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The increasingly intensive cultural, information, language, political and economic contacts and exchanges between countries and the developement of different new technologies make it necessary to foresee some media communications which from the beginning are addressed to recipients of different cultures. The Franco-German channel Arte, a European company is an example of this conception. It is responsible for the production and diffusion of cultural programmes which are aimed at various national audiences. Part of that as Arte broadcasts simultaneously all its programmes in two languages: French and German, it is necessary to use translators and interpreters who make it possible for the French audience to watch the German version and vice versa. In the following article, the results of our study about the translation of sociocultural aspects via Arte will be presented. First we will talk about the specific characteristic of the translation in the media -which apart from words also includes images. We will also show that sometimes an extra explanation is required to understand what is shown in the programme. Eventually, we will introduce the different procedures of translation used by translators when they are confronted with a term related to sociocultural aspects. Some samples from Arte TV news will be provided as a support for this article. ; The increasingly intensive cultural, information, language, political and economic contacts and exchanges between countries and the developement of different new technologies make it necessary to foresee some media communications which from the beginning are addressed to recipients of different cultures. The Franco-German channel Arte, a European company is an example of this conception. It is responsible for the production and diffusion of cultural programmes which are aimed at various national audiences. Part of that as Arte broadcasts simultaneously all its programmes in two languages: French and German, it is necessary to use translators and interpreters who make it possible for the French audience to watch the German version and vice versa. In the following article, the results of our study about the translation of sociocultural aspects via Arte will be presented. First we will talk about the specific characteristic of the translation in the media -which apart from words also includes images. We will also show that sometimes an extra explanation is required to understand what is shown in the programme. Eventually, we will introduce the different procedures of translation used by translators when they are confronted with a term related to sociocultural aspects. Some samples from Arte TV news will be provided as a support for this article.

This study focuses on the circulation, mediation and interpretation of French-speaking literature, no longer circulating towards the center but towards the periphery. In this book, Sweden is an example of a case of non-French-speaking periphery from which the analyzes are carried out. This starting point has made it possible to reconsider the scope of literature from decentralized French-speaking geographical areas (known as peripheral) and to highlight the negotiation practices at work by the non-French-speaking periphery. By evaluating the visibility and the resemantization of these literatures on the one hand, outside the center and on the other hand, outside the French-speaking literary system, this book has brought new knowledge on the functioning of the literary transfer of French-speaking literatures outside of the French-speaking literary system.
The ambition of this book has thus made it possible to (re)define the positioning and the degree of autonomy of the periphery, both Swedish and French-speaking, in relation to the Parisian center by studying the literary exchanges between Sweden and the French-speaking literary system. To achieve this goal, this research proceeds in three stages, inspired by Bourdieu's tripartite model to present a) the selection of literature translated from French into Swedish and the distribution of French-language literature in the journalistic press b) the mediating methods with which cultural agents operate and c) the representations of critical reading at work in newspapers. This project focused on the production, mediation and reception of French-speaking literature in Sweden is structured around four major studies. The three in-depth chapters (IV, V and VI) respectively deal with mediators (press actors and translators) and the analysis of the two most significant geographical areas in our data (French-speaking North Africa and Europe). of the French-speaking West). These three studies are in turn based on the analysis of production and distribution flows, carried out using all the quantitative data collected in translation and journalistic reception during the study period (1989-2019). By relying on a set of cross-sectional studies, this book examines the literary circulation of literature from peripheral French-speaking geographical areas and manages to draw conclusions that have remained invisible until now. In conclusion, three different major types of strategies emerged: a) selection practices called positioning strategies, b) mediation practices called configuration strategies and finally 3) reading practices or legitimation strategies. After observing the differences in treatment between the French-speaking literatures of the North and the South, the study ends by setting out some future proposals for the study of the transfer of French-speaking literatures to non-French-speaking peripheries. This kind of analysis contributes to rebalancing the place of French-speaking literatures in the world and shows the continual displacements and repositionings at work in which the margins of the French-speaking world, where non-French-speaking peripheral territories are part, can participate.

