Cultural mediation

Forma parte del dossier “Panamericanismo, hispanoamericanismo y nacionalismo en los festejos identitarios de América Latina, 1880´-1920´. Performances y encrucijadas de diplomáticos e intelectuales”, coordinado por Pablo Ortemberg,  en Anuario IEHS 32, 2017, pp. 111-134.

El ensayo nace como parte de una investigación mayor que se publicará sobre la inserción profesional docente en la Universidad de Costa Rica. Su finalidad en la investigación en curso es la de explorar los aportes de los estudios sobre competencia cultural e inteligencia cultural, para identificar planteamientos teóricos que fortalezcan nuevos espacios para la mediación cultural docente en la Universidad. Se concluye que el concepto de competencia cultural representa un aporte importante, si se revisa la idea de cultura que suby ace y se le transforma en “competencia intercultural”. Luego, se define mediación cultural, evidenciándose la importancia de la nueva figura profesional en el contexto actual, los ámbitos de acción donde se ha empleado y se manifiesta la necesidad de promo ver mediadores y mediadoras culturales en Costa Rica también.

The presence in the classrooms of students from different
cultural and religious traditions has been an important challenge
for the Spanish educational system. With the aim of analysing
how cultural diversity is taken care of and worked on in schools
in Catalonia, we have carried out an ethnography in eight public
centres of maximum complexity. Despite the actions promoted Azioni per prevenire il razzismo e la xenofobia nelle scuole
by the educational administration and the centres and having
detected some successful experiences, the observations and interviews have allowed us to see the persistence of cultural and racial
stereotypes among students and also between teachers and families, and of subtle and blurred discriminatory attitudes and practices in the hidden curriculum. We analysed the role of two figures: the intercultural mediator in the case of pupils of foreign
origin and their families and that of the gypsy school promoter in
the case of pupils of gypsy origin. Both figures are key to improving coexistence in schools, preventing conflicts, making students
intercultural competent and fighting racism and xenophobia.

La presente obra aborda la formación en comercio exterior desde una perspectiva novedosa, por cuanto, además de los conceptos temáticos desarrollados, presta especial atención a la mediación lingüística y cultural e incluye actividades que potencian el desarrollo de competencias lingüísticas y culturales, con el inglés como lengua franca y como vehículo fundamental de comunicación entre socios de distintos países. Además, incluye aspectos muy actuales y de gran relevancia en el éxito de la estrategia de internacionalización de las empresas, como el marketing digital y sus implicaciones en el ámbito de la localización. La obra presenta un compendio de los diferentes campos que intervienen en las operaciones comerciales internacionales, tomando como punto de partida los conceptos generales del comercio exterior, agrupados según las distintas estrategias empresariales que se deben poner en práctica a la hora de llevar a cabo un proceso de internacionalización de las actividades comerciales.
Disponible en:
https://www.comares.com/libro/el-comercio-exterior_88721/
https://www.amazon.es/Comercio-exterior-Carmen-%C3%81lvarez-Garc%C3%ADa/dp/849045678X/ref=sr_1_fkmr0_2?s=books&ie=UTF8&qid=1550485081&sr=1-2-fkmr0&keywords=comercio+exterior.+mediaci%C3%B3n+ling%C3%BC%C3%ADstica

The availability of language services for patients with limited English proficiency has become a standard of care in the United States. Finding the resources to pay for language programs is challenging for providers, payers, and policymakers. There is no federal payment policy and states are developing policies using different methodologies for determining costs and reimbursement rates.  is paper establishes a conceptual framework that identifies program costs, can be used across health care entities, and can be understood by administrators, researchers, and policymakers to guide research and analysis and establish a common ground for informed strategic discussion of payment and reimbursement policy. Using case study methods, a framework was established to identify costs and included determining the perspective of the cost analysis as well as distinguishing between the financial accounting costs (direct, indirect, and overheard costs) and the economic opportunity and subsequent utilization costs.

