L’immersion fictionnelle, ou comment concilier art et émotion en cours de langue
Bibliographic record
Abstract
Cet article porte sur l’expérience artistique en classe de langue sous l’angle des réactions verbales. Nous proposons d’analyser les interactions orales recueillies lors d’une activité de commentaire de photographies mise en œuvre en classe de français enseigné comme langue étrangère auprès d’apprenants adultes en contexte pluriculturel. Notre perspective est focalisée sur l’une des formes de réception des œuvres, l’immersion fictionnelle. Grâce à une analogie perçue entre l’univers fictionnel et le monde réel, les apprenants construisent de l’empathie envers l’un des personnages de la photographie, ce qui les amène à participer pleinement à la fiction. Ce phénomène se manifeste par l’attribution de paroles aux personnages de l’image. C’est à travers la notion de polyphonie énonciative que nous étudions différents extraits recueillis devant la photographie Les mariés d’Arthur Tress. Lorsque les apprenants font précéder les énoncés des personnages d’un verbe introducteur, ils se comportent comme des metteurs en scène donnant des instructions à leurs comédiens. Lorsque leurs énoncés sont dépourvus de verbes de dire, ils incarnent véritablement les personnages à la manière d’acteurs.
 
 Fictional Immersion: Combining Art and Emotion in the Language Classroom
 
 Abstract: The article deals with the verbal reactions induced by an artistic experience in a language classroom. Our perspective is to analyze the oral interactions triggered by an activity asking adult learners to comment on photographs in lessons of French taught as a foreign language in a pluricultural context. This paper focuses on fictional immersion, which is one of the possible reactions to the pictures. As they perceive a form of analogy between the fictional universe and the real world, the students build empathy with one of the characters in the photograph, which encourages them to fully participate in the fiction. They speak the parts of the characters on the image. The notion of enunciative polyphony helps us to study different excerpts where the students comment on the photograph Bride and Groom by Arthur Tress. When the learners use a verb to introduce the characters’ utterances, they behave as stage directors giving instructions to actors. When they do not use such verbs, they truly embody characters, just like actors do.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".