Littérature scientifique sur le sujet « Dialogue interculturel et inter-religieux »

The aim of our work is twofold: the exploration of corpora combined with the search for an innovative modality for refining intercultural competence. For this purpose, we use the brand name Kärcher, which for many years has largely departed from its original meaning as a high-pressure water cleaner by acquiring semantic weight and discursive versatility through discourse, as it blends with other semantic-syntactic combinatorics for the linguistic needs of speakers. In a first step, we will demonstrate that the name Kärcher, which by antonomasia was associated with "scum" at its origins, evolves in discourses and affects other spheres. Namely, native French-speaking writers or not, appropriate the Brand Name Kärcher and transform it as they please by applying it to the most distant domains compared to that of cleanliness in the literal and figurative sense of the term. Finally, interculturality as a "dynamic between" escapes the seemingly fixed side of culture and manifests itself as a dynamic between different domains. L’objectif de notre travail porte sur une double exigence: l’exploration de corpus combinée à la quête d’une modalité innovante pour peaufiner la compétence interculturelle, dans le cadre d’une formation universitaire en médiation culturelle. Pour ce faire, nous avons recours au nom de marque (désormais NdM) Kärcher qui s’est depuis de longues années largement démarqué de son sens initial de nettoyeur à eau à haute pression en acquérant à travers les discours épaisseur sémantique et polyvalence discursive, car il se marie avec d’autres combinatoires sémantico-syntaxiques pour les besoins langagiers des parlants. Nous allons démontrer que le nom Kärcher qui par antonomase était associé à "racaille" à ses origines, évolue dans les discours et prend des envolées insoupçonnées affectant d’autres sphères. A savoir, les scripteurs francophones natifs ou non s'approprient du NdM Kärcher et le transforment à leur guise pour l'appliquer aux domaines les plus éloignés par rapport à celui de la propreté au sens propre et figuré du terme. Finalement, l’interculturel comme « dynamique entre » échappe au côté qui peut paraître figé du culturel et se manifeste comme une dynamique entre domaines différents. «Les transferts, les branchements interculturels [de la lexie Kärcher] et [sa] circulation dans les médias sont cruciaux pour constituer des «sas» de reconnaissance et d’évolution des appartenances socio-économiques, à tous les niveaux de chaque société et entre les sociétés» nous apprend Demorgon (2003), en effet, de la «racaille» aux Recteurs d'université ou Présidents d'établissements bancaires, la dérivation «karcheriser» sert, au fil du temps, à désigner le licenciement de représentants des plus hautes sphères de la hiérarchie sociale. Serait-il possible de voir une sorte de migration interculturelle et inter-groupale ? Nous nous attachons à le démontrer dans un deuxième temps.

Résumé La notion de fraternité abrahamique est inséparable de l’itinéraire spirituel de Louis Massignon, savant arabisant et penseur catholique de premier ordre, et d’une théologie chrétienne, adossée à la Bible juive autant qu’à la révélation évangélique. Il ne s’agit donc pas d’un sentiment vécu plus ou moins vague ni d’un simple vœu de dialogue inter-religieux.

J. Baird Callicott et al. have argued that Aldo Leopold developed a descriptive technique that has something in common with phenomenology and that it would not be farfetched to explore A Sand County Almanac as a kind of Heideggerian clearing in which usually unnoticed beings come to light. They further suggest that Leopold describes animal others as fellow subjects who co-constitute the world and that through his method of observation, description, and reflection Leopold reveals a “multi-perspective experience of a common environment” that discloses an inter-species intersubjectivity comparable to Husserl’s more formal descriptions of intersubjectivity. I shall argue that the similarities between Husserl and Leopold are stronger and deeper than Callicott et al. suggest. Husserl’s method is designed to expose what has been hidden by “ideological positivism,” while Leopold’s method is designed to reveal what has been concealed by what he labels “conventional physics. Both agree that what we might today call a “scientistic worldview” denies, devalues, and dismisses subjectivity, meaning, and value from rational discourse. In Husserl’s view this leads to cultural crisis and barbarism, while in Leopold’s view it leads to ecological catastrophe. For Husserl the only alternative is a cultural renewal rooted in a rethinking of the dominant scientistic worldview while for Leopold the alternative lies in the construction of a new ethical system. These two alternatives are deeply compatible. Finally, I will discuss the ways in which Husserl’s understanding of the intentionality of our subjective experiences and Leopold’s integration of the evolutionary and ecological kinship of humans and non-humans with the social sciences have important implications for the possibility of intercultural understanding and dialogue and thereby allow us to overcome the thesis of incommensurability that denies the possibility of meaningful intercultural understanding and dialogue.

The current synodal process (2021–2024) engaging the worldwide Catholic Church at the micro, meso and macro levels involves bringing Christians from across cultures, ethnic communities, linguistic groups and nationalities to interact and shape their journey as people of God. Without wanting to reproduce the intense debate that is in progress, we limit ourselves to examining the crucial issue—to a great extent ignored—of the intercultural lived ecclesiology associated with the inter gentes synodal praxis of communion, participation and mission. Although the synodal journey appears to be promising, the endogenous and exogenous ecclesial and societal differences implied in the inter gentes discernment can render it a complex transformative endeavor, entailing reciprocal enrichment and mutual critique. Taking up ideas that emerged in the various episcopal conferences in Asia in dialogue with some key themes in one of the European, namely, the German Episcopal Conference, we trace the intercultural challenges and prospects of communio, partecipatio et missio inter gentes, with a view to transforming the Church’s way of being and functioning.

The article researches the essence and content of multicultural pedagogical paradigms common in the world practice. Thus, J. Benx's pedagogical model is understood as a continuous process that requires long-term investments of time and effort, as well as carefully planned actions and monitoring. L. Frazierer's pedagogical concept is aimed at the development of cultural diversity through the introduction of specially designed methodological materials into the educational practices and a special procedure of this material submission. U. Hunter offers multicultural education through the establishment of structural educational priorities, in which the emphasis is shifted towards cultural pluralism and the maintenance of the cultural heritage of disappearing ethnic groups. In the concept of B. Parekh, the content of pedagogical multicultural practices, first of all, is freedom in the study of other cultures, acquainting students with different models of historic knowledge through the use of the entire world cultural heritage. The content of multicultural education for K. Grant is the approval and popularization of an alternative lifestyle for all people on the basis of equality of education and ensuring the availability of knowledge of all cultural diversity. B. Sizemor under multicultural education understands the assimilation of knowledge about various groups and organizations that counteract the oppression and exploitation by studying the realities and ideas which result from their work. S. Nieto considers multicultural education as the pedagogical process aimed at counteracting all forms of discrimination, deepening of interpersonal contacts between pupils and students, spreading the principles of democracy and social justice in the pedagogical process.From the socio-philosophical standpoint, the analysis of the prospects of introducing elements of multicultural pedagogical models into the domestic educational space of the educational institutions as an instrument of tolerance of intercultural relations between Ukraine and Poland is conducted.The problem of the emergence of intercultural contradictions in the context of the existence of the historical memory of separate individuals and the nation as a source of conflict is considered. The priority directions of practical implementation of elements of multicultural pedagogy in the sphere of education, family, church, activity of cultural and educational centers, public associations, mass media with the aim of establishing intercultural dialogue and tolerance of relations between bearers of different cultural traditions are determined.