RESUMO: O presente artigo se coloca como uma investigação dos processos de educação realizados em espaços expositivos e centros culturais voltados para arte. Em vista disso, se abordará a mediação nos espaços expositivos, falando de como a mudança no campo artístico incorporou ao sistema a necessidade de um educador, neste caso específico de um arte-educador, dentro do espaço museológico. Será também explicitada a origem do termo mediação, trazido de Lev Vygotsky, para substituir os ultrapassados termos visita guiada e monitoria. E, por fim, o artigo trabalhará questões estritamente ligadas à exposições de arte, enfatizando a importância e o papel do mediador. PALAVRAS-CHAVE: Mediação; arte-educação; espaços expositivos. 1-As mudanças na arte e a necessidade de um diálogo Nos tempos contemporâneos, onde houve um redimensionamento dos limites poéticos e parece que tudo pode ser objeto artístico, fica cada vez mais difícil a Arte não ser colocada como área de conhecimento para poucos iniciados. Ao público leigo que entra em prévio contato com a arte geralmente através de exposições, parece estranho deparar-se com um ready made 1 Ao tornar-se limitada a uma elite detentora de conhecimento, proprietária do habitus culto e participante do campo, a arte promove-se cada vez mais complexa e de difícil compreensão para o público em geral, conforme Bourdieu (1989, p. 285-6): de um objeto qualquer sendo categorizado como obra. Da mesma forma, causa estranhamento chegar a um museu ou espaço cultural e ser impassível diante de um vídeo onde o artista se mutila, colocando sua vida em risco. "A experiência da obra de arte como imediatamente dotada de sentido e de valor é um efeito da concordância entre as duas faces da mesma instituição histórica, o habitus culto e o campo artístico que se fundem mutuamente: dado que a obra de arte só existe enquanto tal, quer dizer, enquanto objeto simbólico dotado de sentido e de valor, se for apreendida por espectadores dotados de atitude e da competência estéticas tacitamente exigidas, pode-se dizer que é o olhar do esteta que constitui a obra de arte como tal, mas com a condição de ter de imediato presente no 1 Conceito de apropriação de objetos colocados dentro de espaço expositivo, re-significando o objeto e colocando-o como obra de arte. Criação de Marcel Duchamp, em 1917, ao enviar um urinol (A Fonte) para um Salão de Artes em Paris.

Language interpreting serves communicative purposes. Who does it serve, how and why? At the other end of interpreting service provision, contractors, public regulators and end users have a key role in the development of interpreting as a profession. Looking at the big picture and locating interpreting within it brings our attention to networks of actors, other than the interpreters themselves, with diverse – and divergent – interests. To study such actors, this chapter turns the interpreting activity inside out: it places the focus not so much on the activity itself but rather on the locus of interpreting in the social fabric.
Competing conceptions and behaviours around language and communicative needs are explored through three case studies. The first case study is one of a simple configuration of actors around the circumstances in which conference interpreting first became professionalised at the time when AIIC was born. The second case focuses on sign language interpreting and the way the need for it is conceptualised. The third and final case shows higher complexity both in terms of the variety of actors involved in the analysis and in terms of the existence of divergent interests. It explores the situation of court interpreting in the United Kingdom, Spain and Ireland. 
Two analytical tools are provided to approach the study of external players in the development of the interpreting profession. Firstly, a typology of players reflecting the logic of service provision helps identify categories for analysis. Secondly, after the presentation of the case studies, a diagram maps out factors of variation in the configuration of players.
The more complex the configuration of players the more relevant it is to gain a sophisticated understanding of the map of players. ‘Ideational factors’ such as different players’ representations of the need for interpreting or their vested interests are worth particular attention.

Cours à la Association Nationale des Méditeurs
9/10 Mars 2017 - Paris (France)

L'arrivée d´un très important nombre de migrants dans cette période de l'histoire de l'Europe est
devenue l'un des plus importants défis sociétaux.
La demande pour les agents sociaux et les institutions publiques et privées dans la gestion de la
diversité est en croissance. Dans l'environnement social actuel, les professionnels qualifiés sont
recherchés pour leur compétence à gérer positivement les conflits.
La formation en médiation interculturelle apparaît maintenant comme un instrument essentiel dans la
gestion de cette nouvelle réalité européenne.

Est-ce qu’un linguiste envisage la médiation de la même façon qu’un juriste ou un didacticien ? Est-ce que la médiation cognitive a quelque chose à voir avec la médiation interculturelle et la médiation institutionnelle ? Est-ce que le médiateur culturel, le médiateur social et le médiateur urbain exercent le même travail ? Lorsque la médiation apparaît dans des textes ou des discours, on saisit sommairement à quoi elle renvoie, d’autant plus que sa définition s’enrichit des connaissances, des compétences, des pratiques et des situations propres aux domaines qui la concernent.

Cet ouvrage questionne « l’essentiel de la médiation » suivant le regard des sciences humaines et sociales. Des scientifiques, experts, professionnels apportent des éclairages par une approche globalement pluridisciplinaire et quelquefois interdisciplinaire, à partir des sciences du langage, sciences de l’information et de la communication, sciences de l’éducation, sociologie, philosophie, droit. Leurs contributions mettent en lumière des traits conceptuels transdisciplinaires faisant consensus, dans le but de parvenir à une caractérisation conceptuelle à la fois transversale et autonome de la médiation.

By ratifying the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions in June 2013, Morocco reiterates its determination as to enter the era of the democratization of culture by promoting and disseminating it and undertake this democratization really taking into account the factors of human, social and economic concealed in culture in its broad sense. If Morocco's cultural resources are of abundant richness, accessibility to these various forms of cultural expression and interest in these forms of expression by Moroccan 'regular' citizens remains unknown. Current urban trends and neo-arts are booming, creativity is at the rendez-vous. But the lack of resources, places of distributions and mechanisms of assistance and promoting culture stifles any independent energy. Creative industries are struggling to emerge, with the exception perhaps of the film industry that shows positive figures in terms of numbers in annual productions, along with the issue of distribution posed by the introduction of multiplexes and the closing of cinemas. In the absence of a real collective awareness of the importance of the integration of culture in the development process, culture and the creation in Morocco will find themselves always constrained to take their true rise and will never see their potential exploited as he could really. But fortunately, there are other alternatives to continue to stimulate artistic and cultural creativity of the Moroccan specifically that of young Moroccan. These take place for the most part in line. Indeed, one can find several internet sites, blogs, forums and platforms dedicated to culture and its derivatives. Moreover, increasingly large libraries and museums are adopting online digitized formats in order to attract more visitors and communicate about their institutions. In this graduation project, and from the experience that we have gathered at the Fotografi'Art association we will account for the way in which we worked on this project. How we chose to use and work on this resource to address a social theme, namely youth unemployment, through mediation introducing the medium of the virtual exhibition.

