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The aim of this paper is to present and study a video training approach that focuses on the finegrained observation of verbal and non-verbal interactions in the workplace. This approach is part of an in-service training program implemented in the context of early childhood education. How can the semiotic resources mobilised during video-based analysis sessions support a transformation in the ways professional practices are perceived? How can the hybridity of work practices and training processes be observed in the analytical approach adopted? To answer these questions, the article first discusses the notion of hybridity and presents the empirical context of in-service training, before explaining the theoretical and methodological perspective of interaction analysis. The empirical section focuses on a case study presenting excerpts from a training session based on audio-video data. It examines how the statement "you can't see everything" emerges in discussions between educators to refer alternatively to aspects of work and training. The conclusions discuss how the emerging hybrid nature of a video-based analysis of interactions at work offers opportunities for the learning and professional development of educators and their understanding of work in training experiences. [ABSTRACT FROM AUTHOR]

There are abundant resources available to translators, such as online monolingual or parallel corpora, terminology and translation databases, and various tools. These resources can assist the translation process, but they can also introduce disruptions. Therefore, this article aims to demonstrate how translation courses can benefit from systematic process logs. These logs, progressively developed and discussed orally in front of the class, can be shared and commented on online by both the teacher and other students. They serve as a record of the reflective and systematic progression of translation practices. Initially created individually, they can later be co-constructed and shared on a collaborative platform. To convey implicit, intercultural, and intertextual components, information and multimodal literacy become essential for both media and literary translation. This includes visual research, explanatory sketches, and cinematographic adaptations of literary works. [ABSTRACT FROM AUTHOR]

This article examines verbal and non-verbal communication between the interpreter and the injured party in a video-recorded main hearing of a criminal matter at a court of first instance in Finland. The language of the court was Finnish and the interpreter and injured party communicated in French, the interpreter's B language and the injured party's second language. Due to differences in the two participants' ability to communicate in French, their verbal communication was characterized by significant problems. A salient feature of their communication consisted of abundant gesturing on the part of the injured party and the interpreter's mirroring of these gestures and putting them into words in her renditions. The interpreter's renderings combined mimicking of the injured party's gestures, language interpretation, and intermodal (gesture to language) interpretation, as well as elements that had been mentioned previously by other participants. The analysis highlights the problematic status of intermodal and multimodal translation from the viewpoint of legal norms, interpreting norms, and the theory of multimodality. It calls for increased sociolinguistic awareness among interpreters, legal experts, and interpreting studies scholars, as well as greater communication between the theory and practice of multimodality and intermodality in the dialogue interpreting of spoken languages. [ABSTRACT FROM AUTHOR]

La porte d’avion est un objet particulier dans sa conception et ses fonctions. Sa signification en tant qu’objet sémiotique se révèle essentiellement à l’intérieur de trois grandes scènes prédicatives : à l’arrêt de l’avion, durant le vol et en situation d’urgence. Et si, par son affordance, la porte d’un avion entretient un rapport de dépendance avec l’ensemble du fuselage, chacune des scènes pratiques dans lesquelles l’usager interagit avec elle appelle une modalisation spécifique et adaptée. Ainsi, la scène-pratique de l’arrêt modalise l’interdiction (faire ne pas faire). La scène pratique du vol modalise à la fois l’interdiction (faire ne pas faire) et l’improbabilité (faire ne pas pouvoir faire). Enfin, la scène prédicative de l’urgence, qui transforme la porte en issue de secours, fait intervenir les modalités de l’autorisation d’usage (faire pouvoir faire), voire de l’obligation d’usage (faire devoir faire) pour l’évacuation des passagers, faisant de la porte de l’avion un objet multimodal.

