Suchergebnisse

with its 11 official languages, the European Union is facing astonishing linguistic logistics; with the addition of 10 new member landscapes next year, linguistic diversity explodes. It is of course impossible to speak all these languages, hence the leitmotiv: "Everyone speaks their own language and understands the language of the other." CRAPEL explores the possibilities of this approach even at the level starting with the latest Ecouter pour Comprise (EPCO) project: a series of DVD-ROMs supported by a website to help the learner master himself listening to French, Polish, Czech or Hungarian. This communication first sets out the foundations of this multimedia tool and its key words for autonomy and flexibility. We describe the essential characteristics of the product with its different methodological modules and video material. Following an evaluation of a pilot project in German, we are developing the new features of the current tool, in particular the diversification into other languages and the structure of the proposed website. ; International audience ; with its 11 official languages, the European Union is facing astonishing linguistic logistics; with the addition of 10 new member landscapes next year, linguistic diversity explodes. It is of course impossible to speak all these languages, hence the leitmotiv: "Everyone speaks their own language and understands the language of the other." CRAPEL explores the possibilities of this approach even at the level starting with the latest Ecouter pour Comprise (EPCO) project: a series of DVD-ROMs supported by a website to help the learner master himself listening to French, Polish, Czech or Hungarian. This communication first sets out the foundations of this multimedia tool and its key words for autonomy and flexibility. We describe the essential characteristics of the product with its different methodological modules and video material. Following an evaluation of a pilot project in German, we are developing the new features of the current tool, in particular the ...

SUMMARY: I. The technique of double or multiple/II votes. Benefits/A. Institutional listening/B. Institutional dialogue/III. Disadvantages/A. The presumptive institutional/B. institutional effectiveness/IV. Some special arrangements/A. Overall or partial representation? /B. Exclusive or multiple representation? /V. Electoral context/A. Electoral/B. Methods of voting/VI. Other institutional mechanisms/A. Election techniques/B. Appointment techniques ; SOMMAIRE : I. La technique du double vote ou du vote multiple / II. Les avantages / A. L'écoute institutionnelle / B. Le dialogue institutionnel / III. Les inconvénients / A. Les présupposés institutionnels / B. L 'effectivité institutionnelle / IV. Quelques modalités particulières / A. Une représentation globale ou partielle ? / B. Une représentation exclusive ou multiple ? / V. Le contexte électoral / A. Le sectionnement électoral / B. Les modes de scrutin / VI. D'autres mécanismes institutionnels / A. Les techniques d'élection / B. Les techniques de désignation

An analysis of two types of political participation in Belgium, conventional affiliation & political protest, shows that overall participation is low throughout the country. Guttman techniques were used to develop one-dimensional, hierarchical scales of conventional participation & protest, which allowed the evaluation of the real involvement of each individual. Of the 1,500 people interviewed in 1984, some 90% were involved in no more than 3 political action events, eg, reading &/or listening to the media, & political discussion. Independent variables such as gender, occupation, level of schooling, & income affected political participation. Political protest was considered as means of expression & a demonstration of the nonrepresentation of minorities in the political power structure. Protest was linked most significantly with age, level of schooling, & union membership. These results are contrasted with those of 5 other countries -- the US, GB, Germany, Austria, & the Netherlands. 14 Tables, 1 Appendix. J. Sadler