Language: French

Keywords: audiovisual expression, unemployment, youth, culture, audience mediation

The intermediate nature of mediation in the dispute resolution process gained prominent position in the context
of increasingly institutionalized relationships between individuals, between individuals and organizations, between
organizations, between individuals and the community. These relationships have objectivities and expression in
people's lives and in their interaction with society, which contributes to what mediation is, in addition to an ADR, a
mode of social regulation that takes the form of mediations between individuals and social environment,
completing a dual function (latent and manifest) "to make society" and "to regulate conflicts'" (De Briant and
Palau, 1999), identity expressed in the work of many professionals in the social field.
This communication, at first, debates the conceptual evolution, focusing on discussion of the objectives and
purposes of mediation in the contemporary world, and equates its importance in contexts of conflict and social
change, identifying an analytical and evaluative matrix that allow us to specify the relationship between processes
and strategies built into everyday life.

Περίληψη Σημαντική θέση στην καθημερινή επικοινωνία καταλαμβάνει η διαγλωσσική διαμεσολάβηση (cross-language mediation) –μια λειτουργία που απαιτεί την παράλληλη χρήση δύο ή περισσοτέρων γλωσσών, η επιτυχία της οποίας εξασφαλίζει την αποτελεσματική συμμετοχή των ομιλητών στις νέες πολυπολιτισμικές κοινωνίες. Στον χώρο της διδακτικής των ξένων γλωσσών ο όρος διαμεσολάβηση εισήχθη το 2001, όταν το Κοινό Ευρωπαϊκό Πλαίσιο Αναφοράς για τις Γλώσσες (ΚΕΠΑ) (Συμβούλιο Ευρώπης, 2001) την συμπεριέλαβε μεταξύ των τεσσάρων βασικών επικοινωνιακών δραστηριοτήτων για τη διδασκαλία, μάθηση και αξιολόγηση της γλωσσομάθειας (μεταξύ δηλαδή των: κατανόησης, παραγωγής λόγου και διάδρασης). Ο ρόλος του διαμεσολαβητή, όπως εξηγείται στο συγκεκριμένο άρθρο, είναι να μεταφέρει πληροφορίες και μηνύματα από την μια γλώσσα στην άλλη λειτουργώντας ως "ενδιάμεσος" σε μια περίσταση επικοινωνίας, και εξηγώντας μηνύματα που άλλοι συνομιλητές δεν μπορούν να κατανοήσουν γιατί δεν γνωρίζουν τη γλώσσα που χρησιμοποιείται (Stathopoulou, 2015; Dendrinos, 2006). Στρατηγικές τις οποίες θα πρέπει να μπορεί να αξιοποιήσει ο μαθητής της ξένης γλώσσας για να διαμεσολαβήσει (mediation strategies) αποτελούν στόχο του Ενιαίου Προγράμματος Σπουδών για τις Ξένες Γλώσσες (ΕΠΣ-ΞΓ) που, μεταξύ άλλων, επιδιώκει την ανάπτυξη δεξιοτήτων παράλληλης χρήσης της Ελληνικής και της ξένης γλώσσας και αποτελεσματικής λειτουργίας του μαθητή ως διαμεσολαβητή. Το καινοτόμο αυτό πρόγραμμα, που αναπτύχθηκε κατά την περίοδο 2010-2011 και εφαρμόστηκε πιλοτικά σε ορισμένα σχολεία της χώρας, εισάγει για πρώτη φορά στην διδασκαλία ξένων γλωσσών, την έννοια της διαμεσολάβησης, τονίζει την σημασία της και προτείνει δείκτες (περιγραφητές) διαμεσολαβητικής χρήσης της γλώσσας (can-do statements), οι οποίοι αποτελούν «οδηγό» για το είδος των δραστηριοτήτων στις οποίες θα πρέπει να ασκηθεί ο μαθητής κάθε επιπέδου γλωσσομάθειας. Δεδομένης της σημασίας που δίνει το ΕΠΣ-ΞΓ στην ανάπτυξη της ικανότητας των μαθητών να λειτουργούν ως διαμεσολαβητές, το συγκεκριμένο άρθρο ορίζει την έννοια της διαμεσολάβησης μεταξύ γλωσσών, εξηγεί πώς χρησιμοποιείται στο ΕΠΣ-ΞΓ και προτείνει τρόπους αξιοποίησης των νέων περιγραφητών στην ξενόγλωσση τάξη με σκοπό την ενίσχυση της διαγλωσσικής επάρκειας των μαθητών. Λέξεις-κλειδιά: ξενόγλωσση εκπαίδευση, διαγλωσσική διαμεσολάβηση, δείκτες διαμεσολάβησης 1. Εισαγωγή Σε καθημερινές περιστάσεις επικοινωνίας, πολίτες των σύγχρονων πολυγλωσσικών και πολυπολιτισμικών κοινωνιών είναι πολύ πιθανό να κληθούν να επικοινωνήσουν διαγλωσσικά (Stathopoulou, 2016; Dendrinos, 2006; Shohamy, 2006), να λειτουργήσουν δηλαδή αποτελεσματικά σε επικοινωνιακές περιστάσεις που απαιτούν παράλληλη χρήση δύο ή περισσοτέρων γλωσσών. Γίνεται ολοένα και πιο σύνηθες το φαινόμενο ομιλητές μιας γλώσσας να χρησιμοποιήσουν τις γνώσεις που έχουν αποκτήσει και τις επικοινωνιακές δεξιότητες που έχουν αναπτύξει ώστε να λειτουργήσουν «διαμεσολαβητικά», να αναλάβουν δηλαδή, τον ρόλο του διαμεσολαβητή και να χρησιμοποιήσουν ταυτόχρονα περισσότερους από έναν κώδικες επικοινωνίας για συγκεκριμένους κοινωνικούς σκοπούς και ανάγκες. Δεδομένης της σημασίας που δίνει το Ενιαίο Πρόγραμμα Σπουδών για τις Ξένες Γλώσσες (ΕΠΣ-ΞΓ) στην ανάπτυξη της ικανότητας των μαθητών να μεταφέρουν πληροφορίες από τη μια γλώσσα στην άλλη αναλαμβάνοντας έτσι το ρόλο του διαμεσολαβητή, το συγκεκριμένο

