Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.
Jean Rouch made important, innovative ethnographic films in West Africa from the late 1940s to the 1970s. There is an evident contrast – in subject and style – between his films about young Africans in the years prior to national independences and the more traditional ethnographic films, in the wake of Griaule, largely focused on the "primitive" and on the "profound Truth" assumed to reside in the Dogon cosmogony. This dualism, which reflects the evolution underway in French ethnography, is a source of tension in Rouch's corpus of film. In the footsteps of Leiris and Balandier, post-War French ethnography was, at that time, apprehending the rapid changes that Africa was experiencing and was attempting to reconfigure its own theoretical foundations. Rouch may have seemed to be at odds with this new paradigm when filming the Dogon, but at the same time he made films which gave voice and personal identity to their protagonists, foreseeing novel forms of intercultural reflections, akin to the concept of "regards croisés" that certain post-Modern analysts would later prone. In the films about societal shifts in Africa, Rouch mixed as it suited him fiction with the most vital subjects: de-colonialization, modernization, politics, the sociology of population migrations from rural to urban. The watershed work of Balandier, his Sociologie des Brazzavilles noires in particular, and those of Rouch, with les Maîtres fous, Moi, un noir and Jaguar, echoed each other, offering a dynamic approach to African culture. However, the tangible dichotomy in Rouch's work, with respect to subjects traditional or modern, is not a quirk but rather a trademark reflecting Rouch's unique itinerary, woven through a transformational period in French ethnology, representing a source of tension within his works, begging to be further explored and contextualized.
Jean Rouch made important, innovative ethnographic films in West Africa from the late 1940s to the 1970s. There is an evident contrast – in subject and style – between his films about young Africans in the years prior to national independences and the more traditional ethnographic films, in the wake of Griaule, largely focused on the "primitive" and on the "profound Truth" assumed to reside in the Dogon cosmogony. This dualism, which reflects the evolution underway in French ethnography, is a source of tension in Rouch's corpus of film. In the footsteps of Leiris and Balandier, post-War French ethnography was, at that time, apprehending the rapid changes that Africa was experiencing and was attempting to reconfigure its own theoretical foundations. Rouch may have seemed to be at odds with this new paradigm when filming the Dogon, but at the same time he made films which gave voice and personal identity to their protagonists, foreseeing novel forms of intercultural reflections, akin to the concept of "regards croisés" that certain post-Modern analysts would later prone. In the films about societal shifts in Africa, Rouch mixed as it suited him fiction with the most vital subjects: de-colonialization, modernization, politics, the sociology of population migrations from rural to urban. The watershed work of Balandier, his Sociologie des Brazzavilles noires in particular, and those of Rouch, with les Maîtres fous, Moi, un noir and Jaguar, echoed each other, offering a dynamic approach to African culture. However, the tangible dichotomy in Rouch's work, with respect to subjects traditional or modern, is not a quirk but rather a trademark reflecting Rouch's unique itinerary, woven through a transformational period in French ethnology, representing a source of tension within his works, begging to be further explored and contextualized.
The visionary Satyajit Ray (1921-1992) is India's most famous director. His visual style fused the aesthetics of European realism with evocative symbolic realism, which he based on classic Indian iconography, the aesthetic and narrative principles of rasa, the energies of shakti and shakta, the principles of dharma, and the practice of darsha dena/ darsha lena. He incorporated these aesthetic elements in a self-reflective manner as a means of observing and recording the human condition in a rapidly changing world. This unique amalgam of self-expression expanded over four decades that cover three periods of Bengali history, offering a fictional ethnography of a nation in transition from agricultural, feudal societies to a capitalist economy. His films show the emotional impact of the social, economic, and political changes, on the personal lives of his characters. They expand from the Indian declaration of Independence (1947) and the period of industrialization and secularization of the 1950s and 1960s, to the rise of nationalism and Marxism in the 1970s, followed by the rapid transformation of India in the 1980s. Through the Eyes of his characters, Ray's films reflected upon the changes in the conscious collective of the society and the time they were produced, while offering a historical record of this transformation of his imagined India, the 'India' that I got to know while watching his films; an 'India' that I can relate to. The paper highlights an affinity between Ray's method of filmmaking with ethnography and Kantian anthropology. For this, it returns to the notion of the charismatic auteur as a narrator of his time, working within the liminal space in-between fiction and reality, subjectivity and objectivity, culture and history respectively, in order to reflect upon the complementary ontological relationship between the charismatic auteur and the role of the amateur anthropologist in an ever-changing world.
The visionary Satyajit Ray (1921-1992) is India's most famous director. His visual style fused the aesthetics of European realism with evocative symbolic realism, which he based on classic Indian iconography, the aesthetic and narrative principles of rasa, the energies of shakti and shakta, the principles of dharma, and the practice of darsha dena/ darsha lena. He incorporated these aesthetic elements in a self-reflective manner as a means of observing and recording the human condition in a rapidly changing world. This unique amalgam of self-expression expanded over four decades that cover three periods of Bengali history, offering a fictional ethnography of a nation in transition from agricultural, feudal societies to a capitalist economy. His films show the emotional impact of the social, economic, and political changes, on the personal lives of his characters. They expand from the Indian declaration of Independence (1947) and the period of industrialization and secularization of the 1950s and 1960s, to the rise of nationalism and Marxism in the 1970s, followed by the rapid transformation of India in the 1980s. Through the Eyes of his characters, Ray's films reflected upon the changes in the conscious collective of the society and the time they were produced, while offering a historical record of this transformation of his imagined India, the 'India' that I got to know while watching his films; an 'India' that I can relate to. The paper highlights an affinity between Ray's method of filmmaking with ethnography and Kantian anthropology. For this, it returns to the notion of the charismatic auteur as a narrator of his time, working within the liminal space in-between fiction and reality, subjectivity and objectivity, culture and history respectively, in order to reflect upon the complementary ontological relationship between the charismatic auteur and the role of the amateur anthropologist in an ever-changing world.
"Colorblindness, A Life: Race, Film, and the Articulation of an Ideology," offers a political and cultural biography of the racial ideology of colorblindness from its emergence as a coherent racial ideology in the years after the civil rights movement to its dominant influence in social policy in the 1990s. Most importantly, the project reveals the manner in which colorblindness became the racial project of neoliberalism. This elaboration of colorblindness as an ideology and cultural form is best understood through an examination of film during the period of my study. Beginning in the second-half of the 1970s, Hollywood developed its own set of filmic aesthetics, narratives, and tropes that advocated colorblindness. Moreover, Hollywood was not only central to the articulation of the ideology, it also depended upon colorblindness in the New Hollywood era. In the post-civil rights era, then, colorblindness, neoliberalism, and film are constitutive of and inextricable from one another.The project illustrates three key themes. First, colorblindness is the racial project of neoliberalism. The 1970s were characterized by an anti-government ethos that extended across racial and political lines that neoconservatives used in the 1970s to attack issues like affirmative action and busing as part of a movement intent on dismantling of the welfare state. Out of these struggles emerged a neoliberal notion of "individual" colorblind freedom that neoconservatives, beginning in the mid-seventies, successfully sold as the antidote to the "reverse discrimination" of government mandated "group" rights. The growing popularity of neoliberal economics in the seventies was not merely the result of the seeming failures of Keynesianism to cure stagflation. Instead, the mounting opposition to the "overreach" of the federal government in busing and affirmative action was fundamental in building the appeal of a return to uncompromising laissez faire economics.Secondly, colorblindness, although post-racial in theory, has served as a tool for whites to realign and reconstitute white supremacy within a post-civil rights political correctness. Beginning in the late seventies, white Republicans and moderate Democrats alike used colorblindness to eliminate race-conscious programs intended to promote racial equality. These efforts have only exacerbated racial inequality.Lastly, my dissertation asserts that film served as a key battleground for the culture wars out of which the ideology of colorblindness formed. Yet just as colorblindness needed film to form its cultural cohesion, film needed colorblindness to reinvent itself in the desperate economic times of the post-Classical era. Beginning in the 1970s, movies capitalized upon the volatile racial, social, and economic struggles in the decades after the civil rights movement that shaped colorblindness and have continued to appeal to colorblind sentiments for profit. By the end of the 1980s, Hollywood was increasingly turning to historical dramas that imagined colorblind white heroes at the center of black freedom struggles--emancipation and the civil rights movement, specifically. And by the 1990s, entirely new colorblind film genres, most notably in what I term the "Teacher Film," had emerged.
