The increasing contact among humans across the globe has shifted cultural, political, ecological, economic, and technological realities and boundaries that shape the shrinking world of the twenty-first century (Chen & Starosta, 2008; Spitzberg & Changnon, 2009). With this increasing contact and shift, today’s world is becoming semiopragmatically and socio-semiopragmatically more heterogeneous (Zuengler & Cole, 2005). This heterogeneity creates "zones of contact" (Pratt, 1991) which engender "sites of struggle" (Norton, 2000) for people from different socio-semiotic backgrounds. In these zones and sites, people encounter affective, cognitive, and behavioral challenges when communicating social and cultural meanings through the semiotic resources available to them (Halliday, 1978; Hodge & Kress, 1988; Hymes, 1962, 1964, 1972; Kramsch & Whiteside, 2008; Waugh, 1981, 1984). The reasons for these challenges basically have their roots in the socioculturally contexted nature of those semiotic resources that have particular semiotic potentials or affordances within or across communities of practice (Gibson, 1979; Lave & Wenger, 1991; Liddicoat, 2009; van Leeuwen, 2004).Based on these underpinnings, the current study defines the concept of communication through the lens of social semiotics and ethnography of communication–the combination of which is referred to as semio-ethnography in this research. The conceptualization of communication through semio-ethnography leads to a reformulation of intercultural communicative competence (ICC) regarding the three different and yet intertwined aspects of ICC, as suggested by Chen and Starosta (1998, 2000, 2008): affective (intercultural sensitivity), cognitive (intercultural awareness), and behavioral (intercultural adroitness). With this reformulation, this study proposes an alternative framework of ICC called the "Semio-Ethnographic Model of Intercultural Communicative Competence (SEMICC)". In the light of this alternative model, this research examines the ICC of Turkish international graduate students in the United States of America through the triangulation of an intercultural sensitivity scale (ISS), an oral discourse completion test (DCT), and semi-structured interviews. With this particular aim in mind, the obtained data are both quantitatively and qualitatively analyzed. The findings indicate that the semio-ethnographic approach to communication can serve effectively to understand how communication takes place on the affective, cognitive, and behavioral planes in a given socio-semiotic world. Within the realm of this approach to communication, the findings show that intercultural sensitivity constitutes an important aspect of ICC because L2 learners' active desire and motivation to understand, respect, and acknowledge diversities or differences across socio-semiotic worlds can either promote or hinder the development of their ICC. The qualitative and quantitative results reveal that intercultural awareness establishes the ground for L2 learners' awareness of their own and others' socio-semiotic worlds because they need to detect the diversities among these socio-semiotic worlds and the sources of challenges to effective and appropriate navigation in the target socio-semiotic context. The findings also show that intercultural adroitness has equal importance in the crux of ICC because L2 learners need to use the semiotic resources (e.g., language, kinesics, proxemics, chronemics, and the like) available in in the target socio-semiotic world effectively and appropriately in order to communicate social and cultural meanings. Given these findings, this dissertation aims to enrich the ICC literature by offering various theoretical, methodological, and pedagogical implications and directions for future research and applications.

Notre posture épistémologique relève d'une approche « anthropo-socio-sémio-technique », c'est-à-dire que notre objectif est d'étudier les médiations technologiques et éducatives comme des dispositif techno-sémio-pragmatique{Paraya, 1999) dans le paradigme de la complexité (Morin, 1990). Partant de l'idée à la suite de Vygwsky (1985), Nonnan (1993), Lévy (1997) el Peraya (1999) selon laquelle les outils ou artefacts cognitifs participent à l'élaboration de notre pensée et peuvent agir sur notre cognition, nous avons posé comme premières hypothèses qu'un cours au même contenu sémantique, médiatisé de 4 façons différentes avaient des effets différents sur la mémorisation. Pour vérifier cette première hypothèse, nous avons mis En place 4 cours au contenu identique, mais médiatisés de manières différentes : 1) oral 2) Powerpoint sans prise de notes 3) Powerpoint avec prise de notes 4) cours en 3D en imagerie virtuelle immersif et interactif. Noire deuxième hypothèse, étant de savoir si le type de médiatisation changeait la communication, nous avons complété notre première étude par une analyse qualitative par l'attribution d'entretiens eompréhensits en essayant de voir comment nos 90 étudiants avaient vécu la situation communicationneile. Enfin, nous avons mis en place un tableau des différentes composantes des 4 formes de médiatisation (selon le modèle de Peraya). Nous nous situons dans le cadre des études pédagogiques médiatisées (Peraya, 2004) et dans le champ des outils éducatifs de communication (Moeglin, 2005).