Cette recherche est destinée à identifier et à analyser la médiation culturelle à l’égard des aveugles dans deux des plus grandes institutions d’art de France : le Centre Georges Pompidou et le Petit Palais. Comment la médiation est-elle développée pour les aveugles dans ces musées ? Offrent-ils des visites spéciales ? Quels sont les types de visites spéciales (parcours spécial autonome pour les aveugles, visites- conférences, visites guidées, etc.)? Est-ce que la médiation des expositions en cours est accessible aux aveugles ? Peuvent-ils les visiter en totale autonomie ? Ont-ils besoin de prendre un rendez-vous
avec le musée pour être accueillis ? Ce mémoire s’appuie sur ces questions pour essayer de mieux comprendre ce qui est mis à disposition de ce public si particulier aujourd’hui. Elles sont le point de départ qui guidera les observations in loco lors de l’accompagnement des visites. Le suivi des médiations étudiées est un critère essentiel pour le développement d’un regard critique sur ce qui est actuellement mis en place dans les musées.

The explanation texts were adopted as fundamental elements of the exhibition's museography in the 18 th century. With the emergence of the contemporary art movements in the 1920s, an important transformation took place. Following the assertion that every object can be a priori considered a work of art, the exhibitions had to determine guidelines in order to assure a link between the public and a work that could sometimes turn out to be incomprehensible. The accompanying text then conquered a position it had not yet achieved, as the works of art became " textobjects " (Cauquelin, 1996). In this disruptive context, is it possible that the piece's explanation discourse becomes more than a supplement, evolving towards a part of the piece itself? Or would it primarily act as a " parergon " in the Kantian sense, an accessory, an hors d'oeuvre, characteristic that is generally attributed to the painting's frame?

Nada sucede porque sí. Detrás de cada acción siempre hay alguien ocupándose de los detalles. Y todos hemos estado en ambos lados de esa ecuación que conecta a quien (se) dona con quien recibe: una veces somos beneficiarios netos y en otras nos toca hacer lo necesario para que sucedan cosas. Todos en consecuencia somos capaces de entender la importancia del trabajo afectivo y a todos nos sobran motivos para entender la importancia de la mediación. No faltan estudios que exploran las consecuencias despilfarradoras, además de tremendamente injustas, que tienen para las organizaciones la falta de aprecio que padecen los trabajadores cuya principal función sigue siendo cuidar de los demás; es decir, saber lo que necesitan sin que lo pidan, airear la habitación antes del evento, crear conexiones para que todo fluya, disponer los rotuladores, paneles, sillas y agua para que nadie se atasque en las contingencias, llevar en el bolso...

Avec "Mon cahier d'archéologie dès8 ans", les enfants et les pré-ado de 8 à 16 ans vont entrer dans le monde de l'archéologie de façon pédagogique et ludique.  En suivant Augustin, leur ami curieux et intrépide, ils accompagneront Alex et Lisa dans leur quotidien de chercheurs et se glisseront à leur tour dans la peau d’un archéologue.

Chaque étape du cahier illustre un aspect particulier du métier d’archéologue (prospection, fouilles, dessin…) et permettra à l’enfant, seul ou accompagné, d’explorer le patrimoine français ou étranger.

