Logements insalubres en contexte pluriethnique : étude de cas et pistes d'intervention pour le quartier Norgate dans l'arrondissement Saint-Laurent à Montréal

Ce mémoire explore le rôle du logement dans l'expérience migratoire des nouveaux et nouvelles arrivantes à Montréal et l'impact de celui-ci sur les premières années d'installation, en fonction des caractéristiques socioculturelles des individus. Pour ce faire, une étude collaborative a été menée sur le cas spécifique du quartier de Norgate, situé en plein cœur de l'arrondissement Saint-Laurent. Norgate est un quartier où se produit un renouvellement constant de locataires d'origine immigrante en provenance des quatre coins du monde, et où subsistent d'importants problèmes de pauvreté. En se penchant sur ce milieu de vie et sur les conditions d'habitat de ses résident-e-s, nous avons constaté à quel point un nombre important de locataires vivaient dans des logements en mauvais état, et parfois même dans de graves conditions d'insalubrité. Nous avons cherché à comprendre comment un tel espace urbain pouvait en venir à être aussi dégradé et quels étaient les rôles et responsabilités des différents paliers étatiques face à une telle situation. À travers ce processus, nous avons exploré l'ensemble des possibilités d'action proposées par les différents acteurs (institutionnels, communautaires, résidentiels) ayant un potentiel pouvoir d'agir dans le quartier. Ce mémoire montre comment la problématique des logements dans l'espace urbain est liée à une multitude de facteurs interreliés et qui s'influencent mutuellement, d'où la nécessité d'une approche systémique dans l'analyse du champ de l'anthropologie urbaine. Il cherche également à montrer en quoi un mouvement urbain efficient nécessite un partenariat rigoureux entre les différents acteurs agissant sur le territoire, dans une logique de compréhension et de respect de la diversité des tactiques.

Agents et modèles de l'adaptation publicitaire en agence de communication marketing

L’industrie de la publicité doit se renouveler sans cesse pour suivre la réalité en constante évolution des entreprises et de leurs consommateurs, afin de produire des messages qui toucheront, séduiront, puis convaincront les publics visés. Différents facteurs socioéconomiques, politiques mais également technologiques incitent les annonceurs à orchestrer de vastes campagnes multilingues et multiculturelles, où est présentée une idée unique, conforme à l’identité de la marque, qui sera adaptée dans différents marchés. Il s’agit d’une stratégie très différente de celle de la création de campagnes propres à chaque culture, par des agences locales. Le choix de l’adaptation, motivé par des raisons économiques bien sûr, mais également stratégiques, entraîne une évolution de la perception de l’acte traduisant et de ses acteurs au sein du milieu du marketing et de la publicité. Alors que nous assistons à un rapprochement des industries du marketing et de la traduction, principalement dans les marchés secondaires comme le Québec, ce projet doctoral propose une réflexion traductologique sur la place que peut occuper l’adaptation dans une stratégie en publicité marketing, et sur les différentes fonctions que peut remplir un traducteur intégré à une équipe de spécialistes de la communication. Par ailleurs, de la réception du mandat d’adaptation à l’agence de marketing jusqu’à la diffusion du message dans la culture cible, nous explorons dans notre travail les différentes avenues que peut prendre le processus d’adaptation publicitaire. Cette thèse par articles comprend six publications en traductologie, publiées ou acceptées par des comités scientifiques, qui étudient la question de l’adaptation publicitaire sous un angle traductologique, mais ce travail multidisciplinaire s’inspire aussi des contributions des experts des études sur l’adaptation, la culture ainsi que la communication publicitaire. D’abord, le premier chapitre définit les notions de traduction, d’adaptation et d’appropriation auxquelles nous référerons tout au long de la thèse, et les situe dans le contexte de la communication promotionnelle internationale, notamment. Le deuxième chapitre dresse un portrait pratique et théorique de l’adaptation publicitaire, et porte sur les relations de travail entre le traducteur et les autres professionnels de l’agence. Nous y énumérons notamment les raisons de la progression du marché mondial de l’adaptation, comparativement à celui des multiples créations locales. Ensuite, le chapitre 3 définit les défis variés de l’adaptation publicitaire, et en présente une classification inspirée par la taxonomie de la théorie fonctionnaliste en traductologie, formée de quatre problèmes et deux difficultés traductionnels. Le chapitre 4 présente une réflexion sur les mécanismes intellectuels de l’adaptation publicitaire et sur les différentes lectures que le traducteur doit faire du texte source pour produire un message efficace, respectivement la lecture analytique (rationnelle et raisonnée), puis la lecture empathique, où il anticipe la réaction émotive des cibles. Le cinquième chapitre se concentre sur un aspect de la traduction audiovisuelle presque exclusive à l’industrie publicitaire : la double version, où le traducteur traduit non pas des dialogues apposés à l’image originale, mais plutôt le scénario dans son entièreté, afin de produire un nouveau message vidéo avec des acteurs appartenant à la culture cible. Enfin, notre sixième chapitre est une étude de cas menée en agence de publicité, qui analyse la pratique professionnelle de traducteurs dans leur environnement de travail, les mandats qui leur sont confiés ainsi que les ressources dont ils disposent. Ensemble, ces six chapitres visent à mieux faire connaître la démarche intellectuelle de l’adaptation publicitaire, à comprendre comment différents facteurs influencent le rôle du traducteur au sein d’une agence, à déterminer comment mieux préparer les professionnels de demain à exceller dans le marché très prometteur du marketing international, et à contribuer à l’avancement de la réflexion traductologique par l’étude d’un type de traduction spécialisée qui se démarque par ses pratiques et ses défis aussi intéressants qu’uniques.

