития нового жанрового образования современного телеискусства. Выводы. В процессе развития отечественной докудрамы используются широкие возможности технологий видеомонтажа и постпродукции, однако создатели проявляют особую требовательность в выборе средств, органических для художественного языка их фильмов. Использование видеомонтажа и компьютерных визуальных эффектов – выразительные инструменты создания «цифрового хронотопа», который способен раскрыть философию документальной драмы и привнести в нее виртуальность. Тенденции эволюции украинской документальной драмы в контексте процесса инфотейнментизации телеискусства свидетельствуют об утверждении демократического экранного языка, обращенного к широким зрительским массам и одновременно усилении философского звучания произведений. По нашему мнению, процесс глобализации и конвергенции приемов и методов телевизионной документалистики и инфотейнмента, взаимодействия и взаимопроникновения различных вербальных и невербальных характеристик в ближайшее время перейдет из количественного в качественное. ; Метою статті є виявлення специфіки трансформаційних формотворчих процесів українського телемистецтва ХХІ ст. на прикладі жанру документальної драми в контексті постмодерністичних тенденції. Методи дослідження. Застосовано аналітичний та історико-культурний методи (для осмислення процесу формування та становлення інфотейнмент у контексті специфіки вітчизняного телевізійного простору початку ХХІ ст.), культурологічний метод (для вироблення необхідного погляду на сучасне українське телемистецтво, специфіку реалізації постмодерністської концепції в медійному просторі, проблематику масової культури та масових комунікацій), метод мистецтвознавчого, концептуального та когнітивного аналізів, що посприяли осмисленню проблематики концептуальної репрезентації інформаційно-розважального подавання матеріалу в сучасному українському телемистецтві. Наукова новизна. Здійснено спробу визначити специфіку естетики української документальної драми в контексті інфотейнментизації вітчизняного телемистецтва, а також виявити її основні художньо-образні та технологічні особливості; виявлено проблеми та охарактеризовано перспективи подальшого розвитку нового жанрового утворення сучасного телемистецтва. Висновки. У процесі розвитку вітчизняної докудрами використовуються широкі можливості технологій відеомонтажу та постпродукції, однак творці виявляють особливу вимогливість у виборі засобів, органічних для художньої мови фільмів. Використання відеомонтажу та комп'ютерних візуальних ефектів – виразні інструменти створення «цифрового хронотопу», що здатні розкрити філософію документальної драми та привнести в неї віртуальність. Тенденції еволюції української документальної драми в контексті процесу інфотейнментизації телемистецтва засвідчують утвердження демократичної екранної мови, спрямованої на широкі глядацькі маси, й водночас посилення філософського звучання творів. На нашу думку, процес глобалізації та конвергенції прийомів і методів телевізійної документалістики й інфотейнменту, взаємодії та взаємопроникнення різноманітних вербальних і невербальних характеристик у найближчий час перейде з кількісного в якісний.
In his Notes sur le cinématographe (1975), Robert Bresson refers to 'la terrible habitude du théâtre'. This note is not an absolute renunciation of relations between cinema and theatre. At this moment, Bresson is reminding himself of how cinema is always betrayed whenever the filmmaker succumbs to reproducing theatre on screen, a spectacle that in being neither one thing nor the other can amount to very little. When cinema and theatre do merge productively, however, it is never because the former has adapted a scenario and characters from the latter: it is because the skill and sensibility of the filmmaker has made something original through the lens of le cinématographe . The cinema exists because of what it creates, not what it adapts. The relationship between cinema and theatre is therefore complementary rather than antagonistic. They are kindred, not conflicting, art forms. The first manifestations of a cinematic apparatus did not herald the death of theatre, anymore than the tragedies of Aeschylus marked the end of epic poetry. Cinema does not suppress theatre, trumping the ancient art of stagecraft with the modernity of montage. On the contrary, cinema creates a different range of expressive methods and visual situations for movement, gesture, speech, and interaction. The mise en scène of cinema may be derived from the theatrical formulation of mise-en-scène but their shared formal properties are more coincidental than convergent. The articles selected for inclusion in this issue of Screening the Past address various aspects of this complex kinship. In particular, the editors wanted to publish critical writing that is moving – albeit tentatively – beyond the adaptational paradigm. That is to say, they selected essays principally concerned with relations between mise en scène and specific theatrical forms and traditions. In reconsidering the cinema/theatre issue, what interested them was not the filmic rendering of a given theatrical performance, or the 'translation' of a dramatic (literary) text from one medium or culture to another, or the sociology of audiences, and so forth. Rather, we wanted to support writing that offers insights into the processes, problems, and possibilities that good filmmakers recognise whenever they attempt to transform the aesthetic resources of theatre into something distinctly cinematic. Charles Leary, for example, discusses Love Streams (1984) in terms of how Cassavetes develops filmic situations by dissolving distinctions between realism and performance. Here – as elsewhere in Cassavetes's œuvre – the presence of the performing performer is important not simply to the style and meaning of the film, but also to an appreciation of how his best work exists between cinema and theatre. Sam Rohdie's essay on Va savoir (2001) invokes associative notions of influence and adaptation: the 'Rivettian Method' embraces spontaneity and openness: freedom. 'Theatricality' in Rivette is as much a philosophy of being as a homage to the directorial intelligence of Jean Renoir, Roberto Rossellini, and Bresson: 'The task of Rivette is not to force things, direct things in a definite manner, but to watch and to listen to the way the film is going and the way dialogue and acting and story are proceeding, to be attentive to it and to accidents and associations and to then guide things, bring them to fruition and maturity and seize opportunities as they arise … This gives his films their concreteness, their play, their charm and their magic and generosity'. Des O'Rawe's treatment of Dolls (2002) also speculates on the creative influence of theatre on cinematic method. In emphasizing the 'attachments' between the cinema of Kitano Takeshi and the aesthetic practices and philosophical outlook of the Bunraku puppet theatre the question of adaptation becomes doubly complex, involving the simultaneous 'adaptation' of various Japanese theatrical and cinematic traditions, rather than a specific text or performance from that repertoire. Richard Rushton offers a critical assessment of Sirk's Hollywood melodramas in terms of 'their ability to bring audiences face-to-face with false worlds, such that audiences can reflexively and intelligently judge those false worlds for what they are'. In focussing on Imitation of Life (1959), Rushton's analysis challenges traditional Brechtian approaches to this question, as well as more contemporary formalist strategies. Finally, Sean Redmond's and Matthew Wagner's discussion of Beckett's 'filmic' phenomenology of perception, and Donna Peberdy's article on Mamet's Oleanna (1994), approach the issue 'creative adaptation' largely from the perspective of the playwright. For both Beckett and Mamet, writing and directing for theatre also involves developing a sensitivity to the particularity of cinematic techniques and structures of meaning. Mamet's experiments with the performance (and politics) of the voice, for example, are themselves part of a very productive disagreement between theatre and cinema. How does a film based on a play that is largely comprised of, and concerned with, 'dialogue' escape 'la terrible habitude du théâtre'?