Les activités nombreuses et variées de ce cahier (mots fléchés, mots cachés, labyrinthes, rébus, jeux d’observation, …) s’enrichissent d’un contenu en réalité augmentée, disponible gratuitement sur toutes les plates-formes.

Le cahier contient aussi un poster d'un chantier de fouilles et un diplôme d'archéologue en herbe.

This publication was created as part of the → Arts and Audiences Programme of Pro Helvetia, the Swiss Arts Council. This programme, which ran from 2009 to 2012, sought to strengthen the practice of cultural mediation in Switzerland and encourage the assignment of higher priority to cultural mediation in approaches to the promotion of the arts and culture. The programme was also intended to stimulate the creation and exchange of knowledge in the professional field of mediation and contribute towards improvements in the quality of cultural mediation practices.

Against this background, Pro Helvetia commissioned the → Institute for Art Education of the Zürcher Hochschule der Künste [Zurich University of the Arts] to conduct research that would support the programme. In that context, the Institute was asked to develop a tool which cultural mediation practitioners, institutions and funding bodies could use in the course of their daily work to help them place cultural mediation activities in context and assess their quality.

This publication is intended to be such a tool. It explores key questions in the professional field of cultural mediation in nine chapters. The short introductory texts labelled “Quick Reads” discuss key aspects of cultural mediation: relevant terms and concepts used in different linguistic areas, whom it is intended to reach, its content and subject-matter, its functions, the people and institutions involved in it, its quality and the ways it is presented and documented. These short texts also raise issues for further exploration and describe the controversies associated with this professional field. The “Quick Reads” were written by Carmen Mörsch, the Director of the Institute for Art Education, with editorial support from Eva Richterich, the Director of the Arts and Audiences programme, and Christian Gyger, the Coordinator of Pro Helvetia’s working group on Mediation. The texts reflect the perspectives of the researchers who supported the programme and were created in the context of intensive dialogue between themselves and Pro Helvetia. The texts labelled “Quick Reads” were designed to enable a reader (even one new to the field), to gain a good overview of the main topics, practices and issues associated with this professional field. In each of the nine chapters there is also a text under the heading “For Reading at Leisure” which explores the subject in greater depth. Adopting an example-based approach, these longer texts delve into the questions raised in the “Quick Reads” texts from the angle of what a critical and analytical approach to cultural mediation might be. They are intended for readers who want to explore the topic of cultural mediation in greater depth. Carmen Mörsch is the author of the texts “For Reading at Leisure” and is solely responsible for their content (with the exception of Text 9.RL, which was written by Stephan Fürstenberg).

In addition, under the banner “Changing Perspectives”, professionals from relevant fields in Switzerland – mediation, promotion of the arts and culture and the directors of cultural institutions – were invited to express their views on the nine questions addressed. Their positions and attitudes augment the perspectives provided by the researchers and their voices lend additional dimensions to the publication.

To illustrate the topics discussed in the nine chapters, Anna Chrusciel, co-director of the programme’s research track, compiled two comparative case studies, each analysing two projects. Examples of mediation in the area of the literary arts were chosen as the subject of these studies because that area tends to be underrepresented in the world of Swiss mediation. Drawing their examples from Germany, France and England, the case studies illustrate how people can use the questions posed at the start of the nine chapters to evaluate cultural mediation projects in a more differentiated light.

The format of the online publication, available in four languages, permits the texts to be read in the order of their presentation or in a sequence or selection of the reader’s choice. A clear and simple outline displayed to the left of the texts facilitates navigation through the publication. Should a need or interest arise, readers can follow links to entries in the glossary or to other texts in the publication. Other links lead to the resource pool, which contains additional materials, which cover certain subjects at greater detail or in greater depth. It is also possible to download the entire publication as a printable PDF file, for those who prefer reading texts on a printed page to reading on a screen.

We hope that the title of this publication “Time for Cultural Mediation” will be understood in multiple ways. It refers, in one sense, to the growth in recent years of interest in cultural mediation, both in Switzerland and internationally, not only among cultural and educational policymakers and in the public at large, but also in the artworld itself.

The last two decades have seen the institutionalization of cultural mediation as a well-established professional field: it is associated with a range of discourses and occupational profiles, is the subject of scholarly research and it has its own professional associations. Thus it is now time to examine this professional field more closely and take a position vis-à-vis the questions that arise in it. This publication proposes to do that.

In view of the variety and complexity of cultural mediation practices, the aspiration to define a position which can serve as a basis for individual decisions (in mediation work, in funding, etc.) suggests another way of reading the title: “Finding Time for Cultural Mediation”, in the sense that concentrating on cultural mediation and developing the knowledge that entails requires time. Here, too, we hope this publication will be helpful, by providing a time-saving and structured survey of the field, which encourages its readers to think further.

Finally, the title is also intended as an appeal: “Giving Time to Cultural Mediation”. Advances in the field of mediation will require investment of the resources necessary to create the kinds of working conditions that provide leeway for experiments and productive failures. It is our hope that this publication will provide a great many stimulating ideas in the light of which such an investment will appear worthwhile from many different perspectives.

