Based on epistemological changes in museums, this study aims to explore the role of museums as cultural mediators in the era of digital transformation, while ascertaining changes in the museum mediation arising in tandem with the development of digital technology. By examining two cases of the Asia Culture Centre (ACC) from an actor-network perspective, this study delves into the complicated interactions and alliance processes among various interested parties - political, economic, social, cultural, and technological actors - and power generated through their relationships and shared across them. This study will pave the way for active discussions on how to assist museums in adopting a convergence approach to digital technology and integrating it into their practices in an efficient and timely manner.

This article aims to emphasize, through an analysis of the communication methods and channels, the discursive implications of the commitment sense of two Romanian non-profit organizations acting in the field of cancer. Through a communicational approach of Social Responsibility, we propose to analyze the challenges of digital mediation linked to the phenomenon of physical and especially psychological recovery of children with oncological conditions. The content analysis of the Facebook page of the Romanian associations “Dăruieşte viaţă” / [Give life] and MagiCamp, as well as their Youtube channels and the blogs of the two organizations, allows us to distinguish some types of interactions in the process of the commitment: messages of impetus, actions implemented, permanent contact with the people who are beyond all the scaffolding, these are issues of communication and social responsibility. Micro-narratives linked to the actions “on the ground” of real actors are part of a socio-digital hypernarratology. The construction of a hospital as well as other actions linked to the psycho-emotional recovery of children suffering from oncological diseases become reasons for public discursive commitment and social responsibility. 40 messages published by the associations seek to distinguish the narrative modalities called upon to share the sense of social responsibility on social networks.

Misogyny as a social historical phenomenon has manifested itself in different ways through the ages and societies. With the arrival of the Internet and the use of social networks, these behaviours and manifestations of hatred towards women have changed, but they have also intensified their violence, recurrence and, at the same time, reinforce stereotypes and entrenched sociocultural behaviours that reproduce the traditional role of women. Misogyny in social networks is a phenomenon that particularly resists accepting the visibility of women when holding important political positions, attacking mainly women who exercise their rights and in particular when they participate in electoral processes. The objective of this chapter is to know how the specialized literature is analysing this phenomenon and how certain ideologies use it as part of their political discourse strategies

The present article revisits ideas punctually treated in Carmen Andrei, Vers la maîtrise de la traduction littéraire. Vade-mecum théorique et pratique (Galaţi, Galati University Press, 2014), in the chapter entitled ‘Traduire la poésie' [Translating Poetry], refining them by a case study involving two very different translation versions of the famous prose poem by Charles Baudelaire, Chacun sa chimère, one by Dan Dănilă, and the other an anonymous one found on the internet. My choice is justified beyond the title: the translation of poetry has forever been a challenge to the conscience and the critical spirit of the experts in this particular type of ‘specialised' discourse, requiring a specific set of skills. It goes without saying that translating poetry means entering an infinitely complex system, in a third language. Meaning retrieval and ‘faithful' prosodic imitation? Reputedly untranslatable, even impossible since value and truth are intrinsic to it, the translation of poetry puts forth genuine bets and challenges to reveal, and difficulties and dilemmas to surmount. Avoiding standardising, even stigmatising typologies, and making good use of creativity are among the pre-requisites of a good translation of poetry.

In the two distinct contexts of enterprise and university, faced with a transversal digital transformation, this bibliographical exploratory study aims to question the possible relationships between the effects of the pyramidal model on communicational practices within the organization, and the reverse pyramidal model on teaching practices, respectively for the benefit of employees and learners in the organization. The set highlights the double hypothesis of a convergent demotivation and empowerment process for employees and learners.

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.

