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.

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.