1. Beyond the Mad Men: Consumer Engineering and the Rise of Marketing Management, 1920s–1970s: An Introduction -- I. Twentieth-Century Marketing: Aspirations and Limits, Costs, and Benefits -- 2. Marketing as "Consumer Engineering"? A Concept in Transatlantic Perspective, 1930s–1960s -- 3. What Does "Fast Capitalism" Mean for Consumers? Examples of Consumer Engineering in the United States -- 4. A Theoretical Exploration of Consumer Engineering: Implicit Contracts and Market Making -- II. Consumer Engineers and Transatlantic Exchanges at Mid-Century -- 5. Shopping Malls and Social Democracy: Victor Gruen's Postwar Campaign for Conscientious Consumption in American Suburbia -- 6. Consumer-Based Research: Walter Landor and the Value of Packaging Design in Marketing -- 7. German-Style Consumer Engineering: Victor Vogt's Verkaufspraxis, 1925–1950 -- III. Consumer Engineering Practices in Postwar Europe -- 8. Consumer Credit as a Marketing Tool: The French Experience in European and Transatlantic Comparison, 1950s–1960s -- 9. Adidas and the Creation of a Transnational Market for German Athletic Shoes, 1948–1978 -- 10. Imagined Images, Surveyed Consumers: Market Research as a Means of Consumer Engineering, 1950s–1980s -- IV. Consumer Engineering and Consumer Movements -- 11. Marketing a New Society or Engineering Kitchens? IKEA and the Swedish Consumer Agency -- 12. "The Consumer Crusader": Hugo Schui and the German Consumers Association -- 13. Consumer Engineering by Belgian Consumer Movements: From Modern Marketing with a Transnational Touch to Late-Modern Insecurities, 1957–2000
Maverick Movies tells the improbable story of New Line Cinema, a company that cut a remarkable path through the American film industry and movie culture. Founded in 1967 as an art film distributor, New Line made a small fortune running John Waters's Pink Flamingos at midnight screenings in the 1970s and found reliable returns with the Nightmare on Elm Street franchise in the 1980s. By 2001, the company competed with the major Hollywood studios and reached global box office success with the Lord of the Rings franchise. Blurring boundaries between high and low culture, between independent film and Hollywood, and between the margins and the mainstream, New Line Cinema epitomizes Hollywood's shift in focus from the mass audience fostered by the classic studios to the multitude of niche audiences sought today. "At long last, a top film scholar takes a deep dive into New Line Cinema's remarkable and most unlikely history. Mining a wealth of primary sources and trade press accounts, and with access to New Line's renegade founder Bob Shaye himself, Daniel Herbert deftly recounts the company's rags-to-riches saga and firmly situates New Line as one of the most important Hollywood studios in the past half century." — THOMAS SCHATZ, author of The Genius of the System: Hollywood Filmmaking in the Studio Era "Exhibiting the same archival dexterity he brought to Videoland, Herbert reconsiders how New Line's eclecticism both predicted and reflected broader changes in US film culture of the late twentieth century. This book will revitalize the field of distribution studies." — CAETLIN BENSON-ALLOTT, author of The Stuff of Spectatorship: Material Cultures of Film and Television "Focusing on New Line Cinema, an indie outfit rooted in 1960s college-campus film culture that in the 1990s briefly became the tail that wagged the dog at the WB, Herbert crafts a compelling road map of the volatile movie industry of postclassical Hollywood." — JON LEWIS, author of Road Trip to Nowhere: Hollywood Encounters the Counterculture
A dialogue with Linda Nochlin, the Maverick She -- 1970s : Why have there been no great women artists? -- Miriam Schapiro: recent work -- Some women realists -- Women artists after the French Revolution -- 1980s : Florine Stettheimer: rococo subversive -- Nancy Graves: the subversiveness of sculpture -- Morisot's Wet nurse: the construction of work and leisure in impressionist painting -- Zuka's French Revolution: a woman's place is public space -- 1990s : Pornography as a decorative art: Joyce Kozloff's patterns of desire -- Starting from scratch: the beginnings of feminist art history -- Mary Cassatt's modernity -- Sylvia Sleigh: portraits of women artists and writers -- Deborah Kass: portrait of the artist as an appropriator -- 2000s : Jenny Saville: floating in gender nirvana -- Mary Frank: encounters -- Seeing beneath the surface (Kathleen Gilje) -- A rage to paint: Joan Mitchell and the issue of femininity -- Sam Taylor-Wood: when the stars weep -- Alice Neel -- Unholy postures: Kiki Smith and the body -- Sarah Lucas: God is Dad -- "Why have there been no great women artists?" thirty years after -- Women artists then and now: painting, sculpture, and the image of the self -- Cecily Brown: the erotics of touch -- Existence and beading: the work of Liza Lou -- Black, white, and uncanny: Miwa Yanagi's Fairy tale -- Old-age style: late Louise Bourgeois -- 2010s : Sophie Calle: word, image and the end of ekphrasis -- Ellen Altfest: a new, new realism -- Natalie Frank: the dark side of the fairy tale
Anachronism Effects: Ventriloquism and Popular Media, argues that the seemingly outmoded cultural phenomenon of ventriloquism is a key site for understanding Western anxieties about media and mediation at the turn of the twenty-first century. Ventriloquism achieved mainstream popularity in the Vaudevillian era through its comedic dramatizations of the foibles of everyday communication. Subsequently translated into the audiovisual contexts of phonography, film, and television, the art boasts a growing plethora of media afterlives, while also serving as political shorthand for the mechanical reproduction of another's speech. Anachronism Effects insists that ventriloquism's circulation as a popular metaphor, and continued prevalence as a form of contemporary entertainment, offers a unique template for tracing the transmissions of power and knowledge through diverse media platforms, as well as through racialized, gendered, and queer bodies, in the information age—even as the practice continues to evoke the cultural detritus of a prior historical moment.Anachronism Effects thus attends to the myriad ways in which ventriloquism has evolved as a distinct cultural object, as the art of "saying what people want to say but can't say" by displacing this unspeakable or unsavory speech onto a dummy. From the radically race-critical 1970s vinyl record albums of the African-American ventriloquist duo Richard and Willie; to the late 1980s-early 1990s lip-synch scandal wrought by the "ventriloquism" of the Afro-German pop group Milli Vanilli; to the contemporary televisual, cinematic, and multimedia performances of the self-deprecating British ventriloquist Nina Conti and her jingoistic American counterparts Terry Fator and Jeff Dunham, the project's case studies illuminate what it means to "vent" in both senses of the term, particularly in the context of the perceived dynamics of silencing or "correctness" that often accompanies contemporary political discourse. The dissertation's initial case studies notably coalesce around highly politicized celebrations of national history (the mid-1970s U.S. Bicentennial, the early 1990s "reunification" of Germany), while its later chapters take up post-9/11 U.S. fantasies of a return to a folkloric national past. In each instance, ventriloquism's play with the alignments and disconnections between body and voice enacts a material working-through of the temporal contradictions elided by national historical discourses.