In the 1970s and 1980s, visual semiotics was studied mainly by Greimas and his pupils Floch and Fontanille. In 1988, scholars with an interest in images moved beyond the methodological framework of Barthes and Eco to hold a congress at Perpignan in an extension of the International Association for Semiotic Studies. In 1989, they established the International Association for Visual Semiotics, holding its inaugural congress in 1990 and establishing its name in 1992. The association is currently active and, despite limitations on the inclusion of the auditory, olfactory, and tactile senses, has established and institutionalized research in the formative arts (painting, sculpture, architecture, etc.), photography, design, film, video, advertising, and digital imagery. With its epistemologically multidisciplinary characteristics, it is developing into a cross-disciplinary field which encompasses the digital, the humanities, linguistics, phenomenology, sociology, psychology, anthropology, and so forth. Art requires the interpretation of meaning as a visual sign, and contemporary art requires the artist to give a statement about the process of art creation and the artist's intentions or ideas. Artists come to communicate with the world or audience by forming a discourse about their microcosm, the concepts and philosophies surrounding their microcosm in the production process, materials and familiar media, and tools. This requires a multidisciplinary approach. However, artists are limited in their ability to incorporate all disciplines. Here, visual semiotics can play a direct role in shaping the narrative of the creative process and provides an appropriate stimulus for the sequence of idea generation and statement in art creation.

The Covid19 pandemic has disturbed the Moroccan economy and forced companies to reorganize work. The boundaries between work-life and personal life have blurred. The pandemic has intensified the challenges women were facing in business. Working women who are busy with family responsibilities always have an extra workload. Today, sanitary measures, the closure of schools and childcare systems, the saturation of hospitals have placed increased demands on women to support their families. We have interviewed human resources managers and executives from two Moroccan companies to uncover the status of their women's talent pipeline within these circumstances and understand the impact of the pandemic on the women's “employee experience”. The ultimate objective of this article is to explore and analyze the impact of the pandemic on the women's “Employee Experience” in these two Moroccan companies

Anthropologies, whether local or fundamental, suffer from problems of fragmentation or foundation that make it difficult for them to propose answers concerning the origins of technique and semiotics, even though both are essential markers of the differences between Homo and all other animals. In an attempt to provide answers, this article proposes to adopt an anthropogenic approach on the « long time » and to look at the way in which Homo has been constituted, darwinianally, as a techno-semiotic animal, over the last two million years. The choice of the « long time » of course calls for referentials that allow us to free ourselves from particular periods, civilisations and situations. Thus, for example, in this article, we have been interested in the geometry (topology) of Homo's body which, unlike that of other animals, is particularly segmenting, tranversalizing and panoplic. These three topological characteristics of Homo's body would have made him particularly apt to become a technical animal, at least if we consider that technique begins with instruments, already known to animals, but that later Homo would have articulated them into panoplies and protocols, unknown to animals. Now organised in 'toolboxes', these instruments would have become 'tools' and the starting point of technique. In a similar way, the segmentarising body of Homo would also have been conducive to the emergence of the sign, defined anthropogenically as a segment of the Universe which, through various links, thematises other segments of the Universe, in a pure manner, without operational charges. A finger, a thematizing segment, pointing to an object, a thematized segment, is already a sign. Such an anthropogenic approach, over the long time, apparently makes it possible to propose common origins for technique and semiotics, here for example on the basis of notions such as the segment, the panoply, and the protocol, which are valid over several million years. But, beyond the conclusions of this article, it is probably the choice of referentials independent of periods, civilisations and particular situations that is most likely to stimulate all researchers interested in the human sciences and Homo's achievements in all fields. Most of this article is inspired by the book ANTHROPOGENY, by the philosopher Henri VAN LIER (1921 - 2009), and almost all of his texts on general anthropogeny and local anthropogenies are available on the website http://www.anthropogenie.com/

The purpose of this article is to consturct the problematics of the semiotics of Covid-19. There are three main dimensions of this inquiry which are agentivity, narrativity, temporality. In the first section, the author attempted to apprehend 6 semiotic features of the pandemic which are ethical, political, axiological, ontological, epistemological, methodological. In the second section, some semiotic isotopies of the narrative discursivity of the Covid-19 are suggested. In terms of the temporality, the non-linearity is underlined. In conclusion, this work insisted on the necessity of constructing the concept of deep narrativity and the infinite responsibility of the human beings.