Network-based language teaching (NBLT) involves the application of global or local communication networks within foreign and second language education (Warschauer and Kern, 2000). In telecollaboration, a type of NBLT, distally located language learners use internet communication tools to support dialogue, debate, collaborative research and social interaction for the purposes of language development and cultural awareness (e.g. Kinginger et al., 1999). To date, the research on NBLT has been limited, focusing primarily on pedagogical implementations of technology and linguistic features of online communication. In particular, researchers have not robustly explored social and institutional dimensions of telecollaboration (Chapelle, 2000:217) nor have they adequately investigated the pervasive assumption that telecollaborative interaction will necessarily and unproblematically afford language learning (e.g. Kramsch and Thorne, to appear). Drawing on social realism (Layder, 1993), a sociological theory which emphasizes the inter-relationship between structure, i.e. society and institution, and agency, i.e. situated activity and psycho-biography, in researching and explaining social action, I present a sociocultural account of German-American telecollaboration. In particular, I explore the meanings that the macro features of (1) language valuation (Hilgendorf, 1996); (2) membership in electronic discourse communities (Gee, 1999); and (3) culturally determined classroom scripts (Hatch, 1992) may have for the differential functionality of virtual group work in this partnership. Differences in group functionality are reflected at the micro-interactional level in terms of (1) frequency and length of correspondence; (2) patterns of discursive behavior such as question-answer pairs; and (3) opportunities for assisted L2 performance and negotiation of meaning. Ethnographic data (e.g. interviews, electronic and classroom discourse, surveys and participant observations) on individual psycho-biographies are interwoven with macro-level descriptions and statistics to paint a rich picture of learner behavior in intercultural telecollaboration. This project is funded by a United States Department of Education International Research and Studies Program Grant (CFDA No.: 84.017A). The author is a research associate for the German component.

In 2013, the Capricornia Arts Mob (CAM), an Indigenous collective of artists situated in Rockhampton, central Queensland, Australia, successfully tendered for one of three public art projects that were grouped under the title Flood Markers (Roberts; Roberts and Mackay; Robinson and Mackay). Commissioned as part of the Queensland Government's Community Development and Engagement Initiative, Flood Markers aims to increase awareness of Rockhampton’s history, with particular focus on the Fitzroy River and the phenomena of flooding. Honouring Land Connections is CAM’s contribution to the project and consists of several “memory poles” that stand alongside the Fitzroy River in Toonooba Park. Rockhampton lies on Dharumbal Country with Toonooba being the Dharumbal name for the Fitzroy River and the inspiration for the work due to its cultural significance to the Aboriginal people of that region. The name Toonooba, as well as other images and icons including boomerangs, spears, nets, water lily, and frogs, amongst others, are carved, burnt, painted and embedded into the large ironbark poles. These stand with the river on one side and the colonial infrastructure of Rockhampton on the other (see fig. 1, 2 and 3).Figure 1 Figure 2Figure 3Within this article, we discuss Honouring Land Connections as having two main functions which contribute to its significance as Indigenous cultural expression and identity affirmation. Firstly, the memory poles (as well as the process of sourcing materials and producing the final product) are a manifestation of Country and a representation of its stories and lived memories. Honouring Land Connections provides a means for Aboriginal people to revel in Country and maintain connections to a vital component of their being as Indigenous. Secondly, by revealing Indigenous stories, experiences, and memories, Honouring Land Connections emphasises Indigenous voices and perspectives within a place dominated by Eurocentric outlooks and knowledges. Toonooba provides the backdrop on which the complexities of cultural and identity formation within settler-colonial spaces are highlighted whilst revelling in continuous Indigenous presence.Flood Markers as ArtArtists throughout the world have used flood markers as a means of visual expression through which to explore and reveal local histories, events, environments, and socio-cultural understandings of the relationships between persons, places, and the phenomena of flooding. Geertz describes art as a social text embedded within wider socio-cultural systems; providing insight into cultural, social, political, economic, gendered, religious, ethnic, environmental, and biographical contexts. Flood markers are not merely metric tools used for measuring the height of a river, but rather serve as culture artefacts or indexes (Gell Art and Agency; Gell "Technology of Enchantment") that are products and producers of socio-culture contexts and the memories and experiences embedded within them. Through different methods, mediums, and images, artists have created experiential and intellectual spaces where those who encounter their work are encouraged to engage their surroundings in thought provoking and often-new ways.In some cases, flood markers have brought attention to the “character and natural history” of a particular place, where artists such as Louise Lavarack have sought to provoke consciousness of the movement of water across flood plains (Lavarack). In other works, flood markers have served as memorials to individuals such as Gilbert White whose daughter honoured his life and research through installing a glass spire at Boulder Creek, Colorado in 2011 (White). Tragedies such as Hurricane Katrina in New Orleans in 2005 have also been commemorated through flood markers. Artist Christopher Saucedo carved 1,836 waves into a freestanding granite block; each wave representing a life lost (University of New Orleans). The weight of the granite symbolises the endurance and resilience of those who faced, and will continue to face, similar forces of nature. The Pillar of Courage erected in 2011 in Ipswich, Queensland, similarly contains the words “resilience, community, strength, heroes, caring and unity” with each word printed on six separate sections of the pillar, representing the six major floods that have hit the region (Chudleigh).Whilst these flood markers provide valuable insights into local histories, specific to each environmental and socio-cultural context, works such as the Pillar of Courage fail to address Indigenous relationships to Country. By framing flooding as a “natural disaster” to be overcome, rather than an expression of Country to be listened to and understood, Euro and human-centric perspectives are prioritised over Indigenous ways of knowing and being. Indigenous knowledges however encourages a reorientation of Eurocentric responses and relationships to Country, and in doing so challenge compartmentalised views of “nature” where flooding is separated from land and Country (Ingold Perception; Seton and Bradley; Singer). Honouring Land Connections symbolises the voice and eternal presence of Toonooba and counters presentations of flooding that depict it as historian Heather Goodall (36) once saw “as unusual events of disorder in which the river leaves its proper place with catastrophic results.”Country To understand flooding from Indigenous perspectives it is first necessary to discuss Country and apprehend what it means for Indigenous peoples. Country refers to the physical, cosmological, geographical, relational, and emotional setting upon which Indigenous identities and connections to place and kin are