from 2009, French intellectuals Alain Badiou and Alain Finkielkraut meet in various public scenes. This article is intended to show that, in view of the inclusion of this debate in these cultural bodies, the meeting between Badiou and Finkielkraut was unlikely. By providing a sociological explanation of the (sub) text of the explanation, the aim was to understand, from a comparative perspective, the structural, longitudinal and design dimensions underlying the manufacture of this co-product. The first part of that article sought, first of all, to establish, on the basis of a sociography of the respective routes of Badiou and Finkielkraut, that they share heterodox intellectual profiles associated with those same external careers of the cultural celebration. Secondly, we sought to show that the confrontatio set up following a radical ideological opposition offers them, above all, the opportunity to strengthen the prevalence within these channels of the intellectual reputation of this academic and mondal style, in a highly sophisticated way of combining those of anti-school with the effects of schools. This meeting between Badiou and Finkielkraut therefore condense on its own all the changes in the intellectual field since the late 1970s as a result of the emergence of these visibility circuits. First, it confirms the monopoly exercised by those cultural celebration networks in access to the public knowledge of intellectuals and, therefore, the bottom-up of the resources of the relational network over the autonomous species of cultural capital. On the other hand, editorial arrangements such as the explanation, by seeking to overcome ideological divisions, remain an example of the intellectual world's compliance with the journalistic methods of mediation and consensus. ; International audience Since 2009, the French intellectuals Alain Badiou and Alain Finkielkraut have been meeting on various public stages. This article proposes to show that, given the inclusion of this debate in these instances of cultural ...
Als Konzept ist die "historische Stadt" relativ neu. Entwickelt wurde sie während der 1970er und 1980er Jahre aus den Grundideen der städtebaulichen Moderne. Das lässt sich besonders gut am Beispiel Ost-Berlin belegen. In dieser Zeit setzte sich hier eine heterogene Allianz von Führungskadern, Architekten und Intellektuellen für ein städtisches Umfeld ein, das die individuelle Erfahrung von Geschichtlichkeit vermittelt. Diese Ideen schlugen sich in den 1980er Jahren in einer Reihe von Prestigeprojekten nieder. In der Vorbereitung auf die 750-Jahrfeier von Berlin 1987 ließ die DDR-Führung einige der jahrzehntelang geschmähten Mietshausviertel renovieren und mit Insignien historischen Alltagslebens ausschmücken. Gleichzeitig wurden eine Reihe repräsentativer Bauprojekte geplant und teilweise realisiert, die sich stark an historische Bauformen anlehnen. Die historische Stadt vermengte Elemente verschiedener vergangener Epochen zu einer undifferenzierten Vorstellung von "der Vergangenheit." Diese Entwicklung beruhte auf einer Elastizität der sprachlichen Äußerungen von Städtebauern und Theoretikern. Im Laufe der 1970er und 1980er Jahre behielten Begriff wie "Wohnraumerhaltung" oder "Rekonstruktion" einerseits ihren positiven Klang bei, veränderten andererseits aber radikal ihre Bedeutung. In ähnlicher Weise wurde die quasi-biologische Konzeption der Stadt als Organismus, aus dem "überaltete" Wohnviertel nach Beendigung ihrer "Lebensdauer" entfernt werden müssen, Schritt für Schritt außer Kraft gesetzt. Durch Renovierungs- und Neubauprojekte initiierte die Ost-Berliner Führungsspitze und ihre ausführenden Organe eine Renaissance zahlreicher, lange vernachlässigter Stadtteile, die nach der Wiedervereinigung zu gehobenen Wohn- und Geschäftsvierteln wurden. Trotz der umfassenden personellen Neuordnung nach dem Ende der DDR muss die Ost-Berliner Städtebaupolitik vor und nach der Wiedervereinigung als Kontinuität und nicht als Bruch verstanden werden. Ungeachtet der politischen und wirtschaftlichen Unterschiede weist die städtebauliche Entwicklung in Ost-Berlin in den 1970er und 1980er Jahren starke Parallelen zu der im Westen auf. Sowohl in der DDR als auch in zahlreichen westlichen Ländern wurde mit der Erfindung der historischen Stadt reale und imaginäre Stadtgeschichte zunehmend kommerzialisiert und an lokale Eliten und Touristen vermarktet. Die historische Stadt wurde auch zum konzeptuellen Hintergrund für die zunehmend verbreitete Inszenierung und Deutung historischer Spuren im Stadtbild, mit der die neuen Mittelschichten politische und soziale Legitimation beanspruchten. ; The idea of a "historic city" is a rather recent phenomenon. As a conceptual framework, it evolved over the course of the 1970s and 1980s from the intellectual foundations of modernist urban design. This is especially well illustrated in East Berlin, where a heterogeneous group of politicians, architects, and scholars called for an urban environment that provides the individual experience of historicity. Their ideas were most prominently infused in a series of showcase projects built during the 1980s. For the celebration of Berlin's 750th anniversary in 1987, some of the long-despised late-19th-century tenement neighborhoods were remodeled and fitted out with the insignia of historic every-day life. In addition, a number of representative architectural ensembles were built that made use of different historic styles. The invention of the historic city collapsed the memories of different historic periods into a generic notion of "the past." This process relied on a specific elasticity of the language employed by designers and theorists. Over the course of the 1970s and 1980s, terms such as preservation or reconstruction retained a positive connotation while simultaneously time undergoing a radical change in meaning. In the same way, the quasi-biological conception of the city as a body with a life cycle, where "obsolete" neighborhoods had to be regularly demolished, was gradually suspended. Through both remodeling and new construction, the East German leaders and their collaborators initiated a renaissance of once neglected neighborhoods, which after the German reunification became prime locations for upscale housing and retail. Construction policy before and after the German reunification therefore has to be seen as a continuous development rather than a break. Despite the different political and economic system in the German Democratic Republic, East Berlin design politics during the 1970s and 1980s paralleled the approaches in Western countries, where real and imagined urban history was increasingly commodified and marketed to local elites and tourists. The historic city also became the conceptual background for a widely practiced exegesis of historic residues, through which Berlin's middle classes claimed social and political legitimacy.
