The number of Americans who did not suffer in some way from the depression of the thirties was small, indeed. This was a period of great travail for the United States and the entire world. However, it was also one of the most interesting and innovative periods in American history. President Franklin D. Roosevelt exhibited forceful and quick reactions to the economic and social problems besetting the nation. Not the least of these measures of mitigation was the Works Projects Administration and the inclusive WPA cultural projects. These projects contained an art program, a writers' program, a theatre program and a music program. The contributions of these programs were varied. A great deal of monetary value was produced by such respected Americans as Jackson Pollock, Mark Rothco, Stuart Davis, Richard Wright and Vardis Fisher. Monetary return did not comprise the major value or design of the programs. The first priority centered on providing useful employment to unemployed and creative citizens. This employment program was unique in that it strived to place the unemployed artist in a position in which he could use his artistic talent. The sculptor was not forced to dig ditches or lay pipe. He was given a job that utilized his true vocation, such as work on Mount Rushmore or sculptures for a children's playground, or even the instruction of sculpturing to an eager class of adults. This was probably where the real value of the program became patent. The artist was able to regain his self-respect and continue in his work. The state of Utah presented a useful example of the worth of WPA cultural programs. In a state as small and rural as Utah, a viable and workable program was effected. Therefore, it is reasonable to assume that if the cultural programs were of value to Utah, the significance to the larger states and the rest of the nation cannot easily be dismissed.

Cette recherche vise à déterminer comment la télévision française représente les mondes de l’art contemporain de 1960 à nos jours. Grâce à une analyse sémiologique et pragmatique d’un corpus d’émissions sur l’art contemporain, nous avons constaté, d’une part, que l’évolution des programmes télévisés dits « culturels » montre une diminution de la part de ces derniers ainsi que leur relégation dans des heures creuses de la programmation depuis les années 1980. Alors que les programmes des années 1960 à 1980 visent à transmettre l’expérience esthétique des œuvres d’art depuis le terrain, les années 1980 à 2000 voient des programmes plus dialogiques où experts et artistes discutent sur le plateau. Ces échanges présentant peu de critique négative relèvent principalement de la promotion culturelle. D’autre part, depuis les années 2000, les émissions sur l’art contemporain s’inspirent des formes divertissantes de la télé-réalité. Des contradictions idéologiques surgissent entre la mission de médiation culturelle portée par l’ORTF puis les chaînes publiques et ces nouveaux récits de compétition. L’art contemporain se trouve alors au cœur des conflits de définition de la culture. D’un côté, sa médiatisation montre un monde de l’art hégémonique où les inégalités socioculturelles sont légitimées. De l’autre, la médiation opérée par les programmes continue de promettre un idéal de démocratisation de l’art contemporain à travers des récits d’accès au savoir, source d’égalité. La médiation des œuvres d’art, de l’exposition filmée à une télévision « curatoriale », promet plus d’immédiateté tout en multipliant les dispositifs de médiation. C’est dans cette indécidabilité que les programmes sur l’art contemporain ne peuvent tenir leurs promesses. / This research aims to determine how French television has been representing the worlds of contemporary art from the 1960’s to nowdays. Through a semiological and pragmatic analysis of a corpus of television programs about contemporary art, we have observed, on the one hand, a decrease of their share and their relegation to less favorable hours of programing since the 1980’s. Whereas the programs from 1960 to 1980 aimed to transmit the aesthetic experience of the artworks as seen from the field, the programs between 1980 and 2000 were more dialogical and hosted discussions between experts and artists in the television studio. Showing few negative critiques, they fell under the discourse of cultural promotion. And on the other hand, since the 2000’s, television shows about contemporary art have been taking on the entertaining forms of reality shows. Ideological contradictions arise, between the cultural mediation mission carried on by the ORTF and later public channels and those new narratives of competition. Contemporary art finds itself at the heart of conflicts regarding the definition of culture. On one side, its media coverage shows a hegemonic world of art where sociocultural inequalities are legitimated. And on the other side, those programs continue to promise an ideal of democratization of contemporary art through narratives of accessing knowledge, source of emancipation and equality. Moreover, the mediation of the artworks, from the filmed exhibition to a “curatorial” television, promise more immediacy while multiplying the dispositifs of mediation. It is within this impossibility to decide what their purpose is that television programs about contemporary art can’t hold their promises.

В работе исследуется формирование, развитие и роль концепции культурной безопасности и концепции культурного и природного наследия на современном этапе. Особое внимание уделяется деятельности ЮНЕСКО в области охраны культуры. Реализация концепций рассматривается на примере Италии, для этого раскрываются особенности политики Итальянской Республики в отношении культурного и природного наследия. Для более глубокого понимания деятельности Италии в этой сфере на данном этапе развития в работе анализируются актуальные программные и отчётные документы Итальянской Республики за период 2014–2018 гг., такие как Национальная оперативная программа «Культура и Развитие» 2014–2020 гг., Отчёт о деятельности Министерства культурного наследия, культурной деятельности и туризма за 2014–2018 гг. и др. В результате анализа выявляются приоритеты и особенности разработки и реализации культурной политики государства в области культурного и природного наследия. / In this research are considered the formation, development and role of the cultural security concept as well as of the cultural and natural heritage concept at the present stage. Special attention is paid to the activities of UNESCO in the field of protection of culture. The implementation of the concepts is reviewed on the example of Italy. For this purpose are revealed the peculiarities of the Italian Republic's policy in relation to its cultural and natural heritage. Within the scope of the study, for deeper understanding of Italy's activities in this area at present, are analyzed some current cultural programs and reports for the period 2014–2018, such as the national operational program «Culture and Development» 2014–2020, the Report on the activities of the Ministry of cultural heritage, cultural activities and tourism for 2014–2018 and other. The analysis identifies the priorities and features of the Italian cultural policy development and realization in the field of cultural and natural heritage.