embedded. Far from a passive geographic location upon which interactions take place, Country is an active and responsive agent that shapes and contextualises social interactions between and amongst all living beings. Bob Morgan writes of how “Country is more than issues of land and geography; it is about spirituality and identity, knowing who we are and who we are connected to; and it helps us understand how all living things are connected.” Country is also an epistemological frame that is filled with knowledge that may be known and familiarised whilst being knowledge itself (Langton "Sacred"; Rose Dingo; Yunupingu).Central to understanding Country is the fact that it refers to a living being’s spiritual homeland which is the ontological place where relationships are formed and maintained (Yunupingu). As Country nurtures and provides the necessities for survival and prosperity, Indigenous people (but also non-Indigenous populations) have moral obligations to care for Country as kin (Rose Nourishing Terrains). Country is epistemic, relational, and ontological and refers to both physical locations as well as modes of “being” (Heidegger), meaning it is carried from place to place as an embodiment within a person’s consciousness. Sally Morgan (263) describes how “our country is alive, and no matter where we go, our country never leaves us.” Country therefore is fluid and mobile for it is ontologically inseparable to one’s personhood, reflected through phrases such as “I am country” (B. Morgan 204).Country is in continuous dialogue with its surroundings and provides the setting upon which human and non-human beings; topographical features such as mountains and rivers; ancestral beings and spirits such as the Rainbow Snake; and ecological phenomena such as winds, tides, and floods, interact and mutually inform each other’s existence (Rose Nourishing Terrains). For Aboriginal people, understanding Country requires “deep listening” (Atkinson; Ungunmerr), a responsive awareness that moves beyond monological and human-centric understandings of the world and calls for deeper understandings of the mutual and co-dependant relationships that exist within it. The awareness of such mutuality has been discussed through terms such as “kincentrism” (Salmón), “meshworks” (Ingold Lines), “webs of connection” (Hokari), “nesting” (Malpas), and “native science” (Cajete). Such concepts are ways of theorising “place” as relational, physical, and mental locations made up of numerous smaller interactions, each of which contribute to the identity and meaning of place. Whilst each individual agent or object retains its own autonomy, such autonomy is dependent on its wider relation to others, meaning that place is a location where “objectivity, subjectivity and inter-subjectivity converge” (Malpas 35) and where the very essence of place is revealed.Flooding as DialogueWhen positioned within Indigenous frameworks, flooding is both an agent and expression of Toonooba and Country. For the phenomenon to occur however, numerous elements come into play such as the fall of rain; the layout of the surrounding terrain; human interference through built weirs and dams; and the actions and intervention of ancestral beings and spirits. Furthermore, flooding has a direct impact on Country and all life within it. This is highlighted by Dharumbal Elder Uncle Billy Mann (Fitzroy Basin Association "Billy Mann") who speaks of the importance of flooding in bringing water to inland lagoons which provide food sources for Dharumbal people, especially at times when the water in Toonooba is low. Such lagoons remain important places for fishing, hunting, recreational activities, and cultural practices but are reliant on the flow of water caused by the flowing, and at times flooding river, which Uncle Mann describes as the “lifeblood” of Dharumbal people and Country (Fitzroy Basin Association "Billy Mann"). Through her research in the Murray-Darling region of New South Wales, Weir writes of how flooding sustains life though cycles that contribute to ecological balance, providing nourishment and food sources for all beings (see also Cullen and Cullen 98). Water’s movement across land provokes the movement of animals such as mice and lizards, providing food for snakes. Frogs emerge from dry clay plains, finding newly made waterholes. Small aquatic organisms flourish and provide food sources for birds. Golden and silver perch spawn, and receding waters promote germination and growth. Aboriginal artist Ron Hurley depicts a similar cycle in a screen-print titled Waterlily–Darambal Totem. In this work Hurley shows floodwaters washing away old water lily roots that have been cooked in ant bed ovens as part of Dharumbal ceremonies (UQ Anthropology Museum). The cooking of the water lily exposes new seeds, which rains carry to nearby creeks and lagoons. The seeds take root and provide food sources for the following year. Cooking water lily during Dharumbal ceremonies contributes to securing and maintaining a sustainable food source as well as being part of Dharumbal cultural practice. Culture, ecological management, and everyday activity are mutually connected, along with being revealed and revelled in. Aboriginal Elder and ranger Uncle Fred Conway explains how Country teaches Aboriginal people to live in balance with their surroundings (Fitzroy Basin Association "Fred Conway"). As Country is in constant communication, numerous signifiers can be observed on land and waterscapes, indicating the most productive and sustainable time to pursue certain actions, source particular foods, or move to particular locations. The best time for fishing in central Queensland for example is when Wattles are in bloom, indicating a time when fish are “fatter and sweeter” (Fitzroy Basin Association "Fred Conway"). In this case, the Wattle is 1) autonomous, having its own life cycle; 2) mutually dependant, coming into being because of seasonal weather patterns; and 3) an agent of Country that teaches those with awareness how to respond and benefit from its lessons.Dialogue with Country As Country is sentient and responsive, it is vital that a person remains contextually aware of their actions on and towards their surroundings. Indigenous peoples seek familiarity with Country but also ensure that they themselves are known and familiarised by it (Rose Dingo). In a practice likened to “baptism”, Langton ("Earth") describes how Aboriginal Elders in Cape York pour water over the head of newcomers as a way of introducing them to Country, and ensuring that Country knows those who walk upon it. These introductions are done out of respect for Country and are a way of protecting outsiders from the potentially harmful powers of ancestral beings. Toussaint et al. similarly note how during mortuary rites, parents of the deceased take water from rivers and spit it back into the land, symbolising the spirit’s return to Country.Dharumbal man Robin Hatfield demonstrates the importance of not interfering with the dialogue of Country through recalling being told as a child not to disturb Barraru or green frogs. Memmott (78) writes that frogs share a relationship with the rain and flooding caused by Munda-gadda, the Rainbow Snake. Uncle Dougie Hatfield explains the significance of Munda-gadda to his Country stating how “our Aboriginal culture tells us that all the waterways, lagoons, creeks, rivers etc. and many landforms were created by and still are protected by the Moonda-Ngutta, what white people call the Rainbow Snake” (Memmott 79).In the case of Robin Hatfield, to interfere with Barraru’s “business” is to threaten its dialogue with Munda-gadda and in turn the dialogue of Country in form of rain. In addition to disrupting the relational balance between the frog and Munda-gadda, such actions potentially have far-reaching social and cosmological consequences. The rain’s disruption affects the flood plains, which has direct consequences for local flora and transportation and germination of