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Tensões e atitudes em relação ao ensino do guarani nas escolas paraguaias
No full textLe carnet de la Maison des Sciences de l'homme de Bordeaux. Résumé de la communication donnée lors des journées d’études 21-22 janvier 2025 “Reconnaissance, recherche et enseignement de langues minorisées“ organisées dans le cadre du projet RECLAMUne caractéristique linguistique du Paraguay est la coexistence de deux langues, le castillan et le guarani, et leur contact constant. Cela fait que nous pouvons distinguer une variété complexe d’utilisations, qui peut différer selon le contexte dans lequel se trouvent les locuteurs.Pour mieux comprendre, nous devons partir des faits historiques. Le pays a traversé une longue dictature qui a signifié des répressions, des interdictions et des oppressions, qui ont produit une censure et des difficultés en termes d’expression spontanée et de prise de décision. La démocratie a été mise en œuvre, après la chute de ce gouvernement, ce qui a entraîné des changements dans la législation, de nouvelles structurations et des réformes au fil du temps. Cette transition s’est traduite aussi par l’officialisation de la langue guarani et son enseignement obligatoire dans les écoles.À partir de là, des modalités d’enseignement différentes ont été mises en place, ce qui a modifié à son tour la transmission des connaissances dans les écoles.Concernant les attitudes par rapport à ces deux langues, l’espagnol a une position privilégiée, cependant le guarani a une position plutôt marginalisée et ségréguée. L’espagnol a une normalisation, c’est-à-dire qu’il y a des normes et des règles pour pouvoir parler et écrire. Dans le cas du guarani, certaines règles ont été prises en compte dans le processus d’alphabétisation, mais dans la pratique il devient complexe, car il s’agit d’une langue de tradition orale. Ce dernier génère à son tour une tendance à préférer l’apprentissage de l’espagnol dans les établissements escolaires et moins du guarani.Uma característica linguística do Paraguai é a coexistência de duas línguas, o castelhano e o guarani, e o contato constante entre elas. Isso resulta em uma variedade complexa de usos, que pode variar dependendo do contexto em que os falantes se encontram.Para compreender melhor, é necessário considerar os fatos históricos. O país atravessou uma longa ditadura que trouxe repressões, proibições e opressões, resultando em censura e dificuldades de expressão espontânea e tomada de decisão. Após a queda desse governo, a transição para a democracia levou a mudanças legislativas e reformulações ao longo do tempo. Uma dessas mudanças foi a oficialização da língua guarani e sua obrigatoriedade no ensino escolar.A partir disso, diferentes modalidades de ensino foram implementadas, modificando a transmissão de conhecimentos nas escolas.Quanto às atitudes em relação a essas duas línguas, o espanhol ocupa uma posição privilegiada, enquanto o guarani é marginalizado e segregado. O espanhol possui uma normatização clara, com regras e padrões para fala e escrita. No caso do guarani, algumas regras foram estabelecidas no processo de alfabetização, mas, na prática, a situação é complexa, pois se trata de uma língua de tradição oral. Isso gera uma preferência pelo aprendizado do espanhol nas instituições de ensino em detrimento do guarani
La démarche scientifique à l’épreuve de l’inattendu et du malentendu
No full textInternational audienc
‘’Le LMS ne doit plus être un cimetière à PDF !’’
No full textCampus Matin : le magazine en ligne des professionnels et académie de l’enseignement supérieur et la recherch
Sound effects cinema: Mid-1930s Japanese films and the surprising synthesis of silent and sound techniques
No full textColloque "Le Japon sonore : modernité, constructions sociales, rapports de force / Japan and sound: modernity, social constructs and power relations"14-16 novembre 2024In late 1935, precisely halfway through the 1930s and Japan’s lengthy transition to sound cinema, a curious musical comedy-style period drama, Enoken Plays Kondō Isami (Enoken no Kondō Isami), was released. The vaudevillian-style comedy poked fun at famous nineteenth century patriots, depicting them as buffoons for comic effect. But the comedy was not only visual in nature; indeed, film studios’ first successes earlier in the 1930s with sync-sound “talkies” had already begun to condition moviegoers to expect much of the fun to enter through the ears rather than the eyes. The film makes frequent use of aural gags, so it may come as a surprise to notice that several of its most dramatic sequences were shot silently, with nondiegetic background music added later. Is this, then, a true talkie or does it still have one foot in the silent era? In this paper, I argue that this film’s bold—and tongue-in-cheek—blending of both silent and sound film techniques is its greatest strength. Its success shows that Japanese cinema’s range of possibilities was greater in 1935, in this hybrid stage, than at any other time before or since
Entre elle et lui: Variations sur les asymétries de genre en français
No full textInternational audienc
Nouvelles expérimentations sur les deniers plaqués antiques : premiers résultats
No full textInternational audienc
Barbara Bray, A Woman of LettersTranslator, Radio Producer, Scriptwriter, Critic, and Theatre Director
No full textInternational audienceBarbara Bray (1924-2010) was an English woman of letters who translated some hundred novels, plays, and essays from French to English and was Marguerite Duras’s preferred translator. She also collaborated with some of the most prestigious directors and playwrights of the 20th century – Harold Pinter, Samuel Beckett, Joseph Losey, and Franco Zeffirelli – helping them write screenplays and radioplays. This literary biography (re)evaluates in a textual, sociological, and historical perspective the social role of an English writer and translator in the history of ideas and contemporary art. Highlighting Bray’s influence in cultural transfers of ideas and literatures between France, Great Britain, and the United States, it renders visible the yet unrecognised work of a female mediator and creator. It nourishes the debate about women’s public voice and the representation of women in the media industries and contributes to enrich the ‘other’ history that is being currently written by feminist scholars around the world