The modernization of the art of Karate and its transformation into Art, was the project of a group of young practitioners in Japan in the sixties. By analyzing their autobiographies covering the 60s and 70s, Pierre Quettier [2021] testifies to their attempt, to innovation in the field of martial arts and to the positioning of an “avant-garde martial art” in the field of Japanese martial arts during the counterculture period.

This study aims to examine museums, which are permanent cultural institutions that hold humanity's cultural and artistic achievements, from a post-anthropocentric perspective and to demonstrate the implications and potentials of a new epistemology and methodology of museum study. Actively developing since the 1990s primarily in the French-speaking world, ‘cultural mediation' refers to multi-faceted intervention activities that aim to allow cultural objects and their users to form a close relationship and increase their satisfaction under the ultimate goal of leading the public to seek out culture and art on its own. Presenting three models of cultural mediation including the viewpoint of the actor-network theory, this study strives to arrive at a new understanding of cultural mediation as an activity where human and non-human actors work jointly, expanding beyond the view of cultural mediation as a tripartite activity between cultural objects, viewers(public), and mediators. By doing so, the study cast a new light on the myriad of elements that are involved in the process of museums' cultural mediation, including ICT, which has been playing an increasingly critical role in the process. The paper aims to thereby provide insights that can offer practical help to those working in the field.

Through a case comparison, this paper attempts to reveal the differences in value representation and the strategies for using ‘Dark Heritage' material as an exhibition, depending on the reason that the museum was established. The subjects of study are ‘The War Memorial of Korea' and France's ‘Historial de la Grande Guerre'. Although both museums commemorate war, there exists a contrast in the approach to and utilization of ‘Dark Heritage'. As a result of the analysis, it was found that The War Memorial of Korean emphasized public values, s uch as the patriotism. On the contrary, the Historial de la Grande Guerre emphasized universal values t hat inform visitors of the horrors of war and induce reflection and introspection on the war through the ‘Dark Heritage' approach and differentiated exhibition production - humanitarianism and comparativism at the anthropological level. This study does not seek to state whether a certain museum's method is correct, but rather to confirm the existence of additional potential of the museum commemorating the ‘Dark Heritage' by accurately understanding the differences experienced when different values a re represented according to the museum's reason for establishment. If public values a nd universal values are pursued in a balanced way, new possibilities for museums commemorating ‘Dark Heritage' may be uncovered.

This article aims to identify the diverse identities present in a Business/Management school and to analyze the strategies adopted in order to improve the “cohabitation” between different actors (Students, management and teachers) of the school within this context. We have started our empirical research by observing the participants within the institution. This step helped us to develop a questionnaire that was distributed afterwards to the students. Based on the analysis of the results, we were able to categorize students into different identity groups, such as “job” identity or “first-time entrant” identity. Each of these groups have a specific behavior which can be a source of tension or “incommunication” within the classrooms. By identifying these groups, the school management has developed strategies to improve cohabitation (integration days, culinary discoveries, etc.)

This article demonstrates that the shortage of employment experienced in African societies, particularly the Democratic Republic of Congo (DRC), gives rise to two problems in the practice of recruitment, ethnostructure and ethno-employment, which constitute the impediments to the proper functioning of the organization. To overcome these issues, the "Rainbow Recruitment" (RAEC) method is proposed, which should not be confused with the name of a French temporary employment company. Through six stages, the method allows the company to build a staff who would represent the different cultural communities of the company in such a way that they give the impression of the colors of the rainbow. Apart from recruiting staff, the CEAS can also be used in the composition of members of state institutions. Thus, successful social innovation in recruitment strengthens social cohesion between cultural communities, restores well-being at work, social peace and improves individual and organizational performance.