In the multimodal era, communication in social media incorporates new codes and elements that challenge traditional definitions of text and the translation field itself. Integrating semiotics, understanding that modes follow a particular hierarchical order, and analyzing how they influence the (re)construction of meaning in certain communities is key to studying transnational hybrid messages, both global and local, in virtual environments. The translation act has proven to be a particularly useful circumstance to understand that modes should not be regarded as signs that carry meaning across cultures. Instead, this paper aims to identify which elements act as "prompts," which (re)activate meaning once the message is repositioned in an alternative cultural context. Through a contrastive analysis of ten transpositions, in Kress's terms, of a Burger King campaign, this work aims to shed light on which elements can be defined as modes and prompts, as well as reflecting upon its hierarchical status in this particular multimodal ensemble, while considering that, in the virtual space, other factors such as repetition and simultaneity may condition the impact and reception of global messages. [ABSTRACT FROM AUTHOR]

This article explores how a corpus-based approach allows us to describe and analyze the multimodal complexity of graphic elements in creative subtitling. To this end, the article focuses on a YouTube channel, Apenjie with Dawang, featuring a dog and its owner. This channel's subtitling strategies were experimental with multiple graphic elements (colors, positions, font sizes, and emojis). Informed by a social semiotic approach to multimodality, a corpus of 1,155 coupled pairs of Chinese-English subtitles was annotated for modal shifts and metafunctional shifts. Some major findings include: (a) emojis were much more likely to be added to the target subtitles for the animals than for the humans; (b) speaker-identifying graphic elements (color and position) were lost in the target subtitles, but emojis were systematically added to mark animals as the speakers; (c) the addition of emojis evoked complementary-interpersonal meanings, suggesting that the subtitlers might have prioritized audience engagement over textual fidelity; (d) although the target subtitles used fewer graphic elements, the semiotic meanings could be similar or complementary to those of the source subtitles. Based on these findings, the article also discusses the opportunities and challenges of a corpus-based approach to graphic elements in creative subtitling. [ABSTRACT FROM AUTHOR]

In this contribution, we examine the relationship between text and context in multimodal translation practices by focusing on the Québécois film À tout prendre (1963; directed by Claude Jutra) and its English version, Take It All (translated by Leonard Cohen). The first two sections provide contextual information, while Section 3 is dedicated to a comparative analysis, in which a more central role is given to the film itself and to the archival documents (such as draft versions of the French script and the English translation). On the whole, Take It All results from a complex interplay of factors: the overuse of reduction (condensation and deletion) despite the absence of spatial or temporal limitations; Cohen's limited translation experience, combined with his influential profile as an artist; and the assumed intended target audience. The subtitles serve as an ancillary device, offering a minimalist representation of the original dialogue. Regarding the linguistic transfer itself, no misunderstandings have been encountered, although the translation can be said to diverge substantially from the original in numerous respects. Consequently, the English version exhibits a less intricate network of interrelationships and it can be argued that the subtitles have not significantly contributed to the film's internationalization journey. [ABSTRACT FROM AUTHOR]

We are now faced with a flow of documents. But how do all these digital texts circulate between senders and prosumers? Can we assume that texts today are similar in terms of meaning-making, coherence, and interpretation to texts produced, perceived, used before the technological changes? The current developments in textuality require us to re-examine the materiality, contextualization, genres, and readings of these "new" texts. Three decades of the Internet, the Web, have changed our concepts of text and context, our experience of reading, writing, and translating multimodal texts. First, we revisit the concept of text – to understand what is changing. Second, we revisit the concept of context to problematize it in the new framework, in which digital productions are open, fluid, de-/re-textualizing, de-/re-semiotizing, and de-/re-contextualizing texts. How do multimodal texts shed light on these changes, and how do they participate in them? All the articles discuss text and context and highlight different instances of re-contextualization. The whole issue does not pretend to provide definitive answers but will hopefully contribute to making translation scholars aware of the changes and how they will use text and context from now on. [ABSTRACT FROM AUTHOR]