Unlike the other team sports brought to France in the second half of the 19th century, handball thrived in France between the First and the Second World Wars. It has moved since then from a winter training practice to become a professional activity at the beginning of the 21st century. The objective of our research is to explain the integration and propagation processes of this sport, with geopolitical as well as technical and tactical considerations. A variety of sources have been investigated – institutional archives, testimonies of 25 stakeholders, press articles, periodicals about handball – with regards to three axis – institutional, social and cultural – ; four stages have been identified in the development of handball in France. The first phase is the importation of handball through two dissemination vectors that have different scales and paces: the sport of the working class and school sport. The Vichy government creates the FFHB, which is associated to a few Physical Education teachers that are captivated by this new activity – football played with hands in teams of 7 or 11 players. Then, when the handball is mainly played in teams of 7, its cultural representation changes: it goes from a superposition of individual technics to the need of taking into consideration teammates and opponents. This revolution is supported by the national technical direction in the 1960's and 1970's and is linked to the scientific thoughts in France and abroad ; meanwhile, Nelson Paillou makes handball available to the masses and structures the federal system with the objective to promote non professional handball. With the collapse of the communist bloc, federal managers and trainers choose to favour high-level sport and contribute to the first French successes. From the 1990's, they also start developing the commercial aspect and the spectacle aspect of the sport. However, at the dawn of the 21st century, handball finally moves away from international models and follows the development of the other team sports with a more ...

The book has three axes of reflection on the concept of transference. In the first part of the volume, Hans-Jürgen Lüsebrink evokes contemporary changes that increase intercultural communications. Walter Moser examines the history of concepts and explores the possibility of "cultural transfer" an instrument that would account for the great cultural mobility that we see today worldwide. Pierre Lévy gives this conceptual exploration highest amplitude by moving it to the general area of information transfer. The second part, "The transfer and knowledge", occupies the bulk of the work. Daniel Simeoni explores translation studies documenting the parallelism of translation and transfer concepts. In psychoanalysis, both as a site that as a practice, the transfer has a long conceptual history; Ellen Corin yet open dialogue with other disciplines and knowledge and raises the possibility of laterally moving the achievements of his thinking to the field of anthropology. In criminal law, Alvaro Pires explores theoretical and methodological issues of transfer, supporting his words with examples. Nicolas Goyer distinguishes between "family transfer" and "migration transfer" to illustrate the need to challenge the priority that has long given the intergenerational transfer. The third part explores the overlapping of transfers and the media. Timothy Murray explores the 'new media art', where the political intersect, the médiaticotechnologique, psychoanalytic and intercultural. Wolfgang Ernst questioned the "transfer" the confluence of ethnology, ethnography, museology, history and cultural analysis, compared to the theory and history of the media.

under the heading "Forum" The 20th anniversary of "cultural decentralisation" calls for a revisit of a political process, which is often the result of imprecision. Construction of new cultural facilities (Auditorium in Dijon and Metz, mediathèques in many cities), renovation of major provincial museums (Lille, Rouen, Nantes, Lyon), construction of contemporary art museums, creation of Frac, multiplication of festivals, restoration of old city centres, growth in cultural spending by cities, departments and regions: France's cultural landscape has undergone profound changes. Should this situation be seen as a direct effect of the decentralisation laws initiated in the early 80s? Is this cultural offer rather not the result of a meeting between a national policy that has real means and self-determination on the part of local authorities? In 1981, the arrival of the left to power led to a repositioning of the main players in public cultural policies. While cultural decentralisation is little more than just a legal criterion for the transfer of powers, the general context, marked by the decentralisation laws, has strengthened the influence of elected representatives in their relations with the State. Bringing together a pro-active state policy and local policies with considerable resources, genuine overall coherence and managed by professionalised services have profoundly changed the national cultural landscape. The majority of elected representatives did not want the State to give up its prerogatives and withdraw financially. Moreover, the Ministry of Culture did not want to lose its capacity to act and to discontent cultural actors through too much decentralisation. Cultural public action has since worked as a system of cooperation. The State, which can rely on strengthened decentralised services (DRAC), has favoured cooperation between the various public actors. For their part, local authorities have understood that cultural policy can be an asset in a policy of image and economic development. They have carried ...

French cultural policy is often seen as the expression, planned and rational, of a central model of state that draws its roots from a unique history. The result of this representation is to give this policy very linear historical roots and, for the present, to give it a centralising coherence which it probably no longer has today. It is true that the history of French cultural policy has its origins in the French Revolution, when an abbé from the Third States, the abbé Grégoire, had the idea of entrusting the State with the task, on behalf of the Nation, of protecting and preserving the heritage of the former monarchic and aristocratic property, and of opening up access to it for as many people as possible, rather than organising its destruction. The transfer to a secular State of the burden of 'private' assets is arguably one of the very first gesture of public authority in the field of culture, even if the word is not used at that time. It was at the end of the revolutionary period that the National Archives, the National Library and the Muséum Central des Arts (Monnier 1995) were created. This logic is, in principle, the opposite of royal practices of personal support for the arts, although the final stages of the monarchy had devoted the transition from a purely individual (sponsorship) logic to a framing of the artistic field, in particular through the general superintendance of the King's buildings, Arts and Manufacture, and the role of academies. Following on from this first pillar of cultural policy, the nineteenth century will see the first formation of a Historical Monuments Administration and then of a Fine Arts Administration, which will usually be attached to the Ministry of the Interior and then, when the Republic is established (1870) to the Ministry of Public Instruction (National Education). ; La politique culturelle française est souvent considérée comme l'expression, planifiée et rationnelle, d'un modèle d'État centralisé puisant ses racines dans une histoire singulière. Cette représentation a ...