En su vuelta del exilio el Grupo Ukamau (GU) produce Las banderas del amanecer (1983), un film singular con dos rasgos hasta ese momento inéditos y que no volverán a repetirse en la trayectoria del grupo: ser realizado en codirección –entre Jorge Sanjinés y Beatriz Palacios–, y responder enteramente a los caracteres del documental. De forma cronológica y a través de distintas formas de testimonio, entrevistas, registros in situ y material de archivo, la película recupera variadas experiencias de resistencia y oposición durante las dictaduras bolivianas y las democracias frágiles que marcaron la transición. De esa forma configura una cartografía diagnóstica que describe y explica la Bolivia golpeada pero en ebullición de fines de los setenta y principios de los ochenta, protagonizada por un sujeto colectivo heterogéneo. El film, que se presentó en el V Festival Internacional del Nuevo Cine Latinoamericano donde ganó el Gran Premio Coral en la Sección Documental, continúa con la inconfundible perspectiva de intervención política que cultivara el colectivo desde los 60, incorporando interrogantes ligados a los derechos humanos y la democracia, elementos que se desarrollarán en el período inmediatamente posterior. Tras la ubicación del film en la obra del grupo y la descripción de sus condiciones de posibilidad, este trabajo analiza las formas de representación del dolor y el duelo, y las modalidades de denuncia impugnadora del ejercicio de la fuerza dictatorial. Nos proponemos reconstruir y caracterizar el trabajo de memoria que el documental plantea: una memoria tejida –como la wiphala– de voces heterogéneas que hacen visible y audible el recuerdo de masacres e injusticias, pero también la capacidad de organización, lucha, compromiso y solidaridad de los sectores populares. ; On his return from exile, the Ukamau Group (GU) produces The Flags of the Dawn (1983), a unique film with two previously uncharted features that will never be repeated in the group's history: to be performed in a co-direction –between Jorge Sanjinés and Beatriz Palacios–, and to respond entirely to the characters of the documentary. Chronologically, through different forms of testimony, interviews, on-site records and archival material, the film recovers varied experiences of resistance and opposition during the Bolivian dictatorships and the fragile democracies that marked the transition. In this way, it presents a diagnostic cartography that describes and explains the battered but boiling Bolivia of the late 1970s and early 1980s, which was carried out by a heterogeneous collective subject. The film, which was presented at the V International Festival of New Latin American Cinema, where it won the Coral Grand Prize in the Documentary Section, continues with the distinct perspective of political intervention that the collective has cultivated since the 1960s, incorporating issues related to the human rights and democracy, elements that will be developed in the immediately following period. After the location of the film in the work of the group and the description of its conditions of possibility, this work analyzes the forms of representation of pain and mourning, and the modalities of denouncing the exercise of the dictatorial force. We propose to reconstruct and characterize the work of memory that the documentary raises: a woven memory –like the wiphala– of heterogeneous voices that make visible and audible the memory of massacres and injustices, but also the capacity for organization, struggle, commitment and solidarity of the popular sectors. ; En la seua tornada de l'exili el Grupo Ukamau (GU) produeix Las banderes del alba (1983), un film singular amb dos trets inèdits fins a aquell moment i que no tornaran a repetir-se en la trajectòria del grup: ser realitzat en codirecció –entre Jorge Sanjinés i Beatriz Palacios– i respondre enterament als caràcters del documental. De manera cronològica i a través de diferents formes de testimonis, entrevistes, registraments in situ i material d'arxiu, la pel·lícula recupera experiències variades de resistència i oposició durant les dictadures bolivianes i les democràcies fràgils que van marcar la transició. D'aquesta manera configura una cartografia diagnòstica que descriu i explica la Bolívia colpejada però en ebullició del final dels setanta i principi dels huitanta, protagonitzada per un subjecte col·lectiu heterogeni. El film, que es va presentar en el V Festival Internacional del Nuevo Cine Latinoamericano en el qual va guanyar el gran Premio Coral en la secció documental, continua amb la inconfusible perspectiva d'intervenció política que va conrear el col·lectiu des dels seixanta, incorporant interrogants lligats als drets humans i a la democràcia, elements que es desenvoluparan en el període immediatament posterior. Després de la ubicació del film en l'obra del grup i la descripció de les seues condicions de possibilitat, aquest treball analitza les formes de representació del dolor i el dol, i les modalitats de denúncia impugnadora de l'exercici de la força dictatorial. Ens proposem reconstruir i caracteritzar el treball de memòria que el documental planteja: una memòria teixida –com la wiphala– de veus heterogènies que fan visible i audible el record de massacres i injustícies, però també la capacitat d'organització, lluita, compromís i solidaritat dels sectors populars. ; Fil: Aimaretti, Maria Gabriela. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras; Argentina
As a Caribbean institution of Higher Learning, the University of the West Indies is seen as a major contributor to integration efforts in the Region very often mandated by CARICOM to carry out educational missions to that effect. Working in a geographically fragmented and multilingual space, foreign language education is a major preoccupation for academic departments or sections in the respective campuses. The Mona Campus, based in Jamaica, was very one of the earliest to recognize the need to add LSP courses in its curriculum as electives (Business) or as 'service courses' for other programmes (Tourism and Hospitality Management). To these existing LSP courses, the French Section at the Mona Campus added in 2003 a new LSP course geared toward International Relation students. The originality of the course lays its chosen method of delivery by total simulation. The course was offered twice since its approval and under two different schedules (two-week intensive and semester-long). This chapter discusses the impact of these two schedules on the course delivery and learning process. The comparison shows the importance of student's motivation and learning autonomy. The study also comments on the use of blended learning (on-line module complementing face-to-face delivery) and suggests that virtual reality may offer a new addition to Total Simulation for LSP. ; To cite the digital version, add its Reference URL (found by following the link in the header above the digital file). ; TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 73 French for International Conference at The University of the West Indies, Mona: Total Simulation in the Teaching of Languages for Specific Purposes Marie-José Nzengou-Tayo The University of The West Indies, Mona Gilles Lubeth The University of The West Indies, Mona Abstract: As a Caribbean institution of Higher Learning, the University of the West Indies is seen as a major contributor to integration efforts in the Region very often mandated by CARICOM to carry out educational missions to that effect. Working in a geographically fragmented and multilingual space, foreign language education is a major preoccupation for academic departments or sections in the respective campuses. The Mona Campus, based in Jamaica, was very one of the earliest to recognize the need to add LSP courses in its curriculum as electives (Business) or as 'service courses' for other programmes (Tourism and Hospitality Management). To these existing LSP courses, the French Section at the Mona Campus added in 2003 a new LSP course geared toward International Relation students. The originality of the course lays its chosen method of delivery by total simulation. The course was offered twice since its approval and under two different schedules (two-week intensive and semester-long). This chapter discusses the impact of these two schedules on the course delivery and learning process. The comparison shows the importance of student's motivation and learning autonomy. The study also comments on the use of blended learning (on-line module complementing face-to-face delivery) and suggests that virtual reality may offer a new addition to Total Simulation for LSP. Keywords: CARICOM, French for international trade, international conferences, Language for Specific Purposes (LSP), methodology Introduction Language for Specific Purpose (LSP) has developed with the expansion of international trade and the development of multilingual and multicultural working teams. Short language courses are designed at the request of enterprises or institutions in order to meet the specific demands related to the work environment. Though LSP courses have been in existence for more than three decades, their introduction in the academic programs of language majors is quite recent and has been a hot debate for several years at MLA and ADFL meetings. In the Caribbean, with the development of integration, the need for LSP has been felt as the CARICOM (Caribbean Community) started to look beyond the English-speaking Caribbean and opened itself to non-English-speaking territories (Surinam and Haiti joined the organization in 1995 and 2002 respectively while Cuba and the Dominican Republic have observer status). These political trends impacted on our foreign language offerings, stressing the need to open our curriculum to professionally oriented courses. The Department of Modern Languages and Literatures and the language sections of the two other campuses TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 74 had various responses: at the St. Augustine Campus (Trinidad and Tobago), a Latin American Studies program was developed; at Cave Hill (Barbados), a