Les jeux et les hommes
01 Jan 1960-Vol. 34, Iss: 4, pp 374
About: The article was published on 1960-01-01. It has received 382 citations till now.
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TL;DR: In this article, the authors examine the cases of kurash (Uzbekistan), gouren (Brittany, France) and kokh (Armenia), three wrestling styles that recently experienced or are still experiencing an institutionalisation process.
Abstract: Wrestling is a worldwide activity, defined by some universal logics and taking various forms. There are many geographically or culturally based wrestling styles that are generally considered traditional. Wrestling itself is the signifier of different dimensions, being altogether a challenge, a cultural element and a liminal interaction between the imaginary and the body. It is an example of body culture considered as a collective symbolic wealth, diffused by the reputation of some techniques and the association with some cultural or social groups. The notion of tradition is associated with the sports and rooted in a customary and cross-generational mode of transmission. This paper examines the cases of kurash (Uzbekistan), gouren (Brittany, France) and kokh (Armenia), three wrestling styles that recently experienced or are still experiencing an institutionalisation process. These symptomatic wrestling styles face the question of conciliating uniqueness and adaptation to the cultural framework of sport. In...
6 citations
5 citations
01 Oct 2001
TL;DR: In this paper, the authors discuss the strategies d'apprentissage which devraient permettre des negociations efficaces entre l'apprenant and la langue.
Abstract: Le cours de langue de specialite est un espace dans lequel un certain nombre de mediations existent, se transforment, se remplacent. Parmi celles-ci, il y a les strategies d’apprentissage qui devraient permettre des negociations efficaces entre l’apprenant et la langue. Toutefois, en milieu universitaire, les conditions ne sont pas toujours favorables a un travail efficace. En outre, les strategies ne sont pas toujours acquises au depart par les etudiants et il y a egalement des problemes considerables de motivation. L’enseignant peut alors jouer un role de mediateur entre tous ces differents elements distincts, surtout au debut d’un cours ou il est le centre de l’attention. Il serait interessant d’examiner les mediations qu’il met en œuvre et comment, selon les theories du jeu, il peut servir d’agent-mediateur entre le jeu, l’apprenant et la langue a maitriser.
5 citations
01 Jan 2009
TL;DR: It appears from these experiments that the technological supports positively affect collaboration and creativity with the Revue des Interactions Humaines Médiatisées Vol 17 N°2, 2017 72 Persona method and optimized the Requirements analysis phase and particularly the collection of user needs.
Abstract: In this paper, we present two experiments to test the impact of collaborative technology to support the Persona method. In the first experiment, 24 designers used the Persona method to anticipate user needs for the design of an ambient device. These participants were affiliated with one or other of the following experimental conditions: with or without interactive Tabletop. In a second experiment, we asked at 12 designers of Alstom Transport company to generate user requirements related to the introduction of the Smart glass in public transportation. The working sessions were conducted in a multi-user virtual environments (MUVE): Second Life. It appears from these experiments that the technological supports positively affect collaboration and creativity with the Revue des Interactions Humaines Médiatisées Vol 17 N°2, 2017 72 Persona method, and optimized the Requirements analysis phase and particularly the collection of user needs. Finally, we discuss of the advantages and disadvantages of the use of these technologies in design projects.
5 citations
Dissertation•
30 Sep 2011
TL;DR: In this article, the concept of the transitional phenomenon has been explored in the field of ceramic glaze, and it has been shown to be a necessary element of the artistic process of glaze.
Abstract: This research by practice into the visual and aesthetic qualities of ceramic glaze investigates
its ability to create an impression of depth. Because perspectival depth alone can not fully
account for my artistic concerns, and the requirements of perspectival illusion are at odds
with some of my major artistic preoccupations, such as an interest in accidents and
imprecision in material rendering, I raised the hypothesis of a poetic dimension of depth,
posing the research question for this project:
“What is poetic depth in a ceramic glaze?”
Traditionally, research into glazes focuses on aspects of material science, craftsmanship,
archaeology or art history, and optical depth has been the subject of investigations into the
microstructure of glaze. By seeking to address the aesthetic dimension of glaze I am moving
away from such concerns. While the aesthetics of ceramic glaze is a new field of research,
with little existing material, I am seeking to find parallels with practice, theories and research
from the field of literary poetry, even though by ‘poetic’ I am referring to a quality that is not
only mediated by language and goes beyond the field of literature. Further, I am also
referring to Gaston Bachelard’s approach to material imagination through his poetics of the
natural elements and to the concept of transitional space developed by psychoanalysts of the
British Independent Group, Donald Winnicott and Marion Milner.
My thesis consists of a threefold dialogue between my artistic practice of glaze, theories and
practices of literary poetry and the concept of the transitional phenomenon.
My findings are at the intersection of those three elements, and they are the results of my
investigations through both making and writing:
• ‘Poetic tension’ is a paradoxical and conflicting process between authority – the ability
to control – and subjectivity on the one hand and factors of dissent, questioning the
very possibility of authorship, on the other: among these are the unconscious and the
materiality of the glaze.
• The concern for interiority is a central element of poetry, the transitional phenomenon
and my works.
• My practice of glaze is an attempt to re-enact and objectify the fusion between the
self and the world, addressing the issues of the illusion of all-encompassing
subjectivity and the disillusion of objectivity, both key elements of the transitional
phenomenon.
• Play has been a natural development of my practice of glaze and I further established
parallels with the literary poetic in a shared aspiration for subversion, dissent and
laughter.
• The concept of the formless permeates Bachelard’s material imagination and my
practice of glaze. Moreover it is often a prerequisite for Winnicott’s and Milner’s
approach to creativity and play.
• Failure is the essence of a certain form of poetry, which Georges Bataille summed up
as the ‘Impossible’. It is also a key aspect of my practice of glaze: an essence of flux
or a further element of play whose irresolution or unlikely balance can create yet
another dimension of the poetic.
• Flux is a necessary element of glazes but it also summarizes the dynamics and
dialectics of the transitional phenomenon and of the Bataillean ‘Impossible’ and the
playful poetic.
All three strands: my practice of glaze, the literary poetic and the transitional
phenomenon intertwine, cross-fertilize and develop in parallel. Together, they have
helped articulate the concepts and the artistic vocabulary through which the poetic and
the transitional phenomenon have become operative categories of aesthetics, artistic
practice, and of research processes.
5 citations