water lily seeds; fauna, affecting the spawning of fish and their movement into lagoons; and ancestral beings such as Munda-gadda who continue to reside within Toonooba.Honouring Land Connections provided artists with a means to enter their own dialogue with Country and explore, discuss, engage, negotiate, and affirm aspects of their indigeneity. The artists wanted the artwork to remain organic to demonstrate honour and respect for Dharumbal connections with Country (Roberts). This meant that materials were sourced from the surrounding Country and the poles placed in a wave-like pattern resembling Munda-gadda. Alongside the designs and symbols painted and carved into the poles, fish skins, birds, nests, and frogs are embalmed within cavities that are cut into the wood, acting as windows that allow viewers to witness components of Country that are often overlooked (see fig. 4). Country therefore is an equal participant within the artwork’s creation and continuing memories and stories. More than a representation of Country, Honouring Land Connections is a literal manifestation of it.Figure 4Opening Dialogue with Non-Indigenous AustraliaHonouring Land Connections is an artistic and cultural expression that revels in Indigenous understandings of place. The installation however remains positioned within a contested “hybrid” setting that is informed by both Indigenous and settler-colonial outlooks (Bhabha). The installation for example is separated from the other two artworks of Flood Markers that explore Rockhampton’s colonial and industrial history. Whilst these are positioned within a landscaped area, Honouring Land Connections is placed where the grass is dying, seating is lacking, and is situated next to a dilapidated coast guard building. It is a location that is as quickly left behind as it is encountered. Its separation from the other two works is further emphasised through its depiction in the project brief as a representation of Rockhampton’s pre-colonial history. Presenting it in such a way has the effect of bookending Aboriginal culture in relation to European settlement, suggesting that its themes belong to a time past rather than an immediate present. Almost as if it is a revelation in and of itself. Within settler-colonial settings, place is heavily politicised and often contested. In what can be seen as an ongoing form of colonialism, Eurocentric epistemologies and understandings of place continue to dominate public thought, rhetoric, and action in ways that legitimise White positionality whilst questioning and/or subjugating other ways of knowing, being, and doing (K. Martin; Moreton-Robinson; Wolfe). This turns places such as Toonooba into agonistic locations of contrasting and competing interests (Bradfield). For many Aboriginal peoples, the memories and emotions attached to a particular place can render it as either comfortable and culturally safe, or as unsafe, unsuitable, unwelcoming, and exclusionary (Fredericks). Honouring Land Connections is one way of publicly asserting and recognising Toonooba as a culturally safe, welcoming, and deeply meaningful place for Indigenous peoples. Whilst the themes explored in Honouring Land Connections are not overtly political, its presence on colonised/invaded land unsettles Eurocentric falsities and colonial amnesia (B. Martin) of an uncontested place and history in which Indigenous voices and knowledges are silenced. The artwork is a physical reminder that encourages awareness—particularly for non-Indigenous populations—of Indigenous voices that are continuously demanding recognition of Aboriginal place within Country. Similar to the boomerangs carved into the poles representing flooding as a natural expression of Country that will return (see fig. 5), Indigenous peoples continue to demand that the wider non-Indigenous population acknowledge, respect, and morally responded to Aboriginal cultures and knowledges.Figure 5Conclusion Far from a historic account of the past, the artists of CAM have created an artwork that promotes awareness of an immediate and emerging Indigenous presence on Country. It creates a space that is welcoming to Indigenous people, allowing them to engage with and affirm aspects of their living histories and cultural identities. Through sharing stories and providing “windows” into Aboriginal culture, Country, and lived experiences (which like the frogs of Toonooba are so often overlooked), the memory poles invite and welcome an open dialogue with non-Indigenous Australians where all may consider their shared presence and mutual dependence on each other and their surroundings.The memory poles are mediatory agents that stand on Country, revealing and bearing witness to the survival, resistance, tenacity, and continuity of Aboriginal peoples within the Rockhampton region and along Toonooba. Honouring Land Connections is not simply a means of reclaiming the river as an Indigenous space, for reclamation signifies something regained after it has been lost. What the memory poles signify is something eternally present, i.e. Toonooba is and forever will be embedded in Aboriginal Country in which we all, Indigenous and non-Indigenous, human and non-human, share. The memory poles serve as lasting reminders of whose Country Rockhampton is on and describes the life ways of that Country, including times of flood. Through celebrating and revelling in the presence of Country, the artists of CAM are revealing the deep connection they have to Country to the wider non-Indigenous community.ReferencesAtkinson, Judy. Trauma Trails, Recreating Song Lines: The Transgenerational Effects of Trauma in Indigenous Australia. Spinifex Press, 2002.Bhabha, Homi, K. The Location of Culture. Taylor and Francis, 2012.Bradfield, Abraham. "Decolonizing the Intercultural: A Call for Decolonizing Consciousness in Settler-Colonial Australia." Religions 10.8 (2019): 469.Cajete, Gregory. Native Science: Natural Laws of Interdependence. 1st ed. 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Fig 1: Image from a secret Rangoon fashion shoot. Photograph: Myanmar Photo Archive / Lukas Birk. Introduction NOTE: Rangoon, Burma has been known as Yangon, Myanmar, since 2006. I use Rangoon and Burma for the period prior to 2006 and Yangon and Myanmar for the period thereafter. In addition, I have removed the name of any activist currently in Myanmar due to the recent policy of executing political prisoners. On 1 February 2021, Myanmar was again plunged into political turmoil when the military illegally overthrew the country’s democratically elected government. This is the third time Myanmar, formally known as Burma, has been subject to a coup d’état; violent seizures of power took place in 1962 and in 1988-90. While those two earlier military governments met with opposition spearheaded by students and student organisations, in 2021 the military faced organised resistance through a mass Civil Disobedience Movement (CDM) initiated by government healthcare workers who refused to come to work. They were joined by private sector “strikes” and, perhaps most visible of all to western viewers, mass street demonstrations “led” by “Gen Z” activists—young people who had come of age during Myanmar’s brief decade of democracy. There is little doubt that the success of the CDM and associated protests is due to the widespread coverage and reach of social media as well as the creative communications skills of the country’s first “generation of digital natives”, who are sufficiently familiar and comfortable with social platforms to “participate and shape their identities in communication and dialogue with global digital media content” (Jordt et al. 12 ). The leveraging of global culture, including the use of English in protest signs, was notable in garnering international media coverage and so keeping Myanmar’s political plight front-of-mind with governments around the world. Yet this is not the whole story behind the effectiveness of these campaigns. As Lisa Brooten