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Semi-authentic Audio-visual Materials for the A2 Level in the Online Language Learning Environment FRANEL: Pitfalls and Challenges
No full textLa communauté de pratique : réponse à l'accordage entre parents, professionnels et enfants « à risque » ?
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Former à la gestion de crise par la simulation : réflexions à partir d’un modèle de l’activité d’adaptation pour gérer les risques dans différents types de situation de crise
No full textpeer reviewedGérer une crise est une activité complexe qui fait l’objet de nombreuses difficultés, y compris dans l’activité des cellules de crise. À ce jour, la littérature scientifique propose encore relativement peu de modèles permettant d’appréhender ces difficultés, modèles qui pourraient pourtant constituer une base pertinente pour renforcer la capacité des opérateurs à gérer les situations de crise. Cet article propose de dépasser cette limite en articulant deux points de vue : celui de la modélisation de l’activité des opérateurs en situation de crise et celui de la conception des formations par simulation. Nous décrivons d'abord les fondements du modèle, puis nous le présentons en détails. Ce modèle permet ensuite de formuler des pistes de réflexion sur des pratiques pour la conception de formations par simulation en gestion des risques dans divers types de situations de crise. Concrètement, il s’agit d’une articulation entre des principes généraux (adaptation, transformation, progression) et spécifiques (propres à chaque type de situation de crise). Cette approche vise à améliorer la pertinence et l’efficacité des simulations, favorisant ainsi le développement de l’activité d’adaptation pour gérer les risques dans différents types de situation de crise.Managing a crisis is a complex activity that involves numerous challenges, including in the activity of crisis units. To date, scientific literature still offers relatively few models that help to understand these challenges—models that could nonetheless provide a relevant foundation for developing operators' ability to manage crisis situations. This article aims to address this limitation by combining two perspectives: the modeling of operators’ activity in crisis situations, and the design of simulation-based training. We first describe the foundations of the model, then present it in detail. The model subsequently allows us to formulate avenues to design simulation-based training for risk management across various types of crisis situations. Concretely, it involves an articulation between general principles (adaptation, transformation, progression) and specific ones (unique to each type of crisis situation). This approach aims to enhance the relevance and effectiveness of simulations, thereby fostering the development of adaptative activity to manage risks in different types of crisis situations
The Wish their Heart Made? The Disney Canon and Transtextuality in the Movie Wish (2023)
No full textpeer reviewedMarketed as the studio’s centennial celebratory film, Wish was released in November 2023. More than Disney’s 62nd animated feature, the film was consciously made to celebrate the studio’s history and legacy, starting with a bulletin board displaying one scene from each of the sixty-one preceding classics. Presented as a throwback-yet-innovative animation, the film received harsh criticism. It nonetheless fulfilled its celebratory purpose by exploiting the Disney canon through various modes of referentiality. These instances of referentiality can be defined as Easter eggs. Such references can assume different forms related to characters, plot, dialogue, or world-building, and are woven into the film at different levels corresponding to those of Gérard Genette’s model of transtextuality. This author of the article argues that the film not only pays homage to but also, in essence, keeps building the Disney canon by partaking in the studio’s prior canonisation strategies. By engaging in what can be termed a form of retrospective continuity, Wish confirms that the Disney animated canon represents a distinctive instance of a continuing multiplicity within the cinema industry – an ongoing tradition of technical achievements, as well as industrial and artistic excellence, that the film, as its last instalment, celebrates through its transtextual use of Easter eggs