This exploratory study examines the impact of intercultural training as part of an international corporate internship program in the United States for college graduates from Rwanda. This is a mixed-method study using quantitative and qualitative data collected before, at completion, and one year after the 3-month internship program. The report explores the design, methods, content, tools, assessments and experiential activities used during the intercultural training, which focused on educating both the Rwandan interns and their U.S. managers on some of the differences in culture and communication styles that impact effectiveness in the workplace. The purpose of this research is to discern which aspects of the intercultural training intervention the participants perceived as the most beneficial. In addition to providing a better understanding of challenges for African interns adapting to the U.S. corporate environment, this study hopes to provide insights and contribute to a framework of best practices for intercultural training for U.S. international corporate internships, which as part of the J-1 visa program created by the U.S. State Department to build international understanding and cultural exchange, as well as work opportunities.

[pt] A tese Ego-histórias: repertórios teóricos alternativos, dedicada à investigação de novos discursos autobiográficos situados nos limiares entre historiografia, biografia e ficção, tem por objetivo a construção de ferramentas teóricas a partir da análise crítica de quadros conceituais vigentes. Na ótica de novas questões, são tematizadas e reavaliadas, de um lado, posições tradicionais ancoradas na unidade do sujeito, na autenticidade de sua fala e na ilusão referencial, legitimadas pela oposição dicotômica de pares conceituais, como real/ficcional, autenticidade/encenação, sujeito/objeto. Por outro lado, são oferecidos modelos analíticos e estratégias descritivas que permitem entender a escrita autobiográfica atual como gênero híbrido, de configuração plural, que desafia pactos autobiográficos fundados sobre a identidade entre as instâncias autoral, narrativa e ficcional. Os próprios processos autorreflexivos subjacentes à escrita de si são problematizados à luz de novas convicções epistemológicas construtivistas (S. SCHMIDT; H. MATURANA) e de molduras sistêmicas entendidas como catalisadores de complexidade. No horizonte dessas concepções, são discutidas, entre outras, formas de autoanálise (P. BOURDIEU) e projetos autobiográficos (E. SAID) convergindo ambos na produção de ego-histórias responsáveis pela transformação de teorias em narrativa e permitindo aos teóricos a fusão entre observador e objeto observado, baseada no conceito de observação de segunda ordem. Desse modo, são ensaiados novos vínculos entre suas ideias particulares e a inserção delas no contexto contemporâneo que escapam a relações tradicionais de causalidade e acentuam a responsabilidade dos próprios produtores. Em perspectiva paralela, é analisada a relação entre corpo e escrita e entre emoção e experiência, vigorosamente presentes e ressonantes como propostas conceituais que não perdem sua força interpelativa pela transformação em meras abstrações filosóficas, mas exibem seu poder pela opção construtora de uma vida no mundo. Em seu conjunto, a tese representa uma contribuição inovadora para a construção de repertórios teóricos alternativos que permitem elaborar um saber adequado às novas configurações de escritos autobiográficos. / [en] The thesis Ego-histories: theoretical alternatives repertoires, dedicated to research into new autobiographical discourses situated in the thresholds between historiography, biography and fiction, aims to build theoretical tools from the review of existing conceptual frameworks. In the analysis of new issues, are highlighted and reevaluated, on the one hand, traditional positions anchored in the unity of the subject, the authenticity of its discourse and referential illusion, legitimized by the dichotomous opposition of conceptual pairs such as real/fictional, authenticity/staging, subject/object. On the other hand, are offered analytical models and descriptive strategies that allow to understand the current autobiographical writing as a hybrid genre, with plural configurations that challenge the autobiographical pact based on the identity between instances of authorship, narrative and the fictional. The very processes underlying the self-reflexive writing itself, are analyzed in the light of new constructivist epistemological convictions (S. SCHMIDT; H. MATURANA) and systemic frames understood as a catalyst of complexity. In the perspective of these concepts are discussed, among others, forms of self-analysis (P. BOURDIEU) and autobiographical projects (E. SAID) converging both in the production of ego-histories responsible for transforming theories in narratives and thus allowing the theoretical melting between observer and observed object, based on the concept of second-order observation. Thus, are tested new links between their particular ideas and insertion them in the contemporary context that escape of traditional relations of causality and emphasize the responsibility of their producers. In a parallel perspective, is analyzed the relation between body and writing and between emotion and experience, vigorously present and resonant as conceptual proposals that do not lose its strength of interpellation by transforming them into mere philosophical abstractions, but they exhibit their power by the option of building a life in the world. Overall, the thesis represents an innovative contribution to the construction of alternative theoretical repertoires that allow to draw up a knowledge appropriate to produce a new settings of autobiographical writings.