At a time when political debates are crystallizing around multiculturalism, fear of globalization and furthermore the recent arrival of migrants in a Europe which is developing a withdrawal into itself, it seems important to restore some historical depth to the exchanges between the various shores of the Mediterranean area. Food as an object of analysis shows how different countries have so much culturally influenced one another that it is difficult today to determine exactly from where does a recipe comes. However, there is still resistance to certain cultural traits of "the Other" and this is reflected in one's eating habits. This research studies the gastronomic relations between France and Morocco using the cultural transfer paradigm that shows how recipes could or couldn't cross borders (in the cultural and geographical meaning) and why. Three context typologies have been defined. Colonization causes one of the great "meetings" that have marked the two societies until today given that in a colonial context food is in the center of power relations. The second factor of the "encounter" between those two societies is the the context of international migration. Migrants and immigrants have a role in cultural gastronomic transfers between their origin country and France, especially because it is chosen by many Moroccan migrants to settle in France by opening restaurants. The migrant has a role of innovator in gastronomic matters while we also see evolving the French and European companies practices towards this migration. Briefly, through eating practices, notions of integration, assimilation and acculturation are re-examined. Finally, the research concludes with an overall vision of globalization and Morocco's political will to use its gastronomic resources to position itself on the international stage ; À l'heure où les débats politiques se cristallisent autour du multiculturalisme, de la peur de la mondialisation et des récentes arrivées de migrants, ceci dans une Europe qui développe un repli sur soi, il ...

At a time when political debates are crystallizing around multiculturalism, fear of globalization and furthermore the recent arrival of migrants in a Europe which is developing a withdrawal into itself, it seems important to restore some historical depth to the exchanges between the various shores of the Mediterranean area. Food as an object of analysis shows how different countries have so much culturally influenced one another that it is difficult today to determine exactly from where does a recipe comes. However, there is still resistance to certain cultural traits of "the Other" and this is reflected in one's eating habits. This research studies the gastronomic relations between France and Morocco using the cultural transfer paradigm that shows how recipes could or couldn't cross borders (in the cultural and geographical meaning) and why. Three context typologies have been defined. Colonization causes one of the great "meetings" that have marked the two societies until today given that in a colonial context food is in the center of power relations. The second factor of the "encounter" between those two societies is the the context of international migration. Migrants and immigrants have a role in cultural gastronomic transfers between their origin country and France, especially because it is chosen by many Moroccan migrants to settle in France by opening restaurants. The migrant has a role of innovator in gastronomic matters while we also see evolving the French and European companies practices towards this migration. Briefly, through eating practices, notions of integration, assimilation and acculturation are re-examined. Finally, the research concludes with an overall vision of globalization and Morocco's political will to use its gastronomic resources to position itself on the international stage ; À l'heure où les débats politiques se cristallisent autour du multiculturalisme, de la peur de la mondialisation et des récentes arrivées de migrants, ceci dans une Europe qui développe un repli sur soi, il ...

International audience ; A classic topic in historiography, the cultural relations between Europe and Latin America have been the subject of many studies attesting to the existence of a common cultural area joining both sides of the Atlantic. These studies seem to indicate that the wind has always blown from East to West, the Latin American periphery bathing since the Modern Era in knowledge and practices from the European center. From an examination of the paradigms traditionally used to assess these Euro-American relations, and from the more recent notion of cultural transfer, this article explores the hypothesis of a role reversal in this traditional exchange, the hypothesis of a Latin America which exports knowledge and cultural practices to the rest of the world. ; Thème classique de l'historiographie, les relations culturelles entre l'Europe et l'Amérique latine ont fait l'objet de nombreuses recherches attestant l'existence d'un espace culturel commun de part et d'autre de l'Atlantique. De ces travaux ressort toutefois le constat que les vents semblent toujours n'avoir soufflé que d'est en ouest, la périphérie latino-américaine s'abreuvant depuis l'époque moderne des savoirs et des pratiques du centre européen. A partir d'un examen des paradigmes traditionnellement utilisés pour penser ces relations euro-américaines et de la notion plus récente de transfert culturel, cet article examine l'hypothèse d'une inversion des termes de l'échange traditionnel, c'est-à-dire d'une Amérique latine exportatrice de savoirs et de pratiques culturelles à destination du reste du monde.