argues, contemporary networks are built on “decades of behind-the-scenes activism to build a multi-ethnic civil society” (East Asia Forum). The leading democracy activist, Min Ko Naing, aligned “veteran activists from previous generations with novice Gen Z activists”, declaring “this revolution represents a combination of Generations X, Y and Z in fighting against the military dictatorship’” (Jordt et al. 18). Similarly, the creative strategies used by 2021’s digital campaigners also build on protests by earlier generations of young, creative people. This paper looks at two creative protest across the generations. The first is “secret” fashion photography of the late 1970s collected in Lukas Birk’s Yangon Fashion 1979 – Fashion=Resistance. The second is the contemporary #100projectors campaign, a “projection project for Myanmar democracy movement against the military dictatorship” (in the interest of full disclosure, I took part in the #100projectors project). Drawing from the contemporary advertising principle of “segmentation”, the communications practice where potential consumers are divided into “subgroups … based on specific characteristics and needs” (WARC 1), as well as contemporary thinking on the “aesthetics” of “cosmopolitanism”, (Papastergiadis, Featherstone, and Christensen), I argue that contemporary creative strategies can be traced back to the creative tactics of resistance employed by earlier generations of protesters and their re-imagining of “national space and its politics” (Christensen 556) in the interstices of cosmopolitan Rangoon, Burma, and Yangon, Myanmar. #100projectors Myanmar experienced two distinct periods of military rule, the Socialist era between 1962 and 1988 under General Ne Win and the era under the State Law and Order Restoration Council – State Peace and Development Council between 1988 and 2011. These were followed by a semi-civilian era from 2011 to 2021 (Carlson 117). The coup in 2021 marks a return to extreme forms of control, censorship, and surveillance. Ne Win’s era of military rule saw a push for Burmanisation enforced through “significant cultural restrictions”, ostensibly to protect national culture and unity, but more likely to “limit opportunities for internal dissent” (Carlson 117). Cultural restrictions applied to art, literature, film, television, as well as dress. Despite these prohibitions, in the 1970s Rangoon's young people smuggled in illegal western fashion magazines, such as Cosmopolitan and Vogue, and commissioned local tailors to make up the clothes they saw there. Bell-bottoms, mini-skirts, western-style suits were worn in “secret” fashion shoots, with the models posing for portraits at Rangoon photographic studios such as the Sino-Burmese owned Har Si Yone in Chinatown. Some of the wealthier fashionistas even came for weekly shoots. Demand was so high, a second branch devoted to these photographic sessions was opened with its own stock of costumes and accessories. Copies of these head to toe fashion portraits, printed on 12 x 4 cm paper, were shared with friends and family; keeping portrait albums was a popular practice in Burma and had been since the 1920s and 30s (Birk, Burmese Photographers 113). The photos that survive this era are collected in Lukas Birk’s Yangon Fashion 1979 – Fashion=Resistance. #100projectors was launched in February 2021 by a group of young visual and video artists with the aim of resisting the coup and demanding the return of democracy. Initially a small group of projectionists or “projector fighters”, as the title suggests they plan to amplify their voices by growing their national and international network to 100. #100projectors is one of many campaigns, movements, and fundraisers devised by artists and creatives to protest the coup and advocate for revolution in Myanmar. Other notable examples, all run by Gen Z activists, include the Easter Egg, Watermelon, Flash, and Marching Shoes strikes. The Marching Shoe Strike, which featured images of flowers in shoes, representing those who had died in protests, achieved a reach of 65.2 million in country with 1.4 million interactions across digital channels (VERO, 64) and all of these campaigns were covered by the international press, including The Guardian, Reuters, The Straits Times, and VOA East Asia Pacific Session, as well as arts magazines around the world (for example Hyperallergic, published in Brooklyn). #100projectors material has been projected in Finland, Scotland, and Australia. The campaign was written about in various art magazines and their Video #7 was screened at the Bangkok Art and Culture Centre in February 2022 as part of Defiant Art: A Year of Resistance to the Myanmar Coup. At first glance, these two examples seem distant in both their aims and achievements. Fashion photos, taken in secret and shared privately, could be more accurately described as a grassroots social practice rather than a political movement. While Birk describes the act of taking these images as “a rebellion” and “an escape” in a political climate when “a pair of flowers and a pair of sunglasses might just start a revolution”, the fashionistas’ photographs seem “ephemeral” at best, or what Mina Roces describes as the subtlest form of resistance or ‘weapons of the weak’ (Scott in Roces 7). By contrast, #100projectors has all the hallmarks of a polished communications campaign. They have a logo and slogans: “We fight for light” and “The revolution must win”. There is a media plan, which includes the use of digital channels, encrypted messaging, live broadcasts, as well as in-situ projections. Finally, there is a carefully “targeted” audience of potential projectionists. It is this process of defining a target audience, based on segmentation, that is particularly astute and sophisticated. Traditionally, segmentation defined audiences based on demographics, geodemographics, and self-identification. However, in the online era segments are more likely to be based on behaviour and activities revealed in search data as well as shares, depending on preferences for privacy and permission. Put another way, as a digital subject, “you are what you choose to share” (WARC 1). The audience for #100projectors includes artists and creative people around the world who choose to share political video art. They are connected through digital platforms including Facebook as well as encrypted messaging. Yet this contemporary description of digital subjectivity, “you are what you choose to share”, also neatly describes the Yangon fashionistas and the ways in which they resist the political status quo. Photographic portraits have always been popular in Burma and so this collection does not look especially radical. Initially, the portraits seem to speak only about status, taste, and modernity. Several subjects within the collection are shown in national or ethnic dress, in keeping with the governments edict that Burma consisted of 135 ethnicities and 8 official races. In addition, there is a portrait of a soldier in full uniform. But the majority of the images are of men and women in “modern” western gear typical of the 1970s. With their wide smiles and careful poses, these men and women look like they’re performing sophisticated worldliness as well as showing off their wealth. They are cosmopolitan adepts taking part in international culture. Status is implicit in the accessories, from sunglasses to jewellery. One portrait is shot at mid-range so that it clearly features a landline phone. In 1970s Burma, this was an object out of reach for most. Landlines were both prohibitively expensive and reserved for the true elites. To make a phone call, most people had to line up at special market stalls. To be photographed with a phone, in western clothes (to be photographed at all), seems more about aspiration than anarchy. In the context of Ne Win’s Burma, however, the portraits clearly capture a form of political agency. Burma had strict edicts for dress and comportment: kissing in public was banned and