Cette recherche vise à comprendre de quelle manière le dispositif de la web-série autoproduite crée une interdépendance entre créateurs et communautés de spectateurs. Elle se fonde sur l’analyse des commentaires et des interactions relevés sur les plateformes de diffusion d’un corpus de web-séries françaises, relevant de la science-fiction, du fantastique ou de l’heroic fantasy. Les web-séries font partie intégrante d’un champ de création sur le web qui ne cesse de s’élargir. Depuis plus de dix ans, elles ont bâti des univers fictionnels qui ont su fédérer des communautés de spectateurs. Pourtant, leur réalisation est encore loin d’être évidente et leur parcours de production souvent jalonné de difficultés, principalement financières. Nombreuses sont les équipes qui choisissent, volontairement ou à défaut, le circuit de l’autoproduction, que leurs membres soient des professionnels de l’audiovisuel ou des amateurs. Les communautés que parviennent à former et à mobiliser certaines web-séries deviennent alors les rouages indispensables d’un dispositif qui repose sur la visibilité et l’interaction pour exister. Elles possèdent une valeur aussi symbolique que matérielle, et leur engagement est déterminant dans la viabilité de l’objet. Les échanges des communautés sur les différentes plateformes où existent les web-séries, témoignent d’une véritable appropriation de celles-ci et sont marqués par un rapport de proximité avec leurs créateurs. Ainsi, les actions produites par ces communautés tendent à façonner l’image et l’identité de l’objet autour duquel elles se mobilisent dans une perspective collaborative, autant que le dispositif de la web-série conditionne leurs activités. / This research aims to understand how the device of the self-produced web-series is generating interdependence between creators and communities of spectators. It is based on the analysis of the comments and the interactions recorded on the platforms of diffusion of a corpus of French web-series, all belonging to sci-fi, fantastic or heroic fantaisy fields. Web-series are part of a web creative field, which constantly grows. For more than a decade, they have built fictionnal universes that were able to federate communities of spectators and lived beyond the web. Yet, their making is still far from easy and their production path is often marked with difficulties, mainly financial. A lot of crews choose, volontarily or not, a self-produced system, wether their members are audiovisual professionals or amateurs. The communities that managed to form and to mobilize certain web-series then become the essential cogs of a device that relies on visibility and interaction to exist. These communities possess a value as symbolic as material, and their commitment is decisive in the viability of the object. The exchanges of communities on the different platforms where the web-series exist show a real appropriation of these and are marked by a relation of closeness with their creators. Thus, the actions produced by these communities tend to shape the image and the identity of the object around which they unite, in a collaborative perspective, as much as the device of the web-series conditions their activities.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to understand how the journalism production instance processes the communication contract (Charaudeau [1997], 2009) in social media, through the analysis of semio-linguistic strategies. It is delimited to publications (posts) of the pages (fanpages) maintained by four Brazilian news organizations on Facebook - Estado de S. Paulo, O Globo, Folha de S. Paulo and Zero Hora. The objectives are to map out the main features and functionalities of Facebook as digital social media device for journalism; identify in the speech, the external and internal information data on contract of communication presents in selected pages; recognize semio-linguistic strategies developed by pages in their posts; and contribute to extend to digital social media devices the methodology proposed by Charaudeau for the study of communication contract. The methodological approach includes the exploratory observation of the pages, selection and categorization of publications in two periods (February-June 2014 and the same period of 2015) and applying semio-linguistic analysis protocol to a week composed of every page in 2015. In addition to strength the role of providing information in your posts, pages explore characteristics