International audience ; A classic topic in historiography, the cultural relations between Europe and Latin America have been the subject of many studies attesting to the existence of a common cultural area joining both sides of the Atlantic. These studies seem to indicate that the wind has always blown from East to West, the Latin American periphery bathing since the Modern Era in knowledge and practices from the European center. From an examination of the paradigms traditionally used to assess these Euro-American relations, and from the more recent notion of cultural transfer, this article explores the hypothesis of a role reversal in this traditional exchange, the hypothesis of a Latin America which exports knowledge and cultural practices to the rest of the world. ; Thème classique de l'historiographie, les relations culturelles entre l'Europe et l'Amérique latine ont fait l'objet de nombreuses recherches attestant l'existence d'un espace culturel commun de part et d'autre de l'Atlantique. De ces travaux ressort toutefois le constat que les vents semblent toujours n'avoir soufflé que d'est en ouest, la périphérie latino-américaine s'abreuvant depuis l'époque moderne des savoirs et des pratiques du centre européen. A partir d'un examen des paradigmes traditionnellement utilisés pour penser ces relations euro-américaines et de la notion plus récente de transfert culturel, cet article examine l'hypothèse d'une inversion des termes de l'échange traditionnel, c'est-à-dire d'une Amérique latine exportatrice de savoirs et de pratiques culturelles à destination du reste du monde.

Raoul Ruiz and Alexandre Jodorowski have questioned the cultural text of the colonization of America in their films. The first one, in The Suspended Vocation, by the demolition of a theological part of speech which tended to legitimize the conquista and its consequences; the second, in The Holy Mountain, by a shaping mise en abyme, who brings into conflict, as a bloody fight, toads representing conquistadores, and chameleons represented the Indians. In these two movies, the political meaning of the narrative comes along with a demolition of this one, associated with a particular form of iconoclasm, which constitutes a questioning of the initial cultural text and its representation in images. These directors at the same time revisit a second cultural text, that of the life as a dream and of the theatrum mundi, which also questions the reality of the image. Finally, this destruction allows a transfer of the sacred to the art; the ruizian shamanism and the jodorowskian syncretism tending to be substituted for the Christian religious imaging. ; Raoul Ruiz y Alejandro Jodorowski interrogaron el texto cultural de la colonización de América. El primero, en La vocación suspendida, por el derribo de una parte del discurso teológico que tendió a legitimar la conquista y sus conse- cuencias; el segundo, en La montaña sagrada, por una mise en abyme modelizante, que opone, en un combate sangriento, sapos, que representan a los conquistadores, y camaleones a los indios. En estas dos películas, el significado político del recitado se acompaña de un derribo de este, asociado con una forma particular de iconoclasia, que constituye un cuestionamiento del texto cultural inicial y de su figuración en imágenes. Estos realizadores vuelven a visitar un segundo texto cultural, el de la vida como el sueño y del theatrum mundi, que pone en duda la realidad y la ima- gen. Por fin, el trabajo de zapa efectuado permite una transferencia de lo sagrado al arte; el chamanismo ruiziano y el sincretismo jodorowskiano se sustituyen a las imágenes religiosas cristianas. ; Raoul Ruiz et Alexandre Jodorowski ont questionné le texte culturel de la colonisation de l'Amérique. Le premier, dans La Vocation suspendue, par la déconstruction d'une partie du discours théologique qui a tendu à légitimer la conquista et ses conséquences; le second, dans La montagne sacrée par une mise en abyme modélisante, qui oppose, dans un combat sanglant, des crapauds représentant les conquistadores, et des caméléons les Indiens. dans ces deux films, la signification politique du récit s'accompagne d'une déconstruction de celui-ci, associée à une forme particulière d'iconoclasme, qui constitue une remise en question du texte culturel initial et de sa figuration en images. Ces réalisateurs revisitent un second texte culturel, celui de la vie comme songe et du theatrum mundi, qui met en doute la réalité et l'image. Enfin, ce travail de sape effectué permet un transfert du sacré à l'art ; le chamanisme ruizien et le syncrétisme jodorowskien se substituant à l'imagerie religieuse chrétienne.

