Diwan, teaching methods and creativity : critical approach of the relationship between Creativity, Teaching Methods and Revitalisation of Breton language in Diwan immersive schools
Identifieur interne : 000013 ( Hal/Corpus ); précédent : 000012; suivant : 000014Diwan, teaching methods and creativity : critical approach of the relationship between Creativity, Teaching Methods and Revitalisation of Breton language in Diwan immersive schools
Auteurs : Fanny ChauffinSource :
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Abstract
Diwan immersive schools are thirty-eight years old. On the one hand, they have contributed to the revitalisation of the Breton language and on the other hand, served as a catalyst for cultural and artistic development in Breton. While previous studies analyse the precipitous decline in the number of speakers and the extreme fragility of the future of the language, thisthesis shows how the creativity of people associated with Diwan has overcome ideological and financial difficulties, and reaches through music , theatre and dance, a much wider audience than Breton-speakers alone.What sort of Breton is spoken at Diwan ? Who are these students who represent 1% of the Breton school population, and what are their artistic practices ? Who are the artists and teachers and what has been the evolution since the pioneers of the late 70s ? Creativity developed by teachers, volunteers, parents and students is all very well, but will it be sufficient to ensure a future for the language ? Drawing on studies by sociolinguists and Psycholinguists on numerous studies in Britain in the classroom and in extra-curricular field, but also in the Basque immersion schools Seaska , and european minority immersive schools too , the author shows that Diwan is a fragile "creativity machine" , which can not continue without a critical look at itself, a structured research, but also without more support from Breton society.
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On the one hand, they have contributed to the revitalisation of the Breton language and on the other hand, served as a catalyst for cultural and artistic development in Breton. While previous studies analyse the precipitous decline in the number of speakers and the extreme fragility of the future of the language, thisthesis shows how the creativity of people associated with Diwan has overcome ideological and financial difficulties, and reaches through music , theatre and dance, a much wider audience than Breton-speakers alone.What sort of Breton is spoken at Diwan ? Who are these students who represent 1% of the Breton school population, and what are their artistic practices ? Who are the artists and teachers and what has been the evolution since the pioneers of the late 70s ? Creativity developed by teachers, volunteers, parents and students is all very well, but will it be sufficient to ensure a future for the language ? Drawing on studies by sociolinguists and Psycholinguists on numerous studies in Britain in the classroom and in extra-curricular field, but also in the Basque immersion schools Seaska , and european minority immersive schools too , the author shows that Diwan is a fragile "creativity machine" , which can not continue without a critical look at itself, a structured research, but also without more support from Breton society.</div></front></TEI><hal api="V3"> <titleStmt> <title xml:lang="en">Diwan, teaching methods and creativity : critical approach of the relationship between Creativity, Teaching Methods and Revitalisation of Breton language in Diwan immersive schools</title> <title xml:lang="fr">Diwan, pédagogie et créativité : approche critique des relations entre pédagogie, créativité et revitalisation de la langue bretonne dans les écoles associatives immersives Diwan</title> <author role="aut"> <persName> <forename type="first">Fanny</forename> <surname>Chauffin</surname> </persName> <idno type="halauthorid">1577437</idno> <affiliation ref="#struct-161556"></affiliation> </author> <editor role="depositor"> <persName> <forename>ABES</forename> <surname>STAR</surname> </persName> <email type="md5">f5aa7f563b02bb6adbba7496989af39a</email> <email type="domain">abes.fr</email> </editor> </titleStmt> <editionStmt> <edition n="v1" type="current"> <date type="whenSubmitted">2015-04-21 12:02:23</date> <date type="whenModified">2018-05-15 03:09:01</date> <date type="whenReleased">2015-04-21 13:16:14</date> <date type="whenProduced">2015-03-31</date> <date type="whenEndEmbargoed">2015-04-21</date> <ref type="file" target="https://tel.archives-ouvertes.fr/tel-01144247/document"> <date notBefore="2015-04-21"></date> </ref> <ref