of social media. They could be identified as the agency marks between journalism and Facebook conversational language, relational purpose, and self-referential purpose. The results may point out the presence of hybrid relations between social media and informative contract, which develop through socio-technical associations, in a typical mediatized ecosystem process. / Esta pesquisa tem como objetivo geral compreender como a instância de produção do jornalismo processa o contrato de informação (CHARAUDEAU [1997], 2009) nas mídias sociais digitais, por meio da análise de estratégias semiolinguísticas. Está delimitada às publicações (posts) das páginas (fanpages) mantidas por quatro organizações jornalísticas brasileiras no Facebook Estado de S. Paulo, O Globo, Folha de S. Paulo e Zero Hora. Os objetivos específicos são mapear as principais características e funcionalidades do Facebook como dispositivo de mídia social digital para o jornalismo; identificar, no discurso, os dados externos e internos do contrato de informação nas postagens das páginas selecionadas; reconhecer as estratégias semiolinguísticas desenvolvidas pelas páginas em seus posts; e contribuir para ampliar aos dispositivos de mídia social digital os pressupostos de Charaudeau para o estudo dos contratos de comunicação. A metodologia inclui observação exploratória nas páginas, seleção e categorização de publicações de dois períodos (fevereiro a julho de 2014 e mesmo intervalo de 2015) e aplicação de protocolo de análise semiolinguística a uma semana composta de cada página no ano de 2015. Além de reforçarem o papel de fornecimento de informação em seus posts, as páginas exploram características da mídia social. Podem ser identificadas como marcas do agenciamento entre jornalismo e Facebook a linguagem conversacional, finalidade relacional e propósito autorreferencial. Percebem-se, com a pesquisa, relações híbridas entre mídia social e contrato informativo, que se desenvolvem por meio de associações sociotécnicas, em um processo típico do ecossistema midiatizado.

La politique vietnamienne de promotion de l’héritage culturel, mise en œuvre depuis le « Renouveau » (1986) conformément aux objectifs de valorisation et de sauvegarde des sites du Patrimoine mondial classés par l’UNESCO, a occasionné ces dernières décennies une floraison inouïe de fêtes rituelles, festivals folkloriques et cérémonies cultuelles témoignant d’un phénomène qui, sans être nouveau, demeure significatif dans le Vietnam contemporain : le retour aux sources et aux valeurs traditionnelles. Cette « retraditionalisation idéologique » (C. Geertz) vise à exalter le nationalisme culturel à l’aune du modèle de l’État-nation moderne dans l’optique de renouveler et renforcer la légitimité du Parti communiste vietnamien (PCV). Le projet nationaliste s’impose dès les premiers jours de la libération nationale et de la construction du nouvel État : la République démocratique du Vietnam (en 1945). Il puise sa force motrice dans les « mytho-moteurs » (J. Armstrong) de la tradition pérenne de la nation et révèle ainsi une continuité, et non une rupture, de la politique du PCV avec l’Histoire de longue durée. Or, loin d’être une continuité naturelle, ce retour aux sources relève bel et bien d’une stratégie symbolique du régime actuel, consistant à revaloriser l’héritage du passé ainsi qu’à retravailler et inventer la tradition (E. Hobsbawm). La présente étude s’efforce d’éprouver l’hypothèse selon laquelle, les informations du JT de 19 heures de la Télévision nationale sont le révélateur de la construction de mythes essentialistes qui, au-delà des images mentales et typifiées, constituent une force conductrice, une forme sensible et un processus d’appartenance communautaire. Le recours à une anthropologie des médias comme cadre explicatif et conceptuel est incontournable dans la mesure où les médias ˗ un faiseur de mythe de l’ère moderne ˗ sont inséparables de la culture et de l’histoire nationale. À l’instar de L. Quéré, nous considérons l’espace médiatique comme un « tiers symbolisant » ou un espace référentiel plutôt qu’un espace de représentations. Cette approche permet d’examiner, dans une perspective phénoménologique et pragmatique, l’apparition, la publicisation et la transformation des mythes en problèmes publics et actions collectives. Nous avons construit trois modèles heuristiques afin d’examiner les aspects performatifs et générateurs de sens de la production télévisuelle