cross-faculty program in Management Studies with a minor in a foreign language was approved; at Mona, LSP courses were developed and students from other faculties were allowed to declare minors in French or Spanish. In this article, we present the circumstances surrounding the design of the latest addition to French for Specific Purpose courses offered at the University of The West Indies, Mona (UWI, Mona), the methodological choices made and their implication for assessment. Because the course has been offered twice since its approval by the University Academic Quality Assurance Committee and with two different schedules, we will compare and discuss these two delivery modes. Language for Specific Purpose at the UWI, Mona At the UWI, Mona, the introduction of French for Special Purpose came out of a pragmatic approach at a time when high schools were experiencing a high turnover of French teachers and a reduction of schools offering A-level French (equivalent to the Baccalauréat). Noting that our graduates were being hired in the insurance and tourism industries, it was thought that equipping them with professional language skills would give a 'practical' touch to our program. The recruitment of a colleague with professional experience in translation led to discussions about a more professionally oriented program. "French for Business" was the first LSP course to be designed in 1991–1992 with the creation of a level III course of French for business or "Business French." The course was developed as an elective in response to a situation in which French graduates were moving toward the business sector instead of education. In the subsequent years, other LSP courses were introduced: "French for Hospitality" in 1998–1999 and "French for International Conferences" in 2003. The introduction of this last course coincided with a drastic overhaul of the French curriculum. The offering of "French for International Conferences" came at a time when the French section of the Department was repositioning itself and revising its offerings. The course was designed with a view to attracting International Relations (IR) students while capitalizing on the latest trend in French foreign language teaching methods. The decision was based on the fact that IR majors and French majors minoring in IR outnumbered students majoring in French only. It was taken at a time when the section was going into a survival mode, taking drastic measures and moving away from the traditional language curriculum (36 credits equally divided between language and literature). The section opted for a mix of language, literature, film and culture, and French for specific purpose courses. It was a drastic choice since the section was moving away of the traditional literary offerings. Though the section has not fully recovered, it has increased its numbers and the majority of students pursuing French are double majors (French and Spanish) with a professional objective of becoming translators or interpreters, followed by IR and Linguistics majors. Total Simulation in French Foreign Language Teaching and Learning Even though Total Simulation in French Foreign Language Education was initiated in the 1970s at the BELC (Bureau d'Enseignement de la Langue et de la Civilisation Françaises à l'Étranger / Office for the Teaching of French Language and Civilization TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 75 Abroad) it did not really become mainstream until the late eighties. This approach to language teaching evolved from role playing and the need to expand role playing over a longer period of time with a view to involving diverse aspects of communication (Yaiche, 1996). Total Simulation was borrowed from continuous professional education where staff received specific training to deal with job-related situations. Total Simulation for French Foreign Language Teaching was first conceptualized by Francis Debyser, a professor at the CIEP (Centre International d'Études Pédagogiques / International Center for Peda-gogical Studies). In the 1980s, Total Simulation became more broadly accepted and moved from experimental to established status. Publishers become interested and several textbooks were published by Hachette between 1980 and 1990 (Yaiche, 1996). By the 1990s, Total Simulation was redirected toward the teaching of French for Specific Purpose (Business French, French for International Relations, Hospitality French). Total Simulation benefits today from IT and its use in the classroom. It is still at the experimental stage as is the case of 'Virtual Cabinet' for the teaching of English, which has been developed by Masters' students at University of Lyon II (http://sites.univ-lyon2.fr/vcab/demo/) or 'L'auberge' developed by University Lille III for incoming French Foreign Language Students (http://auberge.int.univ-lille3.fr/). Characteristics of a Total Simulation Course in Foreign Language Learning Total Simulation in Foreign Language Teaching and Learning could be considered revolutionary in its approach and methodology. First, the role of the teacher is transformed as he or she becomes a facilitator and a participant in the simulation instead of an instructor. For instance, in the International Conference Simulation, the teacher plays the part of the Secretariat. He or she compiles and archives the material needed for the progress of the conference. He or she also provides documents and the linguistic tools needed for the project. Secondly, simulation follows a set pattern of five stages (See Bourdeau, Bouygue, & Gatein, 1992; Yaiche, 1996). The first stage is the creation of the setting. In the case of the International Conference, it means, choosing the theme and the place of the conference. The second stage is to identify the participants. At this point, the role playing starts as the learners have to choose an identity and the country that they will represent. Learners will have to play several roles: delegates from their chosen countries (Minister of Foreign Affairs or High Ranking Civil Servant or Ambassador). At one point, they also play the part of journalists. The countries are fictitious but based on the characteristics of real countries. During this stage, learners choose their identity and civil status; they invent a short biography indicating two physical, moral, psychological, intellectual characteristics, two distinctive objects, (Yaiche, 1996). The third and fourth stages consist in conducting the simulation: the official opening ceremony and the working sessions. At this point, learners are to present their country's respective position paper. Interaction takes place as well as negotiations for a common position and action plan. During this stage, the facilitator plays an important part in ensuring the archiving of all productions and the elaboration of a data bank for the progress of the conference. Students are provided with documents and assisted in acquiring the mastery of the linguistic tools needed for the exercise (e.g., mastery of high language register for official speeches; mastery of diplomatic lexicon for the phrasing of the final resolution and the press release, TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 76 ability to write an abstract or a synthetic report from a news article, etc.). The final stage is geared toward ending the simulation. In the case of the International Conference, it is marked by the writing of the final resolution and a press conference. Since IR students are to be prepared to face and manage diplomatic incidents/crisis during negotiations, elements that could lead to such incident are introduced between the fourth and fifth stage of the simulation when students are drafting the final resolution of the conference. Students are expected to draw on their negotiating skills in order to solve the problem or assuage the potential conflict and bring the conference to a positive closing ceremony. Assessment is blended in the simulation: oral expression is assessed during the opening ceremony (a five-minute presentation) and during the press conference. Students are video recorded and marking takes place afterwards. (See evaluation sheet in appendix B). Both examiners are present to abide by University Examination Regulations. Writing proficiency is assessed through a press release and the conference final resolution, which is done individually during a traditional in-class test. It is also assessed 'outside' of the simulation through the submission of a take-home assignment, the format of which is either a précis writing or a critical review of a newspaper article related to the theme of the conference. Students are provided with a choice of articles from Le Monde Diplomatique, a well-established and recognized reference journal from which they will select an article for review or summary. LSP and Total Simulation in Jamaica and at the UWI, Mona French teachers in Jamaica were introduced to Total Simulation in 1993 thanks to a new French Linguistics Attaché who was also appointed at The University of the West Indies from 1992–1997. A specialist in Total Simulation, she organized two workshops for the Jamaica Association of French Teachers and one for the Tourism Product Development Company (TPDCo), a Jamaican state agency responsible for the training of the workforce in the tourism sector. The co-authors received additional training at the annual training seminar organized by the Centre International d'Études Pédagogiques (CIEP) held in Caen in July 1996 (Nzengou-Tayo) and July 2009 (Lubeth) respectively. The first total simulation course at the UWI was developed in 2003. Two factors contributed to the choice of this methodology. One was the renewed interest in LSP with the review of the French program. After a quality assurance review in 2003, the French section, threatened by low numbers in registration, revised its program with a stronger professional component (introduction of an additional LSP course and translation modules). The second was the institutionalization of summer courses, which offered the possibility of using an intensive format. The idea was to design a course that