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Le projet ma.réalité est une étude portant sur le potentiel des dispositifs technologiques en réalité virtuelle (RV) et en réalité augmentée à favoriser le développement de la compétence numérique et des compétences en littératie médiatique multimodale (LMM) chez les élèves et les professionnels et professionnelles de l’enseignement des arts et multimédia au secondaire. Basée sur les principes méthodologiques de la recherche-design en éducation (RDE) (McKenney et Reeves, 2014), cette étude vise à produire de nouveaux savoirs théoriques et pratiques au sujet de l’intégration des technologies de la RV en éducation artistique. Cet article présente un pan des résultats préliminaires de l’étude qui portent sur la compétence numérique et les compétences en littératie médiatique multimodale (Acerra et Lacelle, 2022) mobilisées par les élèves durant les deux premières phases de la recherche. Les données démontrent que la création d’environnements immersifs en réalité virtuelle engage des types de capacités chez les élèves qui relèvent de l’interaction entre divers modes sémiotiques sollicitant ainsi de manière unique les composantes technique, sémiotique et multimodale du cadre de compétence en littératie médiatique multimodale.

L’augmentation des investissements et du nombre de travaux de recherche sur les technologies immersives laisse penser qu’il s’agit de révolutions pour lesquelles les chercheurs ont tout intérêt à se positionner pour apporter des solutions à la société. À travers cette mouvance, différentes applications des technologies immersives en formation sont identifiées, de même que les scénarios pédagogiques associés. Cependant, de nombreux travaux démontrent les apports de ces technologies, oubliant quelquefois qu’il ne s’agit que d’outils. Notre contribution a pour but d’interpeler sur la nécessité d’apporter une complémentarité entre les dispositifs existants plutôt que d’en creuser en se concentrant sur certains d’entre eux; car malgré les avantages des technologies immersives, il existe également des limites qui peuvent être compensées par des moyens traditionnels ou moins immersifs.

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Copyright of European Journal of Language Policy is the property of Liverpool University Press / Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet article présente l'expérience d'un partenariat famille-école-musée qui s'est engagé dans un processus de recherche et d'intervention pédagogique avec des enseignants d'une école primaire de Montevideo (Uruguay), des enfants, des parents volontaires, des éducateurs de cinq musées de la ville et des photographes professionnels. Le réseau a développé un projet d'éducation plurilingue multi-sites autour du quartier Ciudad Vieja, mêlant les langues, les arts et la multimodalité.

As Chinese college students work toward writing proficiency in English, a tension between direct, teacher-led instruction that focuses on proper usage conflicts with changes in literacy practices enabled by technology. As a visiting scholar to an American university, Author 1 was eager to use strategies she saw in Author 2’s first year writing seminar. In this classroom research project, a mixed method design is used by Author 1 to report on three changes to her teaching practices in College English courses – the use of multimedia presentation software, social network communication, and the Pigaiwang writing assistance tool. By comparing survey results, interview themes, and test scores between control and experimental sections, results demonstrate that students in the experimental group had generally more favorable ratings of the College English experience. Based on these outcomes in a limited study, implications for future changes in College English instruction in China are discussed. [ABSTRACT FROM AUTHOR]