Volume entitled: Translation-Transnation 1994-2004. Dix ans d' echanges littéraires entre l'Afrique du Sud et la France / Ten years of literary exchange between South Africa and France. Numéro special Rassemblé et dirigé par Jean-Pierre RICHARD, Université Paris 7, en collaboration avec Denise GODWIN, rédactrice de l'AFSSA Special issue collated and edited by Jean-Pierre RICHARD, University of Paris 7, in collaboration with AFSSA editor, Denise GODWIN ; Writing can be both an act of empowerment and a way of making known things that ought to be known. In South Africa, the focus of our deliberations here, during the Apartheid years, authors were not allowed to write and express themselves freely, all writing being carefully monitored and controlled or banned. But voices could be heard outside . from the pen of exiles, for example. Translation fills the same function, and in fact plays an even more important role because it reaches an even wider audience. It can also assist in forming cultural constructs and play a role in bridging a gap caused by political and linguistic change in a multilingual society. These functions are crucial in the "translational reality" of South Africa - the reality of 11 official languages and concomitant cultural diversity and of course the continuing need to relate to the larger world. Institutionalized translator training has become indispensable in such a rapidly changing country. These truths stem from the way messages are conveyed - must be conveyed - when filtered through the Other's language and expectations. For translation involves not just language, it is a cultural transfer. An awareness of cultural differences and similarities of socially conditioned aspects of life is essential in the interpretation of meaning because the act of translating must negotiate discursive differences in terms of cultural values, ideologies and identities.

The book has three axes of reflection on the concept of transference. In the first part of the volume, Hans-Jürgen Lüsebrink evokes contemporary changes that increase intercultural communications. Walter Moser examines the history of concepts and explores the possibility of "cultural transfer" an instrument that would account for the great cultural mobility that we see today worldwide. Pierre Lévy gives this conceptual exploration highest amplitude by moving it to the general area of information transfer. The second part, "The transfer and knowledge", occupies the bulk of the work. Daniel Simeoni explores translation studies documenting the parallelism of translation and transfer concepts. In psychoanalysis, both as a site that as a practice, the transfer has a long conceptual history; Ellen Corin yet open dialogue with other disciplines and knowledge and raises the possibility of laterally moving the achievements of his thinking to the field of anthropology. In criminal law, Alvaro Pires explores theoretical and methodological issues of transfer, supporting his words with examples. Nicolas Goyer distinguishes between "family transfer" and "migration transfer" to illustrate the need to challenge the priority that has long given the intergenerational transfer.

The third part explores the overlapping of transfers and the media. Timothy Murray explores the 'new media art', where the political intersect, the médiaticotechnologique, psychoanalytic and intercultural. Wolfgang Ernst questioned the "transfer" the confluence of ethnology, ethnography, museology, history and cultural analysis, compared to the theory and history of the media. - L'ouvrage propose trois axes de réflexion sur le concept de transfert. Dans la première partie du volume, Hans-Jürgen Lüsebrink évoque les changements contemporains qui augmentent les communications interculturelles. Walter Moser examine l'histoire des concepts et explore la possibilité de faire du « transfert culturel » un instrument qui permettrait de rendre compte de la grande mobilité culturelle que nous observons de nos jours à l'échelle mondiale. Pierre Lévy donne à cette exploration conceptuelle la plus grande amplitude en la déplaçant vers le domaine général du transfert des informations. La deuxième partie, « Le transfert et les savoirs », occupe le gros de l'ouvrage. Daniel Simeoni y explore la traductologie en documentant le parallélisme des concepts de traduction et de transfert. Dans la psychanalyse, tant comme site du savoir que comme pratique, le transfert a une longue histoire conceptuelle; Ellen Corin ouvre pourtant le dialogue à d'autres savoirs et disciplines et évoque la possibilité de déplacer latéralement les acquis de sa réflexion vers le domaine de l'anthropologie. En matière de droit criminel, Alvaro Pires explore des questions théoriques et méthodologiques du transfert, étayant ses propos d'exemples. Nicolas Goyer fait la distinction entre le « transfert généalogique » et le « transfert migratoire » pour illustrer la nécessité de contester la priorité qu'on a longtemps accordée au transfert intergénérationnel.

La troisième partie explore l'imbrication des transferts et des médias. Timothy Murray explore le new media art, où se croisent le politique, le médiaticotechnologique, le psychanalytique et l'interculturel. Wolfgang Ernst s'interroge sur le « transfert » au confluent de l'ethnologie, l'ethnographie, la muséologie, l'histoire et l'analyse des cultures, en regard de la théorie et de l'histoire des médias.