Le voeu est un acte rituel relevant de la politesse linguistique, en l'espèce de la politesse positive : c'est un acte de langage flatteur dont le locuteur se sert pour valoriser la face positive de son allocutaire. D'où la réaction de reconnaissance qu'il entraîne plus ou moins systématiquement - le remerciement - acte également ritualisé qui complète l'échange votif. Ayant une valeur pragmatique particulière qui réside dans son caractère interactionnel, le voeu fait ainsi partie des « procédés verbaux qui sont conventionnellement destinés à contribuer à l'établissement des rapports interpersonnels » (Goffman 1973 : 82). Selon les circonstances de leur production, Goffman identifie deux types de rituels : « les rites d'entretien » socialement fixés et convenus par les membres de la communauté dans le but d'exprimer leur joie d'être ensemble et de consolider leurs liens interpersonnels (par exemple, le premier jour de l'an, la fête de Noël, la fête de Pâques dans le monde chrétien) et les « rituels de ratification » ou les « parades de réassurance » (Goffman 1973 : 77) par lesquels le locuteur exprime indirectement une certaine approbation sur les choix de vie de son interlocuteur (le mariage, l'achat d'un nouvel objet, etc.). Notre recherche s'inscrit dans le cadre plus large d'une enquête sur les formules de politesse (salutations, voeux, remerciements) menée par une équipe de chercheurs de l'Université de Craiova ayant comme principal objectif la mise en évidence, à travers la multitude de formules rituelles, de l'éthos communicatif des Roumains. Notre contribution se propose de mettre en exergue les phénomènes suivants: 1. le renouveau des formules votives en roumain contemporain par suite d' influences externes (migration, tourisme, mondialisation) ; 2. l'hyperbolisation des formules votives utilisées dans l'espace culturel roumain, tant à l'occasion des fêtes qu'à la séquence de clôture de l'échange verbal ; 3. la personnalisation des voeux en fonction des circonstances de leur production : « rites d'entretien » et « rituels de ratification ». Le corpus qui illustrera nos propos est tiré de sites Internet consacrés aux voeux et de réponses fournies par les sujets d'une enquête sociolinguistique menée à l'Université de Craiova en 2021.

Relations have played an indispensable role in establishing the principles for which modern semiotics is largely known. From a preliminary review of Peirce's early philosophical treatises and Saussure's sociopsychological insights, it is shown that these foundational semiotic theories that birthed a generation of four notable semioticians rely on an ontology of relations that warrants serious discussion. While the focus of semiotic inquiry has long been characterized by signs, sign systems and semiosis, the argument put forth here involves placing more significance on the concept of relations in semiotic theory. In short, this paper submits that an ontology of relations is an essential formulation for the basics of semiotic theory and therefore a thorough investigation of relations in and of themselves is justified; indeed the six major semiotic theories outlined in this paper suggest that the fundamental concepts of signs and semiosis depend on an ontology of relations to such an extent that relations present themselves as critical to understanding semiotic phenomena on a deeper level. This study therefore hopes to spark meaningful dialogue by proposing that the object of semiotic inquiry includes relations in their own right.

À la toute fin des années 1920, se développe dans un Japon en pleine modernisation une culture de masse dite « ero-guro-nansensu » dont l'esthétique mêle l'érotisme au grotesque et à l'absurde, rompant en cela avec une époque Meiji corsetée. En littérature y participent en particulier les écrits d'Edogawa Ranpo qui sont bien vite adaptés au cinéma, avant que l'autoritarisme du régime militaire des années 1930 n'y mette temporairement fin. Après-guerre, un certain cinéma d'exploitation se tourne à nouveau vers l'oeuvre du romancier dont le cinéaste Teruo Ishii propose une adaptation emblématique avec Horrors of Malformed Men. À nouveau, quarante ans après la première vague d'ero-guro-nansensu, l'esthétique de ce film de 1969 dans lequel s'illustrent le danseur de butō Tatsumi Hijikata et sa troupe, semble opposer le grotesque de corps monstrueux et d'attitudes « déviantes » à une société japonaise policée qui connaît alors un nouvel essor économique.

This research focuses on the information contained in the representations of the human body depicted in the Soviet Union's agitation posters. Various tools and methods are used to analyze the posters' semiotic signs according to the different values of the signs and aspects of the relations between signs, focusing on the different semiotic layers that enable the transfer of information to the recipient in visual representation. This research highlights the agitational power of the Soviet agitation posters on society that was effected through the representation of the human body.