Writing centres play a vital role in supporting all forms of student academic writing in higher education (HE) institutions, including digital writing projects (DWPs)—multiliterate and multimodal, often video-and-audio-based projects, produced using digital technologies. The importance of writing support for multimodal composing is evident in emerging research on both the multi-skilled practices of writer-designers and the conceptual shifts involved in their adoption. Currently, no research exists regarding the Canadian context of writing centre support for DWPs. To address this, we conducted two surveys: one of 22 Canadian writing centres asking about DWPs prevalence, technology and skills readiness, and DWP awareness; and one of faculty at a large Canadian university, asking about DWPs prevalence and frequency and types of DWP assignments. We find a significant disconnect between the number of DWPs being assigned by faculty and the number being supported in writing centres. We also find a significant lack of writing centre preparedness for supporting DWPs. This paper calls, with some urgency, for writing centres to invest in the reality of student writing in Canadian HE, to begin developing instructional materials, equipment, and skilled staff to support DWPs.Les centres d’écriture jouent un rôle essentiel pour soutenir toutes les formes d’écriture des étudiants et des étudiantes universitaires dans les établissements d’enseignement supérieur, y compris pour les projets de rédaction numérique - multilittéraires et multimodaux - projets qui sont souvent basés sur la vidéo et l’audio et produits à l’aide de technologies numériques. L’importance du support d’écriture pour les compositions multimodales est évident dans le cas des recherches qui portent sur les pratiques polyvalentes des rédacteurs-concepteurs et des rédactrices-conceptrices et sur les changements conceptuels liés à leur adoption. À l’heure actuelle, il n’existe aucune recherche sur le contexte canadien de soutien offert par les centres d’écriture pour les projets de rédaction numérique. Afin de redresser cette situation, nous avons mené deux sondages : le premier auprès de 22 centres d’écriture canadiens, à qui nous avons posé des questions sur la prévalence des projets de rédaction numérique, sur la technologie et la préparation aux compétences, et sur la prise de conscience des projets de rédaction numérique; le second auprès de professeurs et de professeures qui enseignent dans des universités canadiennes, à qui nous avons posé des questions sur la prévalence, la fréquence et les types de projets de rédaction numérique assignés aux étudiants et aux étudiantes. Nous avons trouvé qu’il existait un décalage important entre le nombre de projets de rédaction numérique assignés par les professeurs et les professeures et le nombre de ces projets soutenus par les centres d’écriture. Nous avons également trouvé qu’il existait un manque important de préparation pour soutenir les projets de rédaction numérique. Dans cet article, nous demandons aux centres d’écriture, avec une certaine urgence, d’investir dans la réalité de l’écriture des étudiants et des étudiantes dans les universités canadiennes, afin de commencer à développer du matériel d’instruction, de l’équipement et du personnel compétent pour soutenir les projets de rédaction numérique.

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Copyright of Traitement Automatique des Langues is the property of Association pour le Traitement Automatique des Langues (ATALA) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Résumé Cette recherche vise à explorer la valeur de la multimodalité dans l'image publicitaire moderne via quelques affiches et annonces de sites web. Cette multimodalité de l'image publicitaire, qui dépend de l'emploi d'éléments tels que l'image, le texte, l'icône, le logo, les couleurs, etc., est un ensemble de signes expressifs et implicites qui transmet un message au public de manière attractive et promotionnelle pour acheter un produit. Ce phénomène est abordé dans une approche sémiotique à travers la théorie de Joly Martin, qui a suivi une analyse d'images, et qui a développé les idées de Roland Barthes qui considérait que l'image avait un rôle de support dans l'explication du sens voulu selon le texte; alors que Joly pense que les messages iconiques et plastiques d'égale importance comme les messages linguistiques. Par conséquent, nous avons prouvé à travers cette étude que les éléments visuels jouent le rôle de complémentarité ou d'association indissociable de l'élément textuel présent dans l'image publicitaire. À proprement parler, il n'y a pas de perception exhaustive sans une combinaison parfaite entre ces éléments. يهدف هذا البحث إلى التعرف على قيمة الوسائط المتعددة في الصورة الإعلانية الحديثة من خلال بعض الملصقات وإعلانات المواقع الإلکترونية. تعد هذه الوسائط المتعددة للصورة الإعلانية ، والتي تعتمد على استخدام عناصر مثل الصورة ، والنص ، والأيقونة ، والشعار ، والألوان ، وما إلى ذلک ، مجموعة من الإشارات التعبيرية والضمنية التي تنقل رسالة للجمهور بطريقة جذابة وترويجية لشراء منتج. يتم تناول هذه الظاهرة بأسلوب سيميائي من خلال منهجية جولي مارتن ، التي اتبعت تحليل الصور ، والتي طورت أفکار رولاند بارت الذي اعتبر أن للصورة دورًا داعمًا في شرح المعنى المطلوب حسب النص ؛ بينما تعتقد جولي أن الرسائل الأيقونية والبلاستيکية ذات أهمية متساوية مثل الرسائل اللغوية. لذلک ، أثبتنا من خلال هذه الدراسة أن العناصر المرئية تلعب دور التکامل أو الارتباط الذي لا ينفصل عن العنصر النصي الموجود في الصورة الإعلانية. بالمعنى الدقيق للکلمة ، لا يوجد تصور شامل بدون انصهار تام بين هذه العناصر. This research aims to explore the value of multimodality in the modern advertising image through some posters and website ads. This multimodality of the advertising image, which depends on the use of elements such as image, text, icon, logo, colors, etc., is a set of expressive and implicit signals which transmits a message to the public in an attractive and promotional way to buy a product. This phenomenon is approached in a semiotic approach through the methodology of Joly Martin, who followed an analysis of images, and who developed the ideas of Roland Barthes who considered that the image had a supporting role in the explanation of meaning desired according to the text; while Joly thinks that iconic and plastic messages of equal importance like linguistic messages. Therefore, we have proven through this study that the visual elements play the role of complementarity or association inseparable from the textual element present in the advertising image. Strictly speaking, there is no exhaustive perception without a perfect combination of these elements.