Spectroscopie Raman de fibres électrofilées : développement de méthodes et application aux fibres individuelles

L’électrofilage est une technique de mise en œuvre efficace et versatile qui permet la production de fibres continues d’un diamètre typique de quelques centaines de nanomètres à partir de l’application d’un haut voltage sur une solution concentrée de polymères enchevêtrés. L’évaporation extrêmement rapide du solvant et les forces d’élongation impliquées dans la formation de ces fibres leur confèrent des propriétés hors du commun et très intéressantes pour plusieurs types d’applications, mais dont on commence seulement à effleurer la surface. À cause de leur petite taille, ces matériaux ont longtemps été étudiés uniquement sous forme d’amas de milliers de fibres avec les techniques conventionnelles telles que la spectroscopie infrarouge ou la diffraction des rayons X. Nos connaissances de leur comportement proviennent donc toujours de la convolution des propriétés de l’amas de fibres et des caractéristiques spécifiques de chacune des fibres qui le compose. Les études récentes à l’échelle de la fibre individuelle ont mis en lumière des comportements inhabituels, particulièrement l’augmentation exponentielle du module avec la réduction du diamètre. L’orientation et, de manière plus générale, la structure moléculaire des fibres sont susceptibles d’être à l'origine de ces propriétés, mais d’une manière encore incomprise. L’établissement de relations structure/propriétés claires et l’identification des paramètres qui les influencent représentent des défis d’importance capitale en vue de tirer profit des caractéristiques très particulières des fibres électrofilées. Pour ce faire, il est nécessaire de développer des méthodes plus accessibles et permettant des analyses structurales rapides et approfondies sur une grande quantité de fibres individuelles présentant une large gamme de diamètre. Dans cette thèse, la spectroscopie Raman confocale est utilisée pour l’étude des caractéristiques structurales, telles que l’orientation moléculaire, la cristallinité et le désenchevêtrement, de fibres électrofilées individuelles. En premier lieu, une nouvelle méthodologie de quantification de l’orientation moléculaire par spectroscopie Raman est développée théoriquement dans le but de réduire la complexité expérimentale de la mesure, d’étendre la gamme de matériaux pour lesquels ces analyses sont possibles et d’éliminer les risques d’erreurs par rapport à la méthode conventionnelle. La validité et la portée de cette nouvelle méthode, appelée MPD, est ensuite démontrée expérimentalement. Par la suite, une méthodologie efficace permettant l’étude de caractéristiques structurales à l’échelle de la fibre individuelle par spectroscopie Raman est présentée en utilisant le poly(éthylène téréphtalate) comme système modèle. Les limites de la technique sont exposées et des stratégies expérimentales pour les contourner sont mises de l’avant. Les résultats révèlent une grande variabilité de l'orientation et de la conformation d'une fibre à l'autre, alors que le taux de cristallinité demeure systématiquement faible, démontrant l'importance et la pertinence des études statistiques de fibres individuelles. La présence de chaînes montrant un degré d’enchevêtrement plus faible dans les fibres électrofilées que dans la masse est ensuite démontrée expérimentalement pour la première fois par spectroscopie infrarouge sur des amas de fibres de polystyrène. Les conditions d'électrofilage favorisant ce phénomène structural, qui est soupçonné d’influencer grandement les propriétés des fibres, sont identifiées. Finalement, l’ensemble des méthodologies développées sont appliquées sur des fibres individuelles de polystyrène pour l’étude approfondie de l’orientation et du désenchevêtrement sur une large gamme de diamètres et pour une grande quantité de fibres. Cette dernière étude permet l’établissement de la première relation structure/propriétés de ces matériaux, à l’échelle individuelle, en montrant clairement le lien entre l’orientation moléculaire, le désenchevêtrement et le module d'élasticité des fibres.