des mythes : l’espace public de communion (analyse discursive) ; le mode mythificalisant (analyse sémio-pragmatique du dispositif télévisé) et le récit identificatoire (analyse narratologique de la temporalisation du récit mythique). La narrativité de la propagande communiste qui reste prégnante dans le journal, opère quant à elle un glissement progressif du discours propagandiste vers l’univers du mythe national : elle se situe au niveau du métalangage barthésien, sans être pour autant dénuée de pragmatisme. Loin de l’approche instrumentale de la manipulation, nous adhérons à l’approche culturaliste de l’ethno-nationalisme, en avançant que le recours aux idées ethno-nationalistes relèverait de facto d’une croyance effective du manipulateur en tant que membre de la communauté ethnique : le ressort culturel mobilisé pour manipuler autrui s’incorpore à son propre système de croyance. Cependant, puisque son « programme de vérité » correspond à des « régimes de croyance » (P. Veyne) différents, le mythe possède autant de force de structuration que de déstructuration et, par conséquent, rend fragile et incertain l’avenir de toute idéologie nationaliste. / Since the ʺRenovationʺ era (1986), Vietnam has been promoting its cultural heritage in full compliance with UNESCO’s objective of cultural renewal and protection through its World Heritage programme. Over the past decades, this policy has brought about an unheard-of blossoming of ritual celebrations, folk festivals and cult ceremonies. Such a nationwide phenomenon of revisiting its origins and traditional values, though not new, is quite significant in contemporary Vietnam, where this type of ʺideological re-traditionalizationʺ (C. Geertz) aims at exalting cultural nationalism in the light of the modern Nation-State with a view to renewing and strengthening the legitimacy of its Communist Party (VCP). This nationalist undertaking, which has proved vital from the early days of the National Liberation and the establishment of the new State ‒ the Democratic Republic of Vietnam (1945) ‒ draws its driving force from the ʺmythomoteursʺ (J. Armstrong) of the perennial national tradition, thus revealing a continuity, not a breach, of the VCP policy within the long-term history. However, far from being inherent, this continuity is indeed a symbolic strategy developed by the regime in order to renew the country’s heritage, redraft and contrive its folklore (E. Hobsbawm). In this study, we attempt to test the hypothesis whereby the Vietnamese Television’s 7 pm TV newscast is a pointer of an essentialist myth-building which, beyond the formation of mental and typified images, organizes a driving force, a sensitive form and a community-belonging process. Utilizing media anthropology as an explanatory and conceptual framework is crucial insofar as the media –makers of myth in the modern era – cannot be separated from the national history and culture. Following L. Quéré, we consider the media sphere as a ʺsymbolising third-partyʺ or a referential sphere rather than one of representations. By virtue of this approach, we can examine from a phenomenological and pragmatic perspective the appearance, publicization and transformation of myths into public problems and collective actions. We have developed three heuristic models in order to examine the performative and meaning-generating aspects of televisual myth-making: the public sphere of communion (discursive analysis); the myth-making mode (semio-pragmatic analysis of the televisual apparatus); and the identificatory story (narratological analysis of the temporalization of the mythical narrative). The tale of the Communist propaganda, still prevalent in the TV newscast, is assuming a gradual shift, from the discourse of propaganda towards the realm of national myths: its level is that of the Barthesian meta-language, yet not without pragmatism. Rather than to the instrumental approach of manipulation, we adhere to the culturalistic approach of ethno-nationalism, and argue that resorting to ethno-nationalist ideas may fall de facto within the true belief of the manipulator as a member of the ethnic community: the cultural resource summoned to manipulate others is integrated into his own belief system. However, since its ʺprogramme of truthʺ matches different ʺsystems of beliefʺ (P. Veyne), myth holds a destructuring as much as a structuring force, conveying any kind of nationalist ideology frailty and unpredictability.