Digitalization and internet communication have been integrated into all levels of social development, and media convergence has become an inevitable trend in the processing and dissemination of information. This paper studies the mechanism of innovation in the compilation and publication of dictionaries through the confluence and collaboration between the media, which include: (1) the new methods and trends of dictionary compilation, (2) the characteristics and approach of media convergence for lexicography, (3) the structure and function of dictionaries based on media convergence, (4) the innovation of lexicographic organizations. The research results show that media convergence offers a great opportunity for the digital transformations of dictionaries, hence the importance of adopting this approach to produce multimodal lexicographic texts that can be consulted and displayed through various media and digital terminals. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Learning & Technology is the property of Canadian Network for Innovation in Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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In this contribution, we intend to examine to what extent multiliteracy approaches make it possible to emphasize and develop various aspects of reflexivity in action in a migrant student who is in close contact with several languages within his family and school environment. To answer the source question, we gathered a corpus of various graphic and verbal signs among secondary school multilingual students that we analyzed according to a qualitative approach in the migratory and educational context of Saint-Étienne (France). It is about student output resulting from a school project that aimed at strengthening the students’ literacy competences, along with highlighting their native cultures and languages. As a reflexive tool, the depicted project turned out to be a bridge towards a multi-literacy approach, for which we have detailed the guidelines, beneficial for the learning of the French language, or the learning of any new language; it entails supporting the making of the subject in writing, then allowing an updating of the migratory experience. [ABSTRACT FROM AUTHOR]

L’intégration des classes virtuelles synchrones modifie-t-elle la professionnalité enseignante et quelles sont les transformations qui en résultent ? Cette recherche réalisée auprès des enseignants dans le campus numérique Forse de l’université de Rouen illustre que les dispositifs de communication médiatisée rendent possible de nouvelles modalités d’intervention, en soirée et dans la cadre à ce qui pourrait relever du télétravail. C’est donc l’agir professionnel enseignant qui s’en trouve questionné, dans ses dimensions institutionnelles, épistémiques et ce qui fonde l’agir professionnel enseignant dans son expression, comme l’absence du corps instituant de l’enseignant.