Résumé

Pour étudier la médiation comme projet, procédure et processus, l’article se propose d’étudier les effets de l’action déployée par les médiateurs en fondant l’analyse sur une référence empirique : celle des correspondants de Beaubourg pour les années 1970-1980. L’analyse des effets de l’action des médiateurs permet d’en découvrir la pluralité : effets d’incitation, effets d’identification, effets de régulation, effets de fidélisation, que l’on découvre être régulièrement à l’origine de la transformation, souvent sensible, de pratiques culturelles. Les dispositifs de médiation opèrent donc un pouvoir de structuration des pratiques en transformant des façons de vivre des relations à l’art, des expériences culturelles. La mise en évidence de la multiplicité des effets des actions développées par les médiateurs suggère qu’ils définissent la part invisible des politiques de la culture, part invisible qui s’explique par le pouvoir ignoré, parce que rarement étudié, de ces mêmes médiateurs.

Abstract

The influence of mechanisms of mediation in structuring cultural practices : the case the correspondents of the Centre Pompidou

So as to study mediation as project, procedures and process, this article undertakes an empirical analysis of the effects of the action of mediators, via a case study of the correspondents of the Beaubourg in 1970-1980. This study reveals numerous effects of mediators’ actions. At the origin of the transformation of cultural practices one observes effects of encouragement, identification, regulation, and loyalty-building. These mechanisms of mediation have the power to structure practices and transform ways of living the relation to art and cultural experiences. Revelation of the multiple effects of actions undertaken by mediators suggests that they define an invisible portion of cultural p

El propósito de este artículo es presentar un estado del arte de la noción de mediación artística. Por medio de una revisión histórica y bibliográfica del concepto de mediación se abordan las principales dimensiones teóricas y metodológicas del término y se elaboran interpretaciones sobre su práctica en contextos específicos como los museos. Además de  profundizar en la propuesta específica de la pedagoga alemana Carmen Mörsch, este artículo ofrece algunas consideraciones críticas de la mediación artística y se discuten sus límites y posibilidades. Finalmente, se ahonda en los desafíos político-culturales del término y se elabora una lectura teórica en miras a su aplicación práctica en centros culturales, museos y espacios artísticos en general.

Ponencia en las
JORNADAS PRÁCTICAS DE MEDIACIÓN EN CONTEXTOS INTERCULTURALES CON PERSONAS DE OTROS PAíSES Y/O CULTURAS

dentro del
CURSO PRÁCTICO ESPECIALIZADO EN MEDIACIÓN EN CONTEXTOS INTERCULTURALES.

Celebradas en la Universidad de Alicante el 19 de mayo de 2017

Intercultural mediation (IM) is a form of translatorial intervention which takes account of the impact of cultural distance when translating or interpreting. The aim is to improve access through recontextualisation, and involves 're-writing' (Cultural approaches) 'recreating' or 'transcreating'. There are two principal ways of considering IM. First, as intervention to ensure successful intercultural communication across cultures, whereby the translator/interpreter (T/I) accounts for possible cultural misunderstanding (loss or distortion of meaning); and second as intervention to support vulnerable cultural groups, to ensure that their voice is heard and that their differences and rights are respected.
The idea of a translator as a mediator between cultures began to gain popularity with the cultural turn* in the 1980s, and with the warning that "the translator treats the text in isolation from the culture at his peril" (Bassnett 1980: 14). Interpreting scholars began discussing the issue a little later, but now the issue of what to account for “lies at the crux of the interpreter’s dilemma” (Mikkelson (2008: 87).
Beaugrande and Dressler explain that the text needs more mediation, or interpretation, the more that meaning in the text is hidden. If meaning in the text is "self evident" (1981: 163) then no mediation is necessary. Hence, translation itself is mediation. However mediation of the discourse is not enough. The mono-cultural listener/reader, as outsider, will necessarily associate their own context of culture or model of the world to the discourse and thus is likely to lose or distort the intended arrays of meaning. So, mediation becomes intercultural when the T/I manipulates* the discourse to account for what is hidden, lost or distorted due to culture.
However, there is heated debate over not only how and how much the T/I should intervene, but also regarding intervention itself. In fact, IM is specifically forbidden by most T&I institutions. For example, Canada's National Standard Guide for Community Interpreting Services (2007) (similar to most translation guidelines) clearly states that “there should be no distortion of the original message through additions, omissions, or explanation" (p. 23), and that "Standards of Practice do not endorse cultural brokering" (p. 21).

The following discussion divides IM into its two principal areas of focus: language and communication, and cultural identity. The order of progression in the discussion, from language, communication to identity also reflects the historical discussion regarding the academic view on the T/Is' role, which is continually pushing towards greater levels of intervention and responsibility in their consideration of cultural difference.