Considering a rap as an auditive and relational entity, the study embraces a pragmatical point of view in order to answer to the social request with reference to it, which concerns an excess of violence and a lack of citizenship. Putting into the test two tools, interenunciativity and listening-in-action, brings to light the embodied ethics of voice, insofar as the vocal actions make present on the same scene both listeners and singers. But the enunciations of protests make emerge, against a Them, a We; and open on a particular regime, the love-hate. To account for it we have to note the importance of language in the lyrics: verbal violences take place in a larger conception of language. This one forms a rehabilitation of the institution of language, in order to establish a social tie with Us. Rap uses by this way the resources of the phatic institution of language and realizes an embodied politics of addressed voice. ; Considérant un rap comme une entité auditive et relationnelle, l'étude adopte une perspective pragmatique afin de répondre à la demande sociale à son égard, qui concerne un excès de violence et un défaut de citoyenneté. La mise à l'épreuve de deux outils, l'interénonciativité et l'écoute-en-action, met en évidence une éthique incarnée de la voix, dans la mesure où les actions vocales rendent présents sur une même scène auditeurs et rappers. Mais les énonciations de contestations instancient, contre un Eux, un Nous ; et ouvrent sur un régime particulier d'amour/haine. Pour en rendre compte il faut prendre acte de la centralité du langage dans les paroles : les violences verbales prennent place dans une conception plus générale du langage. Celle-ci forme une réhabilitation de l'institution du langage, afin d'établir un lien social avec Nous. Le rap utilise à ce titre les ressources de l'institution phatique du langage et réalise une politique incarnée de la voix adressée.

Developments in the international institutional context and in the capacity of governments to ensure sustainable forest management in Central Africa lead to new approaches to participatory management being explored. The author reviews current initiatives in this field in Congo Brazzaville, Gabon, Cameroon, Central African Republic and Equatorial Guinea. Such initiatives are still in an experimental stage and aim at answering issues linked with conventional forest management as well as meeting prerequisites imposed by international organisations for granting aid to development. These new approaches apply to four main areas: (1) Planning in the form of Forest Action Plans (TFAP/NFAP) and Environmental Management or Action Plans (EMP/EAP). Only those being in a development process take into account the participatory approach. (2) Protected areas. The current trend, especially at regional level (ECOFAC), is to substitute involvement of local populations in sustainable resource management for protection of forest islands. (3) Community forests. Cameroon has changed its legislation and is in an experimental stage. Congo and Gabon are engaged in reforming their laws. And (4) Management for timber production. Participation of local people is recommended, however the mode of implementation is not clearly defined. Research is involved at different levels: function of advice and analysis, definition of operational modes of implementation, and social experimentation. The author describes analysis patterns (theory of land control, modes of appropriation), and the main research focuses. Most important is communication, using approaches such as GRAAP (Research Group in Support to Self-Promotion) and MARP (Active Method of Participatory Research). Objectives are listening, informing and awareness-raising. The economic alternatives approach, based on a combination of incentives and disincentives, is increasingly used, as well as institutional alternatives approach. The success of a co-management process is dependent on taking into account all categories of actors involved in decision-making.

Jean Capin, held all kinds of fiction production responsibilities, from 1960 to 1990. Television first drew 'on the theatre and literary repertoire to make 'dramatic' writing, and then came into being with a more specific television writing, putting the surrounding reality into dramatic language, combining artistic will, social and political concerns (in the sense of the city's affairs), with filmmakers who had mostly spent documentation.Technique and aesthetic progressed on the basis of each other. There was still a debate: who influenced who, the truth cinema, the new wave, or the writing by image? generalisation of film to the detriment of direct and magnetic tape, increase in film broadcasting, creation of the second channel with increased transmission and production hours, introduction of the series alongside 90 minutes. Two types of series must be distinguished. The 'light series', ancest of Sitcom and 'soap', in the form of a foliage or series, 'The Time of the Copains', 'Janique Aimée'. But very soon, Sitcom will become the reserved hunting of Americans and Brazilians. Second, more ambitious series, such as 'Belphegor' or 'Vidocq', a path opened by 'Les Forsythe', 'family saga' dealing with other subjects as well. But this writing remained more focused on the past than contemporary times. 'How is a programme decided?' A fiction officer is never alone, there are directorates, an organisation, it is a researcher (looking for subjects and authors) or a collector (proposed projects) and a defender (defends the scenarios in front of the chain). And there are public preferences: Polar, Romance, subjects of society, history, etc. with sub-divisions within these genes.A scenario is usually not fully developed in its first version. The programme manager behaves like a publisher and discusses with the author, 'listening' and 'giving birth' of the work. In the early days of television, authors and directors came from cinema or theatre. Since then, the public service has equipped itself with a body of producers ...