could imitate a real life situation: an international conference taking into account that such an event is usually limited over a period of time (1–2 weeks) and requires a full work day. The course was submitted to the University Quality Assurance Committee for approval (See course proposal in Appendix A). In the initial submission, evaluation was by 50% coursework and 50% final examination (Appendix A). However, when the course was first taught in 2006, we requested a change of the evaluation scheme to 100% coursework (50% oral presentation and 50% written assignment). The reason for this change was directly related to the philosophy behind total simulation, which required a formative form of assessment that would blend seamlessly in the simulation. TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 77 Case Study: The 2006 and 2009 Experiences Since its creation, French for International Conferences (FREN 3118) has been offered twice: first, in 2006 as an intensive summer course over two weeks, and secondly, in 2009 as a regular semester course over thirteen weeks. These two modes of delivery will be compared and discussed in this section. Course delivery schedule. In 2005–2006, during the two-week period during which the course was offered, the timetable averaged 25 hours per week with 5 daily contact hours. FREN 3118 was the only course attended by the students. Students were put in an immersion situation as they interacted with a native speaker of French during the week. During the second week, ten hours were set aside for independent research in an attempt to give students an opportunity to develop learning autonomy. In 2009–2010, the course was taught during the first semester according to the regular schedule. The timetable featured 3 one-hour sessions per week. In addition to FREN 3118, students were simultaneously registered for four other courses whose demands were competing with the French course. The fast pace of the semester (13 weeks) did not allow for a scheduled independent research. Students had to use their free time for independent research to develop their learning autonomy. The difference between the schedules of the 2006 and 2009 course delivery had an impact on the course management as well as the students' learning experience. It is evident that 2009 students did not have the same learning stimulus as the 2006 ones. They had the pressure of their other courses in term of time and workload. In addition, regular attendance was an issue since students sometimes missed classes either due to timetable clashes or assignment deadlines to meet in other courses. The running of the course was affected as each student had a part to play in the progress of the simulation and absence from class meetings affected the proceedings of the conference. Student profile and number. The course targets third-year students and requires a general language module at level III as a co-requisite. However, the co-requisite can be waived depending on the level of the students. For instance, when the course was offered during the summer 2006, it was waived for second-year students who had received a B+ in the two modules of the level II language courses. In 2009, a third-year International Relations student who had completed level I of the French language courses with A and was reading the level II language course was allowed to register. The waiver was granted based on his outstanding results at level I and also after an interview in which he demonstrated a high level of motivation and learning autonomy. In 2006, the course was offered with 9 students and in 2009 there were 14 registered students. Numbers can be an issue for conducting a total simulation course. For instance, our experience taught us that, even though Cali, Cheval, & Zabardi (1992) suggest a number of 20 participants divided according to a ratio by type of countries1 in La Conférence Internationale et ses Variantes, country-ratio balance can still be observed TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 78 with lesser numbers. Based on our 2006 experience, we recommend a minimum of 8 students. Indeed, a lesser number would not allow their distribution according to the recommended country ratio. In addition, work in commissions, which is part of the simulation process, would be less productive. Similarly, 20 is the maximum manageable number of students during total simulation. The attention to be devoted to students' progress and the group dynamics become a challenge with larger numbers. Therefore, beyond 20, the group would be divided and two concurrent simulations conducted, provided that staffing is not an issue for the institution. Topics and scenarios. On both occasions, the theme of the conference was inspired by current affairs relevant to the Caribbean region. In 2006, the conference was titled "Libre circulation des travailleurs à l'échelle mondiale: Faisabilité et conditions" (Feasibility and Conditions for a Global Free Movement of Labour). The theme was inspired by discussions taking place in the media about the Caribbean Single Market and Economy (CSME) put in place by CARICOM countries that year. The scenario was developed to involve a group of 9 countries, members of a regional organization seeking to achieve integration through free movement of workers. The 2009 edition of the conference, "Réchauffement climatique: Stratégies et équité" (Global Warming: Strategies and Equity) was inspired by the then ongoing international negotiations on global warming. The course started in September, just three months before the Copenhagen Summit. The scenario was based on the creation of an international organization, the Group of 14 (G14) specially dedicated to addressing the issue of global warming, and therefore holding its first conference accordingly. The choice of topics related to current international or regional issues stimulates the students' interest as they can have access to current reference material. They develop their critical thinking as they are exposed to various diverging opinions and asked to present their country's position at the start of the conference. For example, at the 2009 conference, the delegate of "Bonangue" expressed the country's position as follows: Conscient des graves effets [du réchauffement climatique] sur l'environnement, nous tenons à prendre action immédiatement parce que les effets poseront un problème pour le pays. Par le passé, la Bonangue a donné priorité aux revenus, dans certains cas, au détriment de l'environnement. Le pays est disposé à porter [sic] les changements nécessaires. The delegate of "Kalasie," on the contrary, indicated, "La Kalasie est favorable au recours aux crédits d'émission de gaz utilisables par les investisseurs." Another delegate from "Lisérbie" chose to stress the social impact and the importance to reach a consensus on the matter. The multiple and sometimes diverging country positions will contribute to the life of the conference as the objective is to find a common ground and sign a final resolution, which would bring the conference to a close. TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 79 Resources and methods. The course outline was developed in accordance with the prescribed textbook La Conférence Internationale et ses Variantes (Cali et al., 1992). The authors' recom-mendations were followed with some adjustments, which will be presented below. Since countries have to be fictitious to respect the principle of Total Simulation, two websites, CIA: The World Factbook, and Quid were used to establish the profile of these invented countries.2 Using the principle of 'mots-valises' students invented the name of the countries they were representing. For instance, "Lisérbie," "Kalasie" or "Dukenyah" were obviously created in reference to existing countries or regions. Other names were arbitrary and left to the students' imagination as "Cadeaux d'Ouest," "Amapour" or "Kadia." Other web resources were used in accordance with the theme of the conference and a companion website was developed on the University Virtual Learning Environment (OurVLE) (UWI, Mona "Virtual Learning Environment") to take advantage of information technology at our disposal at the Mona Campus. The 2006 intensive format. We introduced some slight variations from the standard format of the simulation. First, the course started with a screening of the French movie Saint-Germain ou la Négociation (2003) with Jean Rochefort. The objective was to highlight the objectives, modalities of diplomatic negotiations as well as to insist on the high-language register used during negotiations, which the students would have to use. Despite the historical context (the 16th century), the film was particularly suitable as it showed protocol and behind-the-scene events taking place during political negotiations. Secondly, students were given an introductory lecture on the processes of international conferences coupled with a tour of the Jamaica Conference Centre in Kingston. This was facilitated by a colleague and professional translator who worked at international conferences and was familiar with the facility. Various documents were made available online on a range of topics: international organizations pursuing regional integration through implementation of free movement of labor (the European Union, CARICOM) and a compilation of documents on immigration and globalization. In 2006, the course page on OurVLE was used only for archival purposes. The instructor, playing the part of the conference Secretary, uploaded for future reference documents that had been identified as relevant to the conference. Since the students' time were dedicated to the course, it was easy to simulate the rhythm of a conference with meetings in commission and plenary sessions. The course outline was design to be the "agenda" of the conference. The intensive format helped to develop a group dynamic based on solidarity and conviviality, which stimulated weaker students to make efforts to improve their proficiency. The 2009 semester-long format. The semester-long delivery of FREN 3118 differed from the intensive summer course