L’analyse contenue dans ce mémoire sur quatre expositions qui ont eu lieu en Angleterre est très chère pour la construction de l’histoire des expositions. Les informations liées à ces événements sont restées plusieurs décennies dans le noir, enfermées à l’intérieur de boîtes d’archives des musées. La mise en lumière de ces accrochages ainsi que ses caractéristiques très spécifiques au public ciblé et de médiations ajoutent un « onglet » de plus dans les types de classification d’expositions. Cette recherche essaye de prouver qu’une nouvelle typologie d’exposition a été créée pendant les années 1970 au Royaume-Uni : les expositions mixtes. Pendant l’émergence et la consolidation de l’art contemporain, les auteurs de ces expositions ont exploré un public élargi et ont pris le défi de mettre en place des accrochages en ciblant le public voyant et déficient visuel concomitamment. Une audace qui a fait tomber des barrières à l’époque et qui malheureusement s’est perdue dans le temps.

...La médiation doit s'inscrire dans une conception holistique de la démarche archéologique, où elle participe aux fonctions heuristiques. Ceci répond à une spécificité de l'archéologie, qui est une entreprise de connaissance détruisant son objet au fur et à mesure de son dévoilement. Tout au long du mécanisme d'élimination inhérent à la fouille et au raisonnement archéologiques, l'archéologue est en effet concerné par les impératifs de la médiation, dont les besoins doivent donc également alimenter sa réflexion en amont. En ce sens, la médiation constitue une véritable exigence épistémologique, dont la légitimité remonte au coeur même de la pratique de la recherche archéologique.

This article uses multiple examples from the Czech lands? Jewish community (S. Kapper, F. Adler, A./E. Kraus, C. Hoffmann, O. Pick, P. Eisner, A. Auředníčková, G./L. Reiner(ová)) to outline the special traits of the cultural environments in both of these(former) provincial languages.

The present paper outlines the public policy approach and reflections around an art pedagogy program for public venues exhibiting contemporary art. The program assembled a multidisciplinary group of researchers and educators in a fourth month long laboratory, to debate, design and test new strategies for engaging local audiences in different art settings in Bogotá. As the curricula developer, I coordinated the lab and tutored the research of the fellows, to finally edit a book with the results of their experiences in 2014. The program was developed with the support of the Visual and Fine Arts Office of Instituto Distrital de las Artes IDARTES, the public office funding the main programs that foster the arts in the city.

It is without doubt that land disputes are the order of the day in Uganda. From litigants to mediators, cases involving hostilities ranging from strangers and neighbours to family relations and friends keep surfacing up before all sorts of tribunals either mandated by the government or not, nevertheless, recognized by the warring parties.

This paper seeks to explore the efficacy of alternative dispute resolutions, particularly mediation, over land disputes in Uganda. It does not venture to a great length into the merits and demerits of mediation per se but generally looks into the most effective way of handling mediation so as to achieve its purpose in resolving land disputes. It taps into the current law and practices on mediation and balances its effectiveness by relating it with an appreciation of similar mediation activities in other jurisdictions.

The paper thus attempts to move for a greater focus on mediation as an alternative strategy in resolving land disputes as opposed to protracted litigation before land tribunals and as such proposes new perspectives geared towards the round table option of mediation.

In light of contemporary Chinese political discourse on the function and role of the media in the relationship between the Chinese Communist Party and public opinion, this study will describe a few relevant characteristics of the Chinese media system, with a special focus on the daily press published in English. It will show that political ties in which news production is embedded in China influence content and language even when the information is ostensibly targeted at an international public. Finally, it will discuss some examples derived from Xinhua News Agency reports on an important anti-corruption case in order to trace the cultural mediation strategies enacted by the journalists to adapt the texts to an international public.
The attempt to conform to the tastes and needs of the global public opinion without betraying the country’s political specificity could be interpreted as the result of journalists’ effort to strengthen Chinese discourse power, offering a broader range of publications and giving increasing attention to internationalisation, while promoting a positive representation of China worldwide.

Como possibilitar encontros com a arte que possam envolver outros no abraço estésico? Como desconstruir mitos e predisposições que mantiveram por muito tempo a arte em um universo elitizado reservado para poucos, como aqueles abençoados pelo falso mito do “dom” ou os afortunados que têm “cultura”, como se todos não vivessem imersos em suas próprias culturas.
Não basta dar acesso, abrir as portas dos museus e das obras pela internet. Não basta oferecer informações e ampliar o conhecimento sobre obras, contextos, processos...
Como desembaraçar o olhar para ver volume numa tela plana, como queria Rothko? Ou ver sentidos em um corpo que dança ou em sons/ruídos que enchem o espaço? Como encontrar sentidos para si em algo produzido sem palavras? Como perceber que as manifestações artísticas são mergulhos de compreensão que atravessam a arte para encontrar a vida e a história de homens e mulheres?
Estas questões marcaram e continuam marcando as disciplinas sobre mediação que tenho oferecido, seja no passado no Programa de Pós-graduação em Artes Visuais no Instituto de Artes/UNESP, seja mais recentemente no interdisciplinar Programa de Pós-Graduação em Educação, Arte e História da Cultura na Universidade Presbiteriana Mackenzie.
Pensar a mediação cultural na formação de educadores tem sido buscar brechas de entrada em um mundo de cultura e arte impulsionando conexões interdisciplinares, especialmente com mestrandos e doutorandos no Mackenzie que têm formação e objetivos muito diversos.
Os caminhos traçados nesta disciplina impulsionaram a escrita deste livro, que traz a voz de seus participantes em suas ações mediadoras. Antes de apresentar cada um dos artigos, refaço brevemente o percurso conceitual e metodológico da disciplina que tem na pesquisa o seu mote.