Burmese citizens were obliged to wear Burmese dress, with western styles considered degenerate. Long hair, despite being what Burmese men traditionally wore prior to colonisation, was also deemed too western and consequently “outlawed” (Edwards 133). Dress was not only proscribed but hierarchised and heavily gendered; only military men had “the right to wear trousers” (Edwards 133). Public disrespect of the all-powerful, paranoid, and vindictive military (known as “sit tat” for military or army versus “Tatmadaw” for the good Myanmar army) was dangerous bordering on the suicidal. Consequently, wearing shoulder-length hair, wide bell bottoms, western-style suits, and “risqué” mini-skirts could all be considered acts of at least daring and definitely defiance. Not only are these photographs a challenge to gender constructions in a country ruled by a hyper-masculine army, but these images also question the nature of what it meant to be Burmese at a time when Burmeseness itself was rigidly codified. Recording such acts on film and then sharing the images entailed further risk. Thus, these models are, as Mina Roces puts it, “express[ing] their agency through sartorial change” (Roces 5). Fig. 2: Image from a secret Rangoon fashion shoot – illicit dress and hair. Photograph: Myanmar Photo Archive / Lukas Birk. Fig. 3: Image from a secret Rangoon fashion shoot. Photograph: Myanmar Photo Archive / Lukas Birk. Roces also notes the “challenge” of making protest visible in spaces “severely limited” under authoritarian regimes (Roces 10). Burma under the Socialist government was a particularly difficult place in which to mount any form of resistance. Consequences included imprisonment or even execution, as in the case of the student leader Tin Maung Oo. Ma Thida, a writer and human rights advocate herself jailed for her work, explains the use of creative tools such as metaphor in a famous story about a crab by the writer and journalist Hanthawaddy U Win Tin: The crab, being hard-shelled, was well protected and could not be harmed. However, the mosquito, despite being a far smaller animal, could bite the eyes of the crab, leading to the crab’s eventual death. ... Readers drew the conclusion that the socialist government of Ne Win was the crab that could be destabilized if a weakness could be found. (Thida 317) If the metaphor of a crab defeated by a mosquito held political meaning, then being photographed in prohibited fashions was a more overt way of making defiance and resistant “visible”. While that visibility seems ephemeral, the fashionistas also found a way not only to be seen by the camera in their rebellious clothing, but also by a “public” or audience of those with whom they shared their images. The act of exchanging portraits, what Birk describes as “old-school Instagram”, anticipates not only the shared selfie, but also the basis of successful contemporary social campaigns, which relied in part on networks sharing posts to amplify their message (Birk, Yangon Fashion 17). What the fashionistas also demonstrate is that an act of rebellion can also be a means of testing the limits of conformity, of the need for beauty, of the human desire to look beautiful. Acts of rebellion are also acts of celebration and so, solidarity. Fig. 4: Image from a secret Rangoon fashion shoot – illicit dress length. Photograph: Myanmar Photo Archive / Lukas Birk. Fig. 5: Image from a secret Rangoon fashion shoot – illicit trousers. Photograph: Myanmar Photo Archive / Lukas Birk. As the art critic and cultural theorist Nikos Papastergiadis writes, “the cosmopolitan imagination in contemporary art could be defined as an aesthetic of openness that engenders a global sense of inter-connectedness” (207). Inter-connectedness and its possibilities and limits shape the aesthetic imaginary of both the secret fashion shoots of 1970s Rangoon and the artists and videographers of 2021. In the videos of the #100projectors project and the fashion portraits of stylish Rangoonites, interconnection comes as a form of aesthetic blending, a conversation that transcends the border. The sitter posing in illicit western clothes in a photo studio in the heart of Rangoon, then Burma’s capital and seat of power, cannot help but point out that borders are permeable, and that national identity is temporally-based, transitory, and full of slippages. In this spot, 40-odd years earlier, Burmese nationalists used dress as a means of publicly supporting the nationalist cause (Edwards, Roces). Like the portraits, the #100projector videos blend global and local perspectives on Myanmar. Combining paintings, drawings, graphics, performance art recordings, as well as photography, the work shares the ‘instagrammable’ quality of the Easter Egg, Watermelon, and Marching Shoes strikes with their bright colours and focus on people—or the conspicuous lack of people and the example of the Silent Strike. Graphics are in Burmese as well as English. Video #6 was linked to International Women’s Day. Other graphics reference American artists such as Shepherd Fairey and his Hope poster, which was adapted to feature Aung San Suu Kyi’s face during then-President Obama’s visit in 2012. The videos also include direct messages related to political entities such as Video #3, which voiced support for the Committee Representing Pyidaungsu Hlutaw (CRPH), a group of 15 elected MPs who represented the ideals of Gen Z youth (Jordt et al., viii). This would not necessarily be understood by an international viewer. Also of note is the prevalence of the colour red, associated with Aung San Suu Kyi’s NLD. Red is one of the three “political” colours formerly banned from paintings under SLORC. The other two were white, associated with the flowers Aung Sang Suu Kyi wore in her hair, and black, symbolic of negative feelings towards the regime (Carlson, 145). The Burmese master Aung Myint chose to paint exclusively in the banned colours as an ongoing act of defiance, and these videos reflect that history. The videos and portraits may propose that culturally, the world is interconnected. But implicit in this position is also the failure of “interconnectedness”. The question that arises with every viewing of a video or Instagram post or Facebook plea or groovy portrait is: what can these protesters, despite the risks they are prepared to take, realistically expect from the rest of the world in terms of help to remove the unwanted military government? Interconnected or not, political misfortune is the most effective form of national border. Perhaps the most powerful imaginative association with both the #100projectors video projections and fashionistas portraits is the promise of transformation, in particular the transformations possible in a city like Rangoon / Yangon. In his discussion of the cosmopolitan space of the city, Christensen notes that although “digital transformations touch vast swathes of political, economic and everyday life”, it is the city that retains supreme significance as a space not easily reducible to an entity beneath the national, regional, or global (556). The city is dynamic, “governed by the structural forces of politics and economy as well as moralities and solidarities of both conservative and liberal sorts”, where “othered voices and imaginaries find presence” in a mix that leads to “contestations” (556). Both the fashionistas and the video artists of the #100projectors use their creative work to contest the ‘national’ space from the interstices of the city. In the studio these transformations of the bodies of Burmese subjects into international “citizens of the world” contest Ne Win’s Burma and reimagine the idea of nation. They take place in the Chinatown, a relic of the old, colonial Rangoon, a plural city and one of the world’s largest migrant ports, where "mobility, foreignness and cross-cultural hybridity" were essential to its make-up (Aung Thin 778). In their instructions on how to project their ideas as a form of public art to gain audience, the #100projectors artists suggest projectors get “full on creative with other ways: projecting on people, outdoor cinema, gallery projection” (#100projectors). It is this idea projection as an overlay, a doubling of the everyday that evokes the possibility of transformation. The #100projector videos screen on Rangoon bridges, reconfiguring the city, albeit temporarily. Meanwhile, Rangoon is doubled onto other cities, towns, villages, communities, projected onto screens but also walls, fences, the sides of buildings in Finland, Scotland, Australia, and elsewhere. Conclusion In this article I have compared the recent #100projectors creative campaign of resistance against the 2021 coup d’état in Myanmar with the “fashionistas” of 1970 and their “secret” photo shoots. While the #100projectors is a contemporary digital campaign, some of the creative tactics employed, such as dissemination and identifying audiences, can be traced back to the practices of Rangoon’s fashionistas of the 1970s. ­­Creative resistance begins with an act of imagination. The creative strategies of resistance examined here share certain imaginative qualities of connection, a privileging of the ‘cosmopolitan’ and ‘interconnectedness’ as well as the transformativity of actual space, with the streets of Rangoon, itself a cosmopolitan city. References @100projectors Instagram account. <https://www.instagram.com/100projectors/>. @Artphy_1 Instagram account. <https://www.instagram.com/artphy_1/>. 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Cette thèse est consacrée à l’étude des illustrations bibliques de Marc Chagall (1887-1985). Dès le commencement de son travail pour la Bible (publiée en 1956 par Tériade) dans les années 1920, il s’approprie le thème biblique comme sujet central de son art et se sert de ses compositions comme modèle iconographique permanent pour les autres œuvres bibliques. On analyse cette Bible ainsi que tous les autres livres bibliques illustrés par Chagall (Dessins pour la Bible (1960), The Story of the Exodus (1966), Psaumes de David (1979 et 1980) en vue de déceler leurs particularités et estimer leurs places dans l’ensemble de l’art religieux de l’artiste. En effet, le parcours de Chagall donne à voir un être toujours en mouvement entre son monde d’origine juive et le monde étranger. Ce va-et-vient crée en lui une dualité du monde intérieur et du monde extérieur, qui agit comme une dynamique dans ses créations. Les eaux-fortes pour la Bible représentent tout à fait cette dynamique. Or, ce caractère disparaît lorsque Chagall s’approprie le monde étranger comme le sien ; la dualité s’efface pour évoluer vers une unité et une synthèse des différentes cultures présentes chez lui. À mesure que ses œuvres prennent de l’ampleur, l’artiste s’efforce de les doter d’un message et d’un caractère plus universels. En développant sa philosophie de paix et d’amour universels, fondée sur son interprétation du message biblique, Chagall recherche à travers ses œuvres religieuses une grande synthèse dans laquelle il y a une dynamique et une continuité de l’Ancien au Nouveau Testament et du judaïsme au christianisme
This study examines all of the Bible illustrations made by Marc Chagall. Once he started to work on the Bible by etching, the biblical theme became the major subject of his art, and these etchings have been largely used as a model for his other works. We analyse this Bible and all of the other biblical illustrated books of Chagall to find out their characteristics and their meanings in his entire religious art. In fact, we can notice in Chagall’s journey from his birth to his Bible illustrations that this artist has continually been moving between his own Jewish tradition and the outside world. These comings and goings make in him a duality and it becomes dynamic in his creations. His etchings for the Bible show especially this feature. They take root in Jewish tradition but also show various marks of different cultures known by the artist. Nevertheless, we can’t find this characteristic again in any of his other biblical illustrated books, because in appropriating the outside world as his own, the duality disappears and unites. As he works on stained-glass windows in churches, he develops a philosophical view of the universal peace and love based on his interpretation of the biblical message. Then he seeks this universality through all his religious works and biblical illustrations until his last days

Notre enquête doctorale étudie la métamorphose d'Abd el-Kader, à la suite de sa reddition en Algérie, de 1848 à 1852 pendant son emprisonnement en France. Cette thèse ambitionne d’éclairer la transformation de l'émir Abd el-Kader encore méconnue de l’historiographie, à partir du dépouillement des archives principales d’Aix en Provence (ANOM) et de sources diverses. Les axes principaux de l’étude sont les relations entretenues par l’émir avec des protagonistes politiques, militaires, ecclésiastiques, simples citoyens, son évolution intellectuelle et religieuse nourrie de sa confrontation avec la société française qui l’amène à pratiquer un Islam soufi, la manière dont l’émir est perçu lui-même par ses contemporains : du chef de guerre barbare à l’homme de paix et de dialogue interculturel et inter-religieux. Nous tentons donc de questionner à la fois une trajectoire et des perceptions
Our doctoral investigation studies the metamorphosis of Abd el-Kader, following his surrender in Algeria, from 1848 to 1852 during his imprisonment in France. This thesis aims to shed light on the transformation of the emir Abd al-Qadir still unknown to historiography, from the analysis of the main archives of Aix en Provence (ANOM) and various sources. The main axes of the study are the relations maintained by the emir with political, military, ecclesiastical protagonists, simple citizens, his intellectual and religious evolution nourished by his confrontation with French society which leads him to practice a Sufi Islam, the way in which the emir is perceived himself by his contemporaries : from the barbarian warlord to the man of peace and intercultural and inter-religious dialogue. We therefore attempt to question both a trajectory and perceptions

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Dans le contexte richement pluriel dans lequel nous vivons, que constitue un défi pour les traditions religieuses, nous croyons nous trouver devant une chance pour le dialogue entre les plus diverses traditions. Cela se passe quand, sans renier ou méconnaître ce qu´il y a d´unique et irrévocable dans chaque religion nous pouvons, dans la convivialité avec la diversité, acueillir ce qui est spécifique et essentiel de chacune. Sans abandonner l´identité chrétienne nous essayons de trouver une base pour la reflexion théologique qui soit em même temps une possibilitè réelle pour la foi chrétienne de reconnaître d´une façon juste et respectueuse le pluralisme religieux. Pour cela, dans ce travail nous avons cherché la contribution d´um phénoménologue de la religion, Juan Martin Velasco, lequel, avec ses réflexions, nous presente l´importance acquérie par la dimension spirituelle dans le dialogue inter-religieux. Nous avons étudié aussi la pensée du théologien Andrés Torres Queiruga, lequel nous affirme l´authentique necessité d´une rencontre entre les religions. De cette confrontation nous comprenons que, dans toutes les religions il existe une expérience mystique, due seulement à l´invitation et au désir de Dieu de se faire connaître. Et, en acueillant cette Présence, l´être humain a une possibilité d´authentique réalisation. Sans entrer en conflit avec la singularité chrétienne dans l´interprétation positive des autres religions et du pluralisme religieux, nous essayons de signaler la mystique comme un nouveau paradigme, lieu de rencontre et dialogue inter-religieux, possible événement dans l´expérience la plus profonde de tout être religieux, mettant en contact celui qui la vit avec la racine où puisent toutes les religions.