on some points. The presentation by the guest lecturer and the film screening were maintained, but, due to timetable constraints, the tour of the Conference Centre did not take place. The main innovation was in the extensive use of the online module and the exploration of the functionalities offered by the Moodle platform supporting OurVLE TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 80 where all the material necessary for the presentation of the theme and the conduct of the activities of the conference were uploaded. All documents were made available online via OurVLE, expanding from print and website links to audio and video. Students' productions were added to the resources identified by the instructor. The instructor/facilitator provided the following resources: explanatory documents on global warming (its geopolitical implications and the negotiation process); documents with terminology used in diplomatic language; and audiovisual documents from France2, France3, and YouTube. A link to Yann Arthus-Bertrand's documentary Home (2009) was also put on the course portal. As Secretariat, the instructor/facilitator uploaded reports of sessions held during the preparatory phase (the preconference meetings). These reports gave students a regularly updated overview of progress made, a review of notions covered as well as the calendar of events (the schedule of meetings). Using the functionalities offered by Moodle, students were able to contribute to the development of the course portal. Using the 'upload a single file' and the forum features, they uploaded their own production, including country and delegate profiles, reports resulting from the sessions in commission and plenary sessions, and draft resolutions. The course portal was useful for archiving the various activities conducted during the course. Students were able to refer to a central repository outside of the contact hours. This tool also had financial and ecological benefits as it reduced the cost of photocopying. Indeed, whereas all documents had to be printed in 2006, only documents produced during the conference (student-generated commission and plenary reports, agenda and list of speakers) were printed for circulation in 2009. Because of the discontinuity of the timetable (3 hours spread over 13 weeks), the 2009 conference did not flow as harmoniously as the 2006 one. With competing interests, students found it difficult to dedicate themselves to the conference. Running from one class to another, they sometimes lost track of the conference objectives, which in turn had an impact on the group dynamics and progress as indicated by the results of the continuous assessment (i.e., the coursework). Evaluation and students' results. As mentioned earlier, the course assessment was done by 100% coursework. The percentage was equally divided between oral and writing proficiency (50% each). Oral proficiency was assessed as follows: delegate's address at the opening ceremony weighting 25%; delegate's interview at the press conference (15%); and one intervention as a journalist interviewing the delegates at the press conference (10%). Writing proficiency was assessed through a press release (10%), an individual proposal for the final resolution (15%), and one précis writing/critical review of document(s) (25%). Students' oral and written productions were graded using a criterion-referenced assessment grid (See Appendix B for details). In 2006, we got a 100% pass rate with results ranging from A+ to C. In 2009, the pass rate was 71.42%. With the intensive format, students demonstrated their mastery of high-level register. Students who were considered 'weak' based on their low grade in the general language courses, managed to improve their proficiency level and achieve acceptable performances in oral presentations. In 2009, there was a large gap between the TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 81 best and the weakest students (2 students got As, 4 students failed, and 8 students' grades ranged from B+ to D). Group average was 49.79%. When comparing the two groups' results, we have to admit that we had some doubts initially about the intensive format because of the limited time given to students to properly absorb the notions and the various tasks required in the course. Yet, it appears that stretching the process over a semester is not a decisive factor for improved performance. The role of group dynamics in total simulation is yet to be measured though it is generally recognized in class interaction and learning. During the regular semester, the group dynamics did not play a cohesive role as it did in the summer course where more proficient students helped to strengthen the weaker ones. Competing academic interests and irregular attendance during the regular semester also had an impact on students' low performance. Conclusion At the UWI, Mona, we introduced LSP courses in our academic programs as part of our major from a pragmatic standpoint in reviewing our curriculum. Though we are aware that LSP courses generally target professionals already in the field, as a result, the design and offering of such courses is usually preceded by a need analysis and the identification of the language processes (i.e., register, lexicon, syntax, speech acts) needed to achieve the requested proficiency (Mangiante & Parpette, 2004). Both "Business French" and "French for International Conferences" count toward the major, though only one can be taken as a core course, the other being an elective. Because LSP courses have a professional orientation, they give undergraduates the impression of being prepared for the world of work. The use of total simulation comforts this impression because of its task-based approach and the fact that it recreates a work environment with its idiosyncrasies. Combined with information technology (OurVLE), it becomes an original and valuable method. The dual-mode adds flexibility to the course and expands access to authentic material. However, success depends heavily on students' learning autonomy, which is enhanced by a tool like OurVLE. Motivation and participation are essential for the success of students as evidenced by the results of the third-year student who was accepted while doing the first module of level II French and was one of the top two students in the course. Our experience suggests that the intensive format yields better results because it reinforces student concentration, dedication, and performance, which also benefit from the positive impact of the group dynamics. Recent development in the field shows an orientation toward multimedia and information technology to create virtual worlds where Total Simulation is made possible on a large scale. The combination of the two is very promising for language learning and teaching but presents new challenges to foreign language teachers and course developers. Notes 1Cali, Cheval, & Debardi (1992) identify the following categories: developing countries, developed countries, least developed countries, and Central or Eastern European countries in transition towards market economy. The latter category being now obsolete, the decision was made to replace it with countries in the same geographical region. TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 82 2See https://www.cia.gov/library/publications/the-world-factbook/ and http://www.quid.fr. References Arthus-Bertrand, Y. (2009). Home. Home Project. Retrieved (September–November 2009) from http://www.youtube.com/homeprojectFR L'auberge. Retrieved February 21, 2010 from http://auberge.int.univ-lille3.fr/ Bourdeau, M., Bouygue, & M., Gatein, J. J. (1992). Le congrès médical: Simulation globale sur objectifs spécifiques. Ministère des affaires étrangères, sous direction de la coopération linguistique et éducative, CIEP-BELC, 1991/92. Sèvres: CIEP. Cali, C., Cheval, M., & Zabardi, A. (1992). La conférence internationale et ses variantes. Paris: Hachette, Français langue étrangère. Mangiante, J. M., & Parpette, C. (2004). Le français sur objectifs spécifiques: De l'analyse des besoins à l'élaboration d'un cours. Paris: Hachette. Le Monde Diplomatique. 2009. Paris: Editions "Le Monde." Retrieved from http://www.monde-diplomatique.fr/ Virtual Cabinet. Retrieved February 21, 2010 from http://sites.univ-lyon2.fr/vcab/demo/ Yaiche, F. (1996). Les simulations globales: Mode d'emploi. Paris: Hachette, Français langue étrangère. TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 83 APPENDICES Appendix A Original submission to the Academic Quality Assurance Committee of the UWI, Mona Campus in 2003–2004. The assessment was subsequently modified to 100 percent coursework in 2005–2006. DEPARTMENT OF MODERN LANGUAGES & LITERATURES COURSE PROPOSAL Course Title: French for International Conferences Course Code: FREN 3118 Level: 3 Semester: 1 Credits: 3 Prerequisite: A Pass in F24A (FREN 2001) Co-requisite: F34A (FREN 3001) Contact hours: 4 hours per weeks (1 lecture, 1 writing tutorial, 1 oral expression, 1 listening comprehension) Rationale: French is one of the major languages of the United Nations and other inter-national institutions. In response to increased demand for specialized foreign language courses, this course will introduce students to the technical French of international relations and negotiations Course description: This course is designed to reproduce an international conference setting during which various aspects of diplomatic negotiations will be envisaged with a view to using French at the formal/foreign affairs level. Objectives: At the end of the course students should be able to Demonstrate understanding of French spoken in a formal/diplomatic setting Read articles in French on international issues. Write press reviews, press releases in French about an international issue. Express a personal view about a topical International issue in French Express a simulated official view about a topical International issue in French Simulate an official address in French Simulate a press conference in French TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 84 ASSESSMENT 50% in-course: 3 one-hour