An Ottoman Armenian dragoman (interpreter) active in Constantinople, Mouradgea d’Ohsson (1740–1807) traveled to Paris in 1784 to publish a historical overview of the Ottoman Empire. Writing in a fraught political context following the Russian defeat of the Ottomans, Ohsson forthrightly cast his publication as a defense of Islam and the Ottoman Empire. More than a textual apology, his illustrated book embodies a supreme act of cultural crossing. Written by an Ottoman, the book continues an Ottoman tradition of illustrated historiography, but it was published in French and produced by a large French team of artists and artisans of the book trade, who interpreted and transformed its Ottoman elements, creating a heterogeneous object. Borrowing the rhetorical concept of “markedness” from translation theory, I contend that, far from abandoning Ottoman conventions in order to embrace European idioms, Ohsson’s book bears signal traces of Ottoman culture, ones that were carefully preserved and even crafted by his French artist-translators.  Ohsson’s book bridges and blurs French and Ottoman cultures, suggesting their contingency and entanglement. Moreover, the process of making this book was itself a cultural encounter for those who were involved, an encounter whose traces remain visible in the final product for the viewer-reader to experience. The cumulative effect of these crossings is to see Ottoman and French forms as connected across a continuum of visual possibilities; the heterogeneity of Ohsson’s book served as an allegory of entanglement, interrelation, and alliance in the very moment when they were politically contested.

This paper analyses the representation of the invocation of Darius in Aeschylus’s Persians. Taking into consideration the language used by the poet and some aspects concerning the performance of the ritual of invocation, it is evident that Aeschylus wants to emphasise the otherness of the Persian customs. At the same time, the poet does not renounce to guide his public’s reception of the events taking place on the scene. In fact, drawing on the wealth of knowledge shared by the public, he clarifies that the dead invoked on the scene presents both human and godly features. Therefore, it is argued that thanks to a mixture of Greek elements that are more easily interpretable by the spectators, Aeschylus intends to make the Persian forms of thought more comprehensible, thus carrying out a mediation across cultures.

Questo lavoro analizza la rappresentazione dell'invocazione di Dario nei Persiani di Eschilo. Prendendo in esame alcune questioni linguistiche e gli aspetti relativi alla messa in scena del rito di invocazione, si vuole mostrare che il poeta enfatizza l'estraneità rispetto agli spettatori dei costumi persiani a cui allude sulla scena. Allo stesso tempo Eschilo non rinuncia a guidare la ricezione del pubblico, dal momento che ricorrendo al patrimonio di conoscenze condiviso dagli spettatori chiarisce che il defunto invocato presenta tratti insieme umani e divini. Si ritiene dunque che attraverso una commistione di elementi greci più facilmente interpretabili dagli spettatori il poeta intende rendere più comprensibili per questi ultimi le forme di pensiero e di civiltà persiane, compiendo un'operazione di mediazione.

Adopting a transcultural perspective, the present paper explores the cultural mediation processes involved in the practice of self-translation among those bilingual authors who write in translingual mode-that is, who write in a language (English, in this particular case) other than their mother tongue. To do so, the author of the study draws upon recent literature in the emerging field of self-translation as well as on two specific case studies: namely, the self-translational practices of translingual writers Sébastien Doubinsky and Francesca Marciano, respectively active in the English-French and in the English-Italian combination.

Roman müzisyenlerin, ‘göçebelik’ ya da ‘gezginlik’ ile açıklanabilecek özelliklerine de bağlı olarak, bir müziğin yer değiştirmesinde; farklı müziksel bağlamlara uyarlanacak biçimde dönüştürülmesinde; yeni biçim ve biçemlerinin ortaya çıkmasında; tarihsel süreç içinde korunması ve sonraki kuşaklara aktarılmasında; ve yeni toplumsal ve kültürel dönüşümlere uygun biçimde yeniden formüle edilmesinde oynadıkları başat kültürel roller belki de en iyi biçimde ‘kültürel aracılık’ kavramı ile açıklanabilir. Bu makale, bir müziği ya da müziksel unsuru farklı bir müziksel bağlama uyarlanacak biçimde nasıl dönüştürdüklerinden hareketle Edirneli profesyonel Roman müzisyenlerin Kırkpınar Yağlı Güreşleri sırasındaki ‘kültürel aracılıkla’ ilişkili davranışlarına ışık tutmayı amaçlar. Bunun için, Kırkpınar Yağlı Güreşleri sırasında seslendirilen bir güreş havası örneğinin analizi yapılır.