Diante do contexto ricamente plural em que nos encontramos e que desafia as tradições religiosas, acreditamos estar frente a uma oportunidade única para que ocorra o diálogo entre as mais diversas tradições. Trata-se de, sem renegar ou desconhecer o que há de único e irrevogável em cada religião, poder no convívio com a diversidade acolher o que é específico e essencial de cada uma. Sem abandonar a identidade cristã procuramos encontrar uma base para a reflexão teológica que possibilite à fé cristã o reconhecimento justo e respeitoso da pluralidade religiosa. Para isso, buscamos a contribuição de um fenomenólogo da religião, Juan Martin Velasco, que com suas reflexões nos apresenta a importância que está adquirindo a dimensão espiritual no diálogo inter-religioso. Assim também estudamos o pensamento do teólogo Andrés Torres Queiruga, que nos afirma a autêntica necessidade de um encontro entre as religiões. Desta confrontação compreendemos que em todas as religiões existe a experiência mística unicamente graças ao convite e desejo de Deus que deseja tornar-se conhecido. Acolhendo esta Presença, o ser humano tem a possibilidade de atingir sua autêntica realização. E sem fazer oposição à singularidade cristã na interpretação positiva das outras religiões e do pluralismo religioso, apontamos a mística como um novo paradigma, lugar de encontro e diálogo inter-religioso, por acontecer na experiência mais profunda de todo ser religioso, colocando em contato quem a vive com a raiz de onde todas as religiões emanam.

Ce mémoire est le fruit d’une recherche-action dans le contexte des organismes à but non lucratif (OBNL) aconfessionnels œuvrant auprès des populations réfugiées et/ou vulnérables au Liban. À l’heure où les organisations humanitaires, internationales et locales privilégient ce statut aconfessionnel, il présente les résultats d’une étude sur la manière dont ils entrent en dialogue avec des populations en difficultés dont les identités culturelles et religieuses sont parfois plus marquées du fait de leurs déplacements souvent traumatiques. Nous appuyant sur une méthode ethnographique, nous avons suivi quatre OBNL aconfessionnels – deux libanais (Amel et Arcenciel) et deux internationaux (Jusoor et l’IECD Liban) – durant près d’un an, dans leurs actions auprès de ces populations. Adoptant une posture d’observateur participant pour être au cœur de leurs relations et interactions, nous avons surtout observé les formes de dialogues interreligieux et interculturels à la fois entre les membres de ces OBNL et dans leurs relations avec les populations auprès desquelles ils œuvrent. Nous avons également pris en considération l’origine culturelle de ces OBNL pour établir leur impact sur les formes de dialogues développées. Dans un dernier temps, nous combinons ce qui nous semble être les points forts du modèle d’OBNL aconfessionnel libanais – plus prompt à envisager ces types de dialogues – à une approche intervisionnelle développée par Brodeur (2019) pour en extraire un modèle de traitement des dialogues interreligieux et interculturels viable pour les OBNL aconfessionnels œuvrant dans un contexte ouest-asiatique, incluant des formations sur la gestion de ces types de dialogues et de populations sujettes aux discriminations, le recrutement d’une diversité représentative du terrain d’action, ainsi que l’identification des similarités et des valeurs communes aux différents groupes d’acteurs. Reposant sur un cadre conceptuel interdisciplinaire et une enquête qualitative regroupant dix-sept entretiens individuels semi-dirigés, c’est donc sur un terrain peu défriché que s’avance notre étude, dont l’ambition est de pouvoir modestement contribuer à cette question charnière du traitement des dialogues interreligieux et interculturels par les OBNL aconfessionnels.
This action research is looking at the context of non-confessional non-profit organizations (NPOs) working with refugee and vulnerable populations in Lebanon. At a time when humanitarian organizations, international and local, favor this non-denominational status, it seems relevant to study the way in which they enter into dialogue with populations in dire needs, whose cultural and religious identities are sometimes more pronounced due to their often traumatic displacements. Based on an ethnographic method, we followed four NPOs – two Lebanese (Amel and Arcenciel) and two internationals (Jusoor and IECD Lebanon) – for almost a year, in their actions among these populations. Adopting a position of participant observer to be at the heart of their relationships and interactions, we followed the forms of interreligious and intercultural dialogues that came to life, both between the members of these NPOs and in their relations with the populations with whom they work. In order to sharpen our analysis, we also considered the cultural origin of these NPOs to establish their impact on the forms of dialogue they developed. In the final part of this thesis, we try to combine the strong points we found of the Lebanese non-confessional NPO model, in its treatment of these forms of dialogues, with an interworldview dialogue approach developed by Brodeur (2019), to extract a model for the treatment of interreligious and intercultural dialogues feasible for NPOs working in a West Asian context, that includes training on managing these types of dialogues and populations subject to discrimination, recruiting a diversity representative of the field, and identifying similarities and common values among different groups of actors. Based on an interdisciplinary conceptual framework and a qualitative survey bringing together seventeen semi-directed individual interviews, this thesis aims modestly to provide further avenues of research to this transitional question of the treatment of interreligious and intercultural dialogues by non-confessional NPOs.