In the light of classical and creative writing methods in the works of illustrious authors, such as Rabelais, this study examines the impact of cyberlanguage on mediated communication situations in social digital environment.This work mobilizes a theoretical and methodological pluralism, a quantitative and typological approach and relies on a native digital data field on an online discussion forum, in the field of reality show. In support of the concepts of language, reduction of uncertainty, cyber-language, device, network, social bond, an exploratory study identifies elaborate and creative writing processes and establishes an enriched typology of cyberlanguage markers. The weight and concentration of cyberlanguage markers make it possible to identify a typology of cyberlanguage markers and to reveal in a dynamic of diffusion and co-construction on the web for the maintenance of the social bond.

For twenty years, the major French museums have undergone profond changes that raise fears about cultural mobility. In this context, the inauguration on 11 november 2017 of the Louvre-Abu Dhabi Museaum in the Middle East on the small Island of Saadiyat (United Arab Emirates) raises the question of the tourist destination. In reality, we must question the « living places » of this territory of the Middle East which has difficulties in assertint its identity at the crossroads of several continents. How does the Louvre brand constitute a universal model of territorial recomposition in this region of destination and residence ? Will culture be enough to promote Abu Dhabi ? From the theoretical framework of Hirschman & Holbrook (1982) two studies were conducted. The first one at the Abu Dhabi Visitor Center (2013) allowed for several interviews with tourists. The second, during the exhibition « Birth of a Museum » (2014) in Paris, wich presented the collection of the future museum, was also an opportunity to conduct participant observations. As a result, the recognition of the French public brand for geographical destination engages in unusual processes whose universal staging mobilizes a universe to the detriment of recomposition of the territory.

The purpose of this article is explaining how La Républic en Marche (LREM) Party has made landslide victories over its Presidential Election and Legislative Election in 2017 by looking at LREM's Facebook Network structures during these election periods. This article employed social network analysis as their methodology by using computer-aided programme called NodeXL. For theoretical framework, this article reviews the Network Theory of Power by Castells. This article found out Facebook was an effective tool for information diffusion when the party has a single candidate to support during the election. For the legislative election, Facebook was less effective social media platform by looking at the network structure. The results of this paper indicate that setting the sound information diffusion network could lead to establishment of political powers even though the political actor is a new comer to the field due to social media's characteristic—two-way communication between the newsmakers and their audiences (public).

The development of social networks where everyone is free to give his opinion limits the scope of certain professionals and in particular that of film critics. Does this difficulty weaken a split critique between specialized and daily journals? This restriction is in addition to questions that seem to be constitutive of its nature: what is it for? What is his position in the face of popular cinema? to the mainstream films that fill the movies ? These questions raise the question of the role and usefulness of cinematographic criticism and, more generally, of its definition. Unable to provide stable defining properties, cinematographic criticism is defined in hollow, by what it is not. But this defining attempt challenges the very status of cinema: art or entertainment?

By this contribution, we wish to pursue our investment on the digital sociability by presenting hollow and porosities of the effects of the disruption of the models in knowledges and economic grounds for the generation of “Y”, “Z” and “Alphas”. How do these youngs generations live this plural culture of the digital technology and how can transform the risks of nomadism and fragmentation into another identity shape of type collective intelligence? We shall put a theorical reflection with an exploratory ground on the deterritorialisation, the fragmentation and the detemporalisation which the digital technology contributes to feed not only in the economic plan , but also in the plan of the distribution of knowledge and the exchanges of knowledge. We shall think about the main possible challenge of these generations : the disengagement by excess of fluidity of networks and by the possible inconstancy of their behavior. Would have it not in these phenomena another possible perception that of inter cultures digital technology there or trans culture, revealing of a double ritual constraint that of a transitional rite of pssage having for base a dialectical opposition between individual or collective body and immaterial digital? It would be a question then for them of repositioning values as the hierarchy and the commitment, every type of values market by a too much saturated representation. The utopias of the co-territorial, the co-commitment under forms of life or style of life renewed ( the utopia of the hacking is symbolic there) and so appreciated by these generations undertake us to re question the concept of representation and thus localization. For that purpose, we reread with big care, Deleuze and Guattari about the concept of deterritorialisation but also Foucault for his anticipation of the evolution of an epistemology of the knowledge otherwise sized in human and social sciences in the XXIth century, and also Auray for his work on the digital culture and on the diet of commitment which it can pull. He named it “concept of curious exploration” without forgetting Schumpeter and his creative breaks.