The development of digital technology over the past two decades has made audiovisual products an indispensable way of entertainment and witnessed the emergence of new sociocultural phenomena, including the rise of participatory culture and civic engagement. Drawing on the Systemic Functional Linguistics-informed multimodality, this article compares some of the most distinct practices in official subtitles and fansubs in the complex sociocultural context of China. The aim is to examine how fansubbers manipulate semiotic resources to design highly innovative strategies and investigate how these interventionist practices maximize their visibility and increase the film's participation. The results show that Chinese fansubbers tend to produce subtitles in a highly aesthetic, functional, and semiotically coherent way by breaking the conventions established by the professionals. This tendency is not only a reflection of their resistance and dissatisfaction with the official subtitles under the state constraints but also a manifestation of the rapidly developing participatory culture in this increasingly digitalized world. [ABSTRACT FROM AUTHOR]

This study reports on how the affordances of the WebEx platform were used as multimodality resources during the negotiation of meaning by participants engaged in an English/Spanish eTandem video-conferencing exchange. The exchange involved five dyads of university students with an intermediate level of language proficiency. A total of seven tasks were completed in each language. Analysis of the transcribed interaction revealed 915 focus-on-form episodes (FFEs). Further analysis of the FFEs revealed that six types of multimodality resources were involved during the negotiation process: chat, pictures, whiteboard, electronic translator, webcam, and paper dictionary. Of these, the most frequently used were chat (over half of all FFEs), pictures, and the whiteboard. Although previous studies have pointed to the importance of multimodality resources during the negotiation of meaning, the present study provides statistical support and attests to the frequent use of combined resources. In contrast to previous studies that have mainly involved Skype, the study highlights how the increased affordances of the WebEx platform enhanced participants' ability to negotiate meaning, especially with respect to chat, the shared document feature that facilitated the use of pictures and the whiteboard for drawings. Although limited in their appreciation of the webcam with respect to actual language learning, participants acknowledged its importance at the socio-affective level as a means of establishing social presence and creating a rapport with partners. [ABSTRACT FROM AUTHOR]

This study analyses how humour is constructed through multimodal devices in Fullmetal Alchemist (2002-2010, Square Enix). The results of analysis show that comicbook characters' positive and negative emotions can be used as a source of humour via the drawing techniques of super-deformation (i.e., a style of art used to render normally proportioned characters into smaller and cuter forms); symbols (i.e., arbitrary or conventional signs used to represent the invisible); episodisation (i.e., a process of creating a fictional episode); mimetics (i.e., sound-symbolic words); circumfixes (i.e., a class of bound morphemes around a character); suppletion (i.e., an umlaut-style substitute); and symbolic acts (i.e., characters' acts used to portray their emotions and which are symbolic within a certain culture). These drawings techniques are used to portray or exaggerate characters' emotional states. We conclude that the comicbook series analysed involves complex multimodal interactions between text and image, and that characters' various emotional states are perceived as amusing, in the sense that they are associated with human behavioural attributes. [ABSTRACT FROM AUTHOR]

In recent years, narratology has undergone considerable interdisciplinary development, broadening its field of investigation beyond the study of verbal language and literary texts alone. Recognising that the linguistic modality is not always and necessarily the only language at work in the narrative is not tantamount to neglecting its specific weight, but it is recognised that narration can take place in different ways. This is the purpose of multimodal analysis. In this respect, our contribution wants to propose applying this perspective to the website the Association des Amis d'Hector Malot, a famous French novelist, where they talk about the author's houses, and whose texts and images, expressing the limits and boundaries, are blurred by the flow of narratives they bring. Indeed, a writer's house is a testimony to the past, an illustrious home, but also the home and discourse of the intimate, where time and space, the imaginations and personal memories of a writer merge. [ABSTRACT FROM AUTHOR]