type="file" subtype="author" n="1" target="https://tel.archives-ouvertes.fr/tel-01144247/file/2015theseChauffinF.pdf"> <date notBefore="2015-04-21"></date> </ref> </edition> <respStmt> <resp>contributor</resp> <name key="131274"> <persName> <forename>ABES</forename> <surname>STAR</surname> </persName> <email type="md5">f5aa7f563b02bb6adbba7496989af39a</email> <email type="domain">abes.fr</email> </name> </respStmt> </editionStmt> <publicationStmt> <distributor>CCSD</distributor> <idno type="halId">tel-01144247</idno> <idno type="halUri">https://tel.archives-ouvertes.fr/tel-01144247</idno> <idno type="halBibtex">chauffin:tel-01144247</idno> <idno type="halRefHtml">Linguistique. Université Rennes 2, 2015. Français. 〈NNT : 2015REN20013〉</idno> <idno type="halRef">Linguistique. Université Rennes 2, 2015. 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Xavier Vila Moreno</authority> </monogr> </biblStruct> </sourceDesc> <profileDesc> <langUsage> <language ident="fr">French</language> </langUsage> <textClass> <keywords scheme="author"> <term xml:lang="en">Multilinguism</term> <term xml:lang="en">Breton Language</term> <term xml:lang="en">Minorities</term> <term xml:lang="fr">Multilinguisme</term> <term xml:lang="fr">Langue bretonne</term> <term xml:lang="fr">Minorités</term> </keywords> <classCode scheme="halDomain" n="shs.langue">Humanities and Social Sciences/Linguistics</classCode> <classCode scheme="halDomain" n="shs.edu">Humanities and Social Sciences/Education</classCode> <classCode scheme="halTypology" n="THESE">Theses</classCode> </textClass> <abstract xml:lang="en">Diwan immersive schools are thirty-eight years old. On the one hand, they have contributed to the revitalisation of the Breton language and on the other hand, served as a catalyst for cultural and artistic development in Breton. While previous studies analyse the precipitous decline in the number of speakers and the extreme fragility of the future of the language, thisthesis shows how the creativity of people associated with Diwan has overcome ideological and financial difficulties, and reaches through music , theatre and dance, a much wider audience than Breton-speakers alone.What sort of Breton is spoken at Diwan ? Who are these students who represent 1% of the Breton school population, and what are their artistic practices ? Who are the artists and teachers and what has been the evolution since the pioneers of the late 70s ? Creativity developed by teachers, volunteers, parents and students is all very well, but will it be sufficient to ensure a future for the language ? Drawing on studies by sociolinguists and Psycholinguists on numerous studies in Britain in the classroom and in extra-curricular field, but also in the Basque immersion schools Seaska , and european minority immersive schools too , the author shows that Diwan is a fragile "creativity machine" , which can not continue without a critical look at itself, a structured research, but also without more support from Breton society.</abstract> <abstract xml:lang="fr">Les écoles immersives Diwan ont trente-huit ans. Elles ont d'une part, contribué à la revitalisation de la langue bretonne et d'autre part, permis un essor culturel et artistique en breton. Alors que les études précédentes analysent la chute vertigineuse du nombre de locuteurs et l'extrême fragilité de l'avenir de la langue, cette thèse montre comment la créativité des acteurs de Diwan a permis de surmonter les difficultés idéologiques et financières, et a réussi à toucher, par lamusique, l'audiovisuel, le théâtre et la littérature, un public beaucoup plus large que celui des bretonnants.Quel breton est parlé à Diwan ? Qui sont ces élèves représentant 1 % de la population scolaire bretonne, et quelles sont leurs pratiques artistiques ? Qui sont les enseignants-artistes et quelle évolution suit Diwan depuis les pionniers ? La créativité développée par les enseignants, les bénévoles, les parents d'élèves et les élèves sera-t-elle suffisante pour permettre un avenir à la langue ? En prenant appui sur les études des sociolinguistes et des psycholinguistes, sur des études menées en classe et dans le domaine extra-scolaire, mais aussi dans les écoles immersives basques Seaska et d'autres minorités linguistiques européennes, l'auteure montre que Diwan est une « machine à créer » fragile, qui ne peut continuer à se développer sans un regard critique sur elle même, une recherche pédagogique structurée et sans un soutien plus important de la société bretonne dans son ensemble.</abstract> </profileDesc> </hal></record>Pour manipuler ce document sous Unix (Dilib)
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