Contenu du sommaire

The number and severity of accidents on French ski hills is not surprising. In some ways, the preventative information put in place at the centers seems to lack efficiency. This observation begins to make sense when we analyze the phenomenon from three angles : the participants, the security apparatus, and the large sites that are ski stations. The study of these different levels and their interaction shed several explanations : on the one hand, preventative measures do not take into account the ambiguous relationships that the participants have with risk-security dialectics ; on the other, the decisional processes in regards to security are tainted with particular and local interests which are sometimes substituted for the objective of awareness.

The aim of this article is to examine the evolution of the mise-en-scène of Greco-Turkish relations as they have been constructed in Greek television series over the last forty years (1967-2007). Firstly, a diachronic sheds light on the global evolutions which operate in television fiction related to this subject. Following this, some time is spent analysing the first Turkish series recently presented in Greece. The diagetic discourse proposed by Yabanci Damat (The Foreign Son-in-Law), known in Greece as, Ta Synora ths agaphs (The Borders of Love), is studied in terms of the symbiosis between different cultural identities suggesting, beyond representations of the Other, that of oneself through the eyes of the Other.

In the digital age artistic work aims to conceive of interactive mechanisms as much as to produce forms of communication and exhibition where the public can be implicated into the process of the work. In this context, Internet sites, homepages, online workshops, mailing lists and discussion forums constitute renewed forms of sociability. On the one hand, the artist creates a space in which s/he both lives and enriches by accumulating data with the aim of creating a more or less « living » archive. On the other, s/he configures this space through servers, accesses and addresses as a universe to be experienced and lived from the inside, thus inviting the cyber visitor to temporarily inhabit the space. This article proposes a description of these relational modes between the artist and his/her audience in a context where the creation of the work of art appears to be indistinguishable from the act of reception of content which is hitherto characterized by its modularity and openness. Through the construction and distribution of this editorial content and the reading practices that make them actual, the article questions the mechanisms (frames, interfaces) and the concrete modalities of this digital sociability (contracts, rituals).

This article presents the tenants and possible conclusions of a current research project on the construction and exploitation of books and survival narratives centred on the Gestapo camp at Neue Bremm. Three hypotheses are put forth : these narratives constitute a source of information about the modalities of perception by the detainees of the functioning of the camp up until now studied from a factual point of view ; as the detainees were to be sent to « larger » camps, these writings offer a condensed vision of a first contact with the concentration camp universe, close to an « initiation » narrative ; since the year 2000, we have witnessed an editorial autonomization of certain narratives caused by more than simply the personality of the author. From this, we question the earlier framing of the research project as well as the theoretical and methodological conditions of the necessity of an interdisciplinary approach.