The development of products or services, directly or indirectly linked to the spiritualist sphere, has increased significantly over the last ten years. This movement has been widely anticipated in the United States. The theme of spirituality has been so far the subject of a limited number of research publications in marketing and consumer behavior, particularly in France. The purpose of this research is to understand the context and explain the spirituality structure which is far from consumption matters. At the end of this first stage it will be possible to apprehend these new territories of spirituality that concern products or services and the associated expectations.

This study, based on the notions of imperialist objecthood, ‘idol', ‘totem' and ‘fetish' of W. J. T. Mitchell, examined the trailer of Homefront, a typical FPS game, and analyzed how contemporary powers, using digital media, otherize countries in conflict with them; how they set up the enemy in virtual world (North Korea in Homefront) as an ‘idol' to destroy, that is, an object of iconoclasm; and why the worldview in the game was reversed, different from that of real world. Just like the process of colonization, in which imperialist powers first labelled the target land as primitive and uncivilized, and represented it as an ‘idol' to abolish, and justified their conquest, contemporary powers otherize North Korea as an ‘idol' subject to iconoclasm. Contrary to real world, the enemy in the game is represented as an aggressor with extremely superior forces and posing an imminent threat to the Western powers. The worldview is intentionally set to strengthen the legitimacy of iconoclasm by maximizing the enemy threat. For this purpose, the lines between reality and virtuality are blurred by inserting a real news footage in the first scene of the trailer.

A game, especially, a game with roles must be organized in harmony with members, where attacks and defenses should be properly performed to win in constant battles and to exist in the game world. In order to fulfill one's role faithfully, a tool capable of realizing the character's ability is needed. In a game, weapons are used with the most representative tools, and attack types and strategies vary depending on the shapes and types of weapons. Also, weapons are the most important items that symbolize players and used as a measure to show their strength. Players are constantly engaged in battles to obtain better weapons. Games related researches in the meantime show that one of the biggest influences on game success is a balance. Generally, game balance refers to a combat ability and the equipment between character occupations (roles). Therefore, analyzing the relationship between the characters' occupations and weapons is an important task. This study was conducted to suggest a methodology for analyzing the relationship between occupations and weapons in game characters by analyzing games using the tri-origin theory. The tri—origin used in this study is a prototypical concept that inherits and develops the traditional Oriental Yin-Yang theory, and explains the fundamental elements of the world with three powers. The tri-origin theory is an analytical tool for analyzing the relationships, which are not found through the existing numerical analysis or quantitative analysis. In three existing concepts such as Homo, Hetero, and Neutro. In a game, the outcome of a battle is determined depending on how well each role is harmonized according to the occupation and on the setting of the relationship between occupations and weapons. Victory is a result from the harmonious combination of Hetero as an attack and Homo as a defense harmonize, corresponding to Neutro. Therefore, in order to set up a successful game, it is needed to analyze the game in depth. This will then make it possible to design and interpret a game successfully.

Contagion became a key term in the field of modern cultural studies. The emergence as a keyword at the turn of the twenty-first century opened divers horizons of the transdisciplinary field of studies, not limited to cultural studies, such as financial and emotional contagion. Indeed, the epidemiological model was spreading through many cultural theories. From 1990, epistemological discussion of Dawkins' meme theory displaced from genetic analogies to epidemiological ones. Cultural studies were already showing signs of having caught the contagion infection in the same period, but from the early 2000s, a salient, interdisciplinary cultural studies of contagion emerged. With some exemplary studies of the domain, contagion is not purely epidemiological fact but also a foundational concept in the cultural theories, with a long history of explaining how beliefs and desires spread in social interactions. However, the paradigm of contagion evolved through the twentieth century's French cultural theories such as Gabriel Tarde, Ren Girard, and Dan Sperber. In this paper, I attempted to reconstruct this genealogy of contagion discourses which have influenced the domain of contemporary cultural theories.

This paper is about the semiotic phenomenological exploration of space. Under the prerequisite that space refers to something other than itself, it can become the target of analysis by semiotics which studies signification. Buildings can be described through semiotics of space which aims for 'the skills, production, and interpretation of space language' conceived by Greimas. By examining the style of 'making place' which possesses the meaning from the perspective of manufacturer and the experience on the aspect of user, place can be understood. Jongmyo - the subject of analysis - has been made through the semiotic phenomenological activity which has thoroughly reflected the ideology of the Confucian society. The Jongmyo Shrine - the sacred site that applies as a powerful medium - realizes placeness with a specific body. The key of the Jongmyo space is about how the eternal nature of the dynasty was reflected in space and this study aims to look at in which external composition form the symbolic meaning of the shrine is being revealed. That is, the meaning of space applied as a medium can be clarified by figuring out which architectural metaphor device the symbolic meaning is strengthened at space composition.