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In the previous lesson, we saw
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how 2 devices (video letter
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and reflective drawing) propose to the social actor
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to explore the training potential
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of their mobility when making
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a visual narration of this experience.
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I now propose to reflect
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on situations that you have experienced
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in the past, in a context of diversity.
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Social, cultural, intercultural,
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linguistic diversity. In these
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situations, have you probably
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offered to mediate
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to help someone?
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Was this relational mediation?
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or was it linguistic? Or maybe
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you have benefited from mediation?
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Try to remember! Think also
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of an intercultural situation
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of which you witnessed or acted,
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and in which there was no mediation,
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but in reflecting, you think
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it would have been interesting
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if there had been one.
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Among all the drawings made by my students
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of the FFL Master's in Didactics
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and languages, I chose
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the one that Morgane presented
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in one of my courses entitled
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"Multilingual and intercultural mediations".
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Morgane was in her forties
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when she joined our master's degree
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to become a French teacher in a UPE2A
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(pedagogical unit for allophone children
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who come to France). Like you,
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he reflected on three mediation situations
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and chose to represent one
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because it was a decisive episode
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of her academic career.
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Her drawing was first sketched
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and then painted at home. Orally
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and then in writing in her Portfolio,
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she tells the following story: When her parents
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emigrated in 1982 from the Kabylie region
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(in Algeria) to France, Morgane was less than 16 years old
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and, therefore, had to be educated
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in the French education system.
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However, her father "felt that
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it wasn't necessary to enter
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for only one year." Morgane then lives
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in France, with her parents in a small house
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next to that of a neighbor named Mélissa.
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Mélissa "was of Algerian origin
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and spoke Arabic
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and French very well.
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"One day, in the courtyard,
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she asked to speak with my mother.
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But it was me who she was talking to
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after realizing that
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my mother didn't speak the Kabyle language
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She asked me questions about my age,
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where I came from and why I stayed at home
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instead of going to school.
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I told her in Arabic that my father
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had not been able to register me.
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Before leaving,
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she asked me if I wanted to go
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to school. I said yes,
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and that I was happy to have come
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to France, but I regretted
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having left school". That afternoon
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Melissa arrives at Morgane's house.
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After having an argument with her father,
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she will inform the social services about
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the situation of a girl
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who is anxious to be educated in France.
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A few days later, Morgane will be
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enrolled in her neighbourhood’s school.
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But the girl is placed
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in a "welcoming class2 dedicated to
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learning French. And Morgane doesn't
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agree at all with this decision.
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She explains: "In my home country
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I was a very good student.
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My transfer to an inclusion class
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had really bothered me.
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I realized very quickly that my place
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should be somewhere else. A few days later,
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I went to Melissa's house, my neighbor,
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to talk about my dissatisfaction
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with the class in which
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I had been assigned.
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I asked for help and offered
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to act as an interpreter
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with the High School's principal"
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Melissa (whom you see dressed in yellow,
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on the right, in the drawing)
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then makes an appointment with the High School's principal
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and translates Morgane's speech to French
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(which you see on the left
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in the drawing) "I came to France
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to become a free woman, my sister
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got married at 15 and it's my turn soon.
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Through education,
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Me convertiré en alguien. In this class,
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I feel that I have not
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left Algeria.
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I want to join an ordinary class
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and communicate with
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French classmates.
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For me it is the ideal place to integrate
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and learn your language quickly.
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I propose a bargain. Put me
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in an ordinary class,
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give me 6 months and I will get
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the same results as the students
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in the class.
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If I fail, I will return
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to the Welcoming class"
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"My neighbor was in charge
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of translating my words and gave
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her point of view to support my request.
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The principal accepted my proposal.
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Two days later, I joined
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the regular class and
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had a personalized follow-up.
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The French teacher
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and the Documentalist had coordinated
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to give me private classes
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without charge. This allowed me
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to get a good average
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in the second half.
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Then I realized the challenge
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25 years later, Morgane resumed her studies
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to become a French teacher
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in these famous "Welcoming classes"
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(now called UPE2A in France).
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She develops educational tools
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to facilitate the learning
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of migrant children.
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Have you ever been "relegated"
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to a class that didn't suit you?
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What do we feel in this case?
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What do we do? Morgane knows that at 16
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her parents will no longer have the obligation
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to make her go to school.
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So she has six months left
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to learn French ... She must
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make haste and learn quickly.
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Have you ever been in the situation
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of having to learn a language very quickly?
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How did that happen? To conclude
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this lesson: what is the purpose
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of these reflective drawings? This is how
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Morgane Lamrani and other students
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(Laure Gaudeul, Delphine Lacombe, Magali Pin)
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answer this question
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"The reflexive drawing consists of
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instructions, the creative act
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and verbalization to others.
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By making the imaginary visible, it allows
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a reflexive discourse, a set in motion
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of the imaginary and a deconstruction/
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reconstruction of meaning. En esto,
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In this, it allows mediation between my world
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and that of others"
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For Véronique Castellotti and Danièle
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Moore, "drawing maintains relations
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of representation
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and reconstruction with reality
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rather than reproduction. Drawing is a process
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of representation and a form
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of knowledge, a text and a context
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whose plural interpretations
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- those of the cartoonists and their audience,
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the one who makes the prints,
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the one who looks - they are negotiated discursively,
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in situation, simultaneous or deferred,
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which reinforces
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the reflective dimensions."
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For Pascal Fugier, "reflective design
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constitutes a methodological tool
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that reveals the construction
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of the subject's identity, which participates
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in representative dynamics,
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processes of consciousness
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and the emergence of
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new representations (of oneself, of the other,
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of the situation)." To conclude this module
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on Intercultural mobility and self-implementation,
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I will say that
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all the narratives (written, sound,
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visual) that we have studied
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throughout these 3 lessons
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show that in our modernity,
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the individual needs to represent
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the situations of mobility
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in which it is found
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to carry out the identity reconfigurations
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that are necessary to enter
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an intercultural relationship,
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find, find, change its place
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in this world.
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This is to avoid two traps:
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on the one hand, the dissolution
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of the meaning of its existence in little (or not)
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chosen mobilities. On the other hand, the withdrawal
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of the identity for the impossibility
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of circulating and inserting in this plural world,
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this world that with Edouard Glissant,
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we wanted to call from the beginning
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of this module, the Whole-World
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[Music]
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[Music]