Ce mémoire se concentre sur les génériques d’ouverture et sur les techniques proposées par les concepteurs de ce segment filmique visant à inviter le spectateur à entrer dans la fiction. Cette étude cherche à catégoriser les génériques d’ouverture étudiés selon les éléments montrés à l’écran pour présenter un univers divergent du nôtre. Les films américains contemporains fantastiques sont mis de l’avant afin d’analyser la présentation d’un nouvel univers. À partir de théories et de définitions sur les génériques, l’analyse se développera à l’aide des bases de la sémio-pragmatique de Roger Odin. L’intérêt de cette recherche est de comprendre les opérations effectuées par le générique pour que le spectateur entre dès le départ en phase avec l’œuvre. / This dissertation focuses on the opening credits and the techniques proposed by the designers of this filmic segment to invite the audience into the fiction. This study seeks to categorize the opening credits studied according to the elements shown on the screen to present a universe divergent from our own. Contemporary American fantasy films are put forward to analyze the presentation of a new universe. Starting with theories and definitions of generics, the analysis will be developed using the foundations of Roger Odin's semio-pragmatics. The interest of this research is to understand the operations carried out by the credits so that the spectator can be in phase with the work.

No description available.

Si la manière de produire une image depuis la reproductibilité technique a toujours été profondément déterminée par la captation d’une réalité physique, le numérique (qui constitue une méthode d’inscription visuelle distincte) devrait, en théorie, modifier la relation du spectateur à ces « nouvelles images ». Toutefois, en pratique, le spectateur fait-il l’expérience des images numériques d’une manière différente de celles issues de la captation? Afin de répondre à cette question, ce mémoire analyse, à l’aide de l’approche sémio-pragmatique, comment le spectateur a conditionné son regard à travers les techniques de la captation (photographie, cinéma et vidéo). Ensuite, cette étude compare les habitudes et les attentes visuelles engendrées par ces techniques aux images numériques. Enfin, cette étude situe le problème de la rupture dans une perspective plus large que celle des techniques afin de poser le questionnement dans toute une tradition de la représentation artistique. / The means of producing an image have always been influenced by the inscription of a tangible physical reality. The digital image, which is a distinct method of visual rendering, should therefore change our relationship to visual representations. However, in reality, is the viewer’s experience of digital images in any way different from those issued by the recording techniques? To answer this question, this thesis mainly analyzes, using the semio-pragmatic approach, how the viewer's perception is conditioned through the recording techniques (photography, film and video). Then, this study compares the habits and visual expectations generated by these techniques with digital images. Finally, this study attempts to expand the problem of digital rupture into a broader perspective, and establish the question in the global tradition of artistic representation.

Cette recherche s’inscrit dans le cadre de travaux en ergonomie cognitive et s’intéresse à l’entrée dans le métier d’enseignants néo-titulaires du second degré en contexte d’éducation prioritaire. En mobilisant la théorie sémio-logique du cours d’action (Theureau, 2004), elle s’attache à décrire la dynamique de construction de leur activité professionnelle à travers une variété de contextes (en classe et hors classe). L’étude a été menée durant une année scolaire en collaboration avec cinq enseignants néo-titulaires de quatre disciplines scolaires exerçant au sein d’un collège d’éducation prioritaire de l’académie de Créteil. Plusieurs catégories de données ont été recueillies en fonction des contextes: a) des données d'enregistrements audio et vidéo de leur activité en classe, b) des données d'autoconfrontation sur la base de ces enregistrements, c) des données relatives à l'écriture d'un journal de bord, d) des données d'entretiens de remise en situation sur la base de ces traces écrites. L’analyse des contenus de signification mobilisés par les enseignants a permis d’accéder à la compréhension de leur activité située et de repérer quelques traits de leurs « mondes propres » évoluant au cours du temps (révélant leurs préoccupations, leurs attentes, leurs connaissances, leurs émotions). Les résultats révèlent comment l’activité professionnelle des enseignants se construit de manière fluctuante selon des phases alternatives de confort / inconfort, de stabilité et d’instabilité, d’économie de soi et de recherche d’une plus grande efficience dans l’exercice de leur métier. Les changements de relation dynamique avec leurs propres situations scolaires se traduisent par la construction d’équilibres provisoires et transitoires