in-class tests: Reading comprehension (15%); Writing (20%); Listening comprehension (15%) 50% Final Examination: Oral presentation (25%) and 2-hour written examination (25%) TEXTS La Conférence Internationale et ses Variantes. Chantal Cali, Mireille Cheval and Antoinette Zabardi. Paris: Hachette Livre, Français Langue Étrangère, 1995. Audio-visual material from TV5 (such as Kiosque, Une fois par mois, Le dessous des cartes). Articles from journals such as Le monde diplomatique. REFERENCES Plaisant, François. (2000). Le ministère des affaires étrangères. Toulouse: Editions Milan, Les Essentiels Milan, 2000. Kessler, Marie-Christine. (1998). La politique étrangère de la France. Paris: Presses de Sciences-Po. http://www.france.diplomatie.gouv.fr Appendix 2. Assessment grid for oral presentation Official Address: (5-minute presentation at the Opening Ceremony). Press Conference Part 1 and 2: Presentation of Country Position followed by Questions and Answer session). Students plays the country official and then the journalist parts. FREN 3118: Oral Presentation Assessment Grid NAME: Grade Comments Relevance of Arguments /5 Fluency /5 Consistent use of high-language register /3 Communicative skills /2 Accuracy and richness of vocabulary /5 Accuracy and use of complex syntactic structures /5 Accurate pronunciation /5 FINAL GRADE (25%) /25 TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 85 FREN 3118: Press Conference Assessment Grid—Presenter NAME: Grade Comments Relevance of Arguments (5 pts. x 3 = 15) Presentation Answer (1) Answer (2) Fluency (5 pts. x 3 = 15) Presentation Answer (1) Answer (2) Consistent Use of High Language Register (3 pts. x 3 = 9) Presentation Answer (1) Answer (2) Communicative skills (2 pts. x 3 = 6) Presentation Answer (1) Answer (2) Accuracy and Richness of Vocabulary (5 pts. x 3 = 15) Presentation Answer (1) Answer (2) Accuracy and Use of Complex Syntactic Structures (5 pts. x 3 = 15) Presentation Answer (1) Answer (2) Accurate Pronunciation /5 marks x 3 = 15 Presentation Answer (1) Answer (2) Unconverted Total (90 pts.) / FINAL GRADE (15%) TOTAL SIMULATION IN TEACHING LSP Scholarship and Teaching on Languages for Specific Purposes (2013) 86 FREN 3118: Press Conference Assessment Grid—Journalist NAME: Grade Comments Relevance of question (5 pts. x 4 = 20) Question 1 (Name) Question 2 (Name) Question 3 (Name) Question 4 (Name) Fluency (5 pts. x 4 = 20) Question 1 (Name) Question 2 (Name) Question 3 (Name) Question 4 (Name) Consistent use of high-language register (3 pts. x 4 = 12) Question 1 (Name) Question 2 (Name) Question 3 (Name) Question 4 (Name) Accuracy and richness of vocabulary (5 pts. x 4 = 20) Question 1 (Name) Question 2 (Name) Question 3 (Name) Question 4 (Name) Accuracy and use of complex syntactic structures (5 pts. x 4 = 20) Question 1 (Name) Question 2 (Name) Question 3 (Name) Question 4 (Name) Accurate pronunciation (5 marks x 4 = 20) Question 1 (Name) Question 2 (Name) Question 3 (Name) Question 4 (Name) Unconverted Total (112 pts.) FINAL GRADE (10%)
Elba Rosario Sánchez was born 1949 in Atemajac, Mexico, a small town near Guadalajara. She is the oldest of three girls. Her father worked in the cotton mill until an accident injured one of his eyes. The accident sent him to the United States in search of work, first to Chicago, where the family had relatives, and then to San Francisco, where he worked as a bus boy at the Fairmount Hotel. After about eighteen months, he brought his family to San Francisco in 1960, where they lived at Divisidero and Pine, in a Black neighborhood. At the neighborhood elementary school, Elba was one of very few non-Black children; ironically, even as she struggled to adapt to a white-dominated country, in the racial definitions of that time she was considered white. She learned English quickly, and soon became the translator for her family. Within a few years of her arrival, the social movements of the 1960s altered the national landscape. Witnessing the brutal repression of Black civil rights protestors on television was formative for Sánchez's growing political consciousness and her eventual activism as a young supporter of the United Farm Workers movement. Her early activism with the United Farm Workers boycott on grapes was impressive, particularly since her family did not approve of her protest. This activism grew intertwined with her passion for writing and for language. In the oral history, Elba vividly recalls that her first pieces of poetry were written on small pieces of paper that she then crumpled up and hid in a drawer. Her first poem, "The Price of Color," was published in her parochial high school's yearbook. After graduation, Sánchez attended San Francisco City College. There she was inspired by the Chicano activist spirit of several classmates who had been taking courses at San Francisco State College, where the student protests had shut the campus down. But after a semester and a half she dropped out of college to marry and have a child. In the late 1970s, Sánchez and her husband relocated to Santa Cruz so that her husband could attend UC Santa Cruz. Sánchez became a bilingual counseling aide at Santa Cruz High School. In search of UCSC students who could serve as English tutors at Santa Cruz High, Sánchez met Paco Ramirez, a lecturer in Spanish who coordinated the tutorial program at Stevenson College and Paul Lubeck, a professor in sociology. Both encouraged her to return to college and finish her B.A., which she did, graduating in Latin American studies from Merrill College. At UCSC, Sánchez was a nontraditional student who lived off campus with her husband and her three-year-old child. This experience, plus the class and cultural differences between her and the mostly white middle-class student body of UCSC at that time, led to feelings of alienation and isolation. Professor Roberto Crespi, Sánchez's advisor in Latin American studies, encouraged her to go on to graduate school in literature at UCSC, which she did, earning her MA from UCSC. Crespi was one of very few Latino professors at UCSC in the early years of the campus. He was also one of the founders, with J. Herman Blake, of Oakes College. In 1979, Crespi also hired Sánchez as a tutor in the Spanish for Spanish Speakers Program (SPSS), which he had founded, and which was then only in its second year. Sánchez spent the next fifteen years teaching in, coordinating, and directing the multidisciplinary Spanish for Speakers Program. This pioneering, cutting-edge program, incorporated poetry readings, theatrical performances, cultural nights, political discussions, visual arts exhibitions, and small press publishing into its curriculum. Students studied Latin American history and literature in SPSS courses, and honed critical thinking, speaking, translation, and writing skills. Sánchez credits SPSS for higher levels of retention of Latino students at UCSC, and also for the successful careers of many of those students after graduation. Also while at UCSC, Sánchez was one of the founding and primary editors of REVISTA MUJERES, a bilingual literary and visual arts journal published at UC Santa Cruz from January 1984 to 1993. According to their mission statement, "REVISTA MUJERES: In Our Words and Work, Our Vision," REVISTA was dedicated to interviews, poetry, essays, as well as visual art work and set a page in the history, struggles, and contributions of Chicana and Latina undergraduate and graduate students, staff, and faculty members…REVISTA was also envisioned and produced as a response to the lack of access in mainstream publications for Chicana/Latina bilingual, budding as well as experienced writers, whose work was unpublished. Its aim was to promote and encourage a community of writers and artists, to plant a seed of reality and creativity. Sánchez's commitment to honor the Spanish language, teach Latin American history, and to offer a keen critique of colonization is part of her legacy on the UC Santa Cruz campus. This commitment was particularly evident in her fervent dedication to SSSP and the co-production of Revista Mujeres. In her oral history, Sánchez describes the organizational work that went into funding, editing, producing, and distributing this groundbreaking journal, which was distributed far beyond UCSC and was the first of its kind published in the state of California. Sánchez locates REVISTA in a cultural effervescence of Chicano-Latino writing and publishing in the 1980s and 1990s. Sánchez recalls that at the time of her earliest publications, there were very few Chicana and Chicano writers who were published. Sánchez's own development as a writer flourished during that cultural flowering. She participated in a bilingual writer's workshop in San Francisco with several other key Chicana and Chicano writers. She is the author or coauthor of several books of poetry including Tallos de luna /Moon Shots (Moving Parts Press, 1992), From Silence to Howl (Moving Parts Press, 1993) and is a contributor to many anthologies, including Chicana Feminisms: A Critical Reader (Duke University Press, 2003), Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color (Aunt Lute Books, 1990). She continues to write and is currently working on flash fiction and children's books. Elba Sánchez was interviewed in three sessions by Susy Zepeda in several locations in the East Bay of the San Francisco Bay Area. The interviews took place on February 8, 2013, March 1, 2013, and April 5, 2013. The interviews were transcribed by Irene Reti and a transcript was returned both to Zepeda, who audited it for accuracy of transcription, and Sánchez, who edited it for flow and accuracy, corrected the Spanish. Both Zepeda and Sánchez added some footnotes. We chose not to italicize the Spanish in the transcript, a political decision that recognizes that italics can "other" Spanish words as "foreign," or non-normative. This is a style preferred by many Latino/a writers today. It was an honor and a pleasure to interview Elba Sánchez. Her storytelling was full of heart, joy, and animation. Her oral history offers a sense of her strength, vision, and dedication to forms of resistance.