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Cet article propose une réflexion sur les possibilités de lectures multimodales pour le texte littéraire en classe de Français Langue Étrangère (FLE). De nouvelles voies d’exploitation pédagogique semblent s’ouvrir à partir de deux axes principaux. Le premier constitue les approches récentes de la didactique de la lecture qui conçoivent le texte littéraire comme un véritable moteur de construction de savoirs,de découverte de soi-même et l’Autre (Jouve, 1993 ; Dufays, 1994 ; Rouxel, 1996 ; Rouxel, Langlade, 2004 ; Langlade, 2007). Le second concerne les nouvelles formes que prend le texte littéraire depuis l’avènement de l’ère numérique. Avec la mise en ligne de ses romans Il est mort Jim et Vox latina, l’écrivain français Marc Boisson potentialise les possibilités de lecture d’un texte littéraire qui était déjà fort, original et pluriel dans sa version imprimée. Insérée dans un environnement virtuel marqué par la multimodalité (Kress, Van Leeuwen, 2001, 2006 ; Lebrun, Lacelle, Boutin, 2012) et construit par l’écrivain lui-même, la publication numérique de ces romans ouvre de nouvelles possibilités pour la didactique de la lecture littéraire multimodale en cours de FLE.

Le présent article vise à analyser la transmodalisation intermodale de l’aria L’amour est un oiseau rebelle (1875) qui fait partie du premier acte de l’opéra Carmen de Georges Bizet, pour le vidéoclip de la chanson Carmen (2015) composée par Stromae. Pour ce faire, les deux chansons seront analysées en tenant compte de la signification que les deux auteurs ont donnée au concept d’amour dans leur production. De plus, nous avons observé la manière par laquelle les éléments narratifs interagissent avec les éléments visuels du vidéoclip, en obtenant un nouveau média, avec de nouveaux sens

Dans la société actuelle, le numérique occupe une place exponentielle (Lebrun,Lacelle et Boutin, 2012b, 2012c, 2013). Les pratiques communicationnelles et la littératie en sont profondément impactées (Lebrun, Lacelle et Boutin, 2012b, 2012c, 2013 ; Lacelle, Boutin et Lebrun, 2017). Ce contexte voit l’émergence de pratiques de lecture et d’écriture spécifiques qui doivent trouver une place en contexte scolaire à travers des pratiques d’enseignements intégratrices et novatrices (Lacelle, Boutin et Lebrun, 2017). L’ouvrage de Lacelle, Boutin et Lebrun (2017) recensé dans cet article est incontournable pour comprendre les changements communicationnels qui se produisent (et se produiront), leurs impacts sur la lecture, l’écriture et pour se doter d’outils pour ne pas rester en marge de ces changements (Lebrun, Lacelle et Boutin, 2012b, 2012c, 2013).

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Keywords: Chérif Keïta; Massa Makan Diabaté; Mande; hermeneutics; multi-modality; orality; dozos; Manding; Mandé; herméneutique; multimodalité; oralité; mandingue EN Chérif Keïta Massa Makan Diabaté Mande hermeneutics multi-modality orality dozos Manding Mandé herméneutique multimodalité oralité mandingue 181 191 11 05/27/21 20200101 NES 200101 Re-Encountering Chérif In October of 2010, standing outside a conference center (Point Sud) in Bamako, Mali, with other participants, I heard a familiar voice from across the grounds. Instead of claiming this perspective as the result of his own scholarly insight, Chérif documents it as the self-conscious position of griots themselves, such as Banzumana Sissoko and, in particular, Massa Makan Diabaté, "who always proclaimed himself to be a griot" (Keïta 1995b: 188). The genius of Chérif's approach to the work of Massa Makan Diabaté lies in Cherif's use of the supposedly "oral" aesthetics of Mande griots - I jaliw i or I jeliw i in the Bamanankan of Mali - as a hermeneutic with which to interpret Diabaté's writing. Chérif has also produced three films about two pivotal couples who played key roles in the genesis of South Africa's anti-apartheid struggle: Nokutela and John Dube of South Africa, and William and Ida Belle Wilcox of Northfield, Minnesota (Keïta 2005, 2009b, 2013; see also Hughes & Keïta 2013). [Extracted from the article]

Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)