et par des conversions importantes dans leurs façons de percevoir et d’appréhender les évènements face à divers contextes professionnels. Les modélisations synthétiques des trajectoires professionnelles des enseignants montrent ainsi de nombreuses oscillations dans le processus d’acculturation professionnelle. / This study is concerned with the field of cognitive ergonomics and looks at teacher career initiation in the context of priority education: activities, experiences and career trajectories. Drawing on the semio-logical framework for the analysis of course of experience (Theureau, 2004), this study seeks to describe the dynamics of professional engagement in a variety of contexts (in an out of the classroom).The study was carried out over one school year with five beginner teachers from four subject areas in a priority education secondary school in the Créteil local authority. Different types of data were collected and analyzed: a) audio and video recordings of classroom activity, b) self-confrontation data pertaining to these recordings, c) data from reflective logs, d) data from interviews re-assessing situations pertaining to the information from logs. The analysis of key content mobilized by the teachers led to an understanding of their situated activity and enabled the identification of features relating to their “own worlds” progressing over time (concerning their concerns, their expectations, their knowledge, their emotions). Results show how the professional activity of the teachers is built up in various stages according to alternate phases of ease / difficulty, stability and instability, self-preservation and a quest for greater efficiency in their professional activities. Dynamic changes in the relations with their own classroom situations are reflected in the construction of temporary and transitory moments of stability and in marked changes in their ways of perceiving and apprehending events in different professional contexts. Synthetic modeling of the teachers’ career trajectories shows a number of fluctuations in the process of professional acculturation.

Made available in DSpace on 2016-04-28T19:34:06Z (GMT). No. of bitstreams: 1 TESE Inacio Rodrigues de Oliveira.pdf: 1086253 bytes, checksum: 2714ab08480c002fa910445b4c159dea (MD5) Previous issue date: 2006-07-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This analysis has been developed according to Discourse Analysis principles and focuses on the semio-linguistic structures of story-tellers1 in the State of São Paulo. The objective is to examine the way thematic content, arguments and discursive structures are composed and how they reveal the imaginary of utterers, making it possible to recognize the categories that identify the particularities of this gender. The methodology of this work is inter-disciplinary, centering itself in postulates of discursive semiotics, developed by Algirdas J. Greimas; the rhetoric, brought up to date by Chaim Perelman; and the anthropology of the imaginary, based on Gilbert Durand. The constitution of the corpus resulted from two moments: examination of published material and field research, carried through in São Paulo countryside regions in order to interview story-tellers and to record their tales. The analysis has come to the following conclusions: this kind of tale constitutes a gender with definite discursive and thematic characteristics as well as specific semio-linguistic structures. These have been enough for the constitution of four categories: playful, that explores the laugh; critical, that is based on the irony; vengeance replies, that evidences the revenge; and terrifying, that awakes fear. Story-tellers (contadores de causos in portuguese) are citizens usually from the countryside who are famous for the stories they tell to amuse or amaze people. / A análise desenvolve-se na área de Análise do Discuso, e focaliza as estruturas semiolingüísticas de contadores de "causos" no Estado de São Paulo. Seu objetivo é examinar como se constroem a temática, a argumentatividade e as estruturas discursivas que manifestam o imaginário dos enunciadores e possibilitam o reconhecimento de categorias que pontuem as particularidades do gênero "causo". A metodologia dos trabalhos recorre à interdisciplinaridade, centrando-se em postulados: da semiótica discursiva, desenvolvida por Algirdas J. Greimas; da retórica, atualizada por Chaim Perelman; e da antropologia do imaginário, fundamentada em Gilbert Durand. A constituição do corpus resultou de dois momentos: exame de material publicado e pesquisa de campo realizada em regiões interioranas paulistas a fim de entrevistar contadores, e gravar seus causos. A análise possibilitou as seguintes conclusões: o causo constitui um gênero próprio, com características temático-discursivas definidas e estruturas semiolingüísticas específicas, as quais foram suficientes para a constituição de quatro categorias: lúdica, que explora o riso; crítica, que se sustenta na ironia; revide, que evidencia a vingança; e aterrorizante, que desperta o medo