Analyse des événements festifs et religieux dans le Petit Maghreb sous l'approche de la médiation

Travail dirigé présenté à la Faculté des études supérieures en vue de l'obtention du grade Maîtrise (M.Sc.) en criminologie option sécurité intérieure

A treatise on the process employed by nature in suppressing the hemorrhage from divided and punctured arteries : and on the use of the ligature : concluding with observations on secondary hemorrhage, the whole deduced from an extensive series of experiments and illustrated by fifteen plates /

Mode of access: Internet.

La Russie au XVIIe siècle : mémoires inédits sur les règnes de Piere le Grand, Catherne Ire et Pierre II, publiés et précédés d'une introduction /

"Reproduced by Duopage process ... Bell & Howell Company, Cleveland ... Ohio".

Implicating trust in the innovation process

In this paper, we describe the development of two new measures of innovation trust, ‘trust that heard’ and ‘trust that benefit’. We report the findings from their use in a survey of design engineers in two large aerospace companies. We test a range of hypotheses covering different plausible roles for trust and confirm a ‘main effects’ model, whereby the variables predict the number of ideas suggested and the number of ideas implemented. In addition, we replicate earlier findings by Axtel et al. (2000), namely that personal and job variables predict idea suggestion, whereas organizational variables predict implementation.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Team effectiveness: a test of in-put process-output

This research addressed the question: "Which factors predict the effectiveness of healthcare teams?" It was addressed by assessing the psychometric properties of a new measure of team functioning with the use of data collected from 797 team members in 61 healthcare teams. This new measure is the Aston Team Performance Inventory (ATPI) developed by West, Markiewicz and Dawson (2005) and based on the IPO model. The ATPI was pilot tested in order to examine the reliability of this measure in the Jordanian cultural context. A sample of five teams comprising 3-6 members each was randomly selected from the Jordan Red Crescent health centers in Amman. Factors that predict team effectiveness were explored in a Jordanian sample (comprising 1622 members in 277 teams with 255 leaders from healthcare teams in hospitals in Amman) using self-report and Leader Ratings measures adapted from work by West, Borrill et al (2000) to determine team effectiveness and innovation from the leaders' point of view. The results demonstrate the validity and reliability of the measures for use in healthcare settings. Team effort and skills and leader managing had the strongest association with team processes in terms of team objectives, reflexivity, participation, task focus, creativity and innovation. Team inputs in terms of task design, team effort and skills, and organizational support were associated with team effectiveness and innovation whereas team resources were associated only with team innovation. Team objectives had the strongest mediated and direct association with team effectiveness whereas task focus had the strongest mediated and direct association with team innovation. Finally, among leadership variables, leader managing had the strongest association with team effectiveness and innovation. The theoretical and practical implications of this thesis are that: team effectiveness and innovation are influenced by multiple factors that must all be taken into account. The key factors managers need to ensure are in place for effective teams are team effort and skills, organizational support and team objectives. To conclude, the application of these findings to healthcare teams in Jordan will help improve their team effectiveness, and thus the healthcare services that they provide.

The role of intuition in the translation process:A case study

This paper explores the psychological construct of intuition and its influence in decision-making behavior. Intuition was defined by Jung (1971) as a primary mode of perception operating subconsciously. As opposed to sensing personality types who prefer concrete details, intuitive personality types prefer to acquire information by imagining possibilities (Myers and Myers 1995). In this paper, an analysis of verbalization data from a translation process study is discussed in order to demonstrate the influence of intuition on decision-making during the translation process and to explore the implications of this influence. Recent studies have found that intuition plays a role in learning and decision-making tasks involving affect (Laborde et al. 2010: 786). Intuition is therefore here viewed as a potentially vital component of translator behavior which could predict individuals' translating effectiveness. © John Benjamins Publishing Company.

Developing a process to create and validate an instrument assessing student attainment of competencies at an intercultural university in Mexico

This study took place at one of the intercultural universities (IUs) of Mexico that serve primarily indigenous students. The IUs are pioneers in higher education despite their numerous challenges (Bertely, 1998; Dietz, 2008; Pineda & Landorf, 2010; Schmelkes, 2009). To overcome educational inequalities among their students (Ahuja, Berumen, Casillas, Crispín, Delgado et al., 2004; Schmelkes, 2009), the IUs have embraced performance-based assessment (PBA; Casillas & Santini, 2006). PBA allows a shared model of power and control related to learning and evaluation (Anderson, 1998). While conducting a review on PBA strategies of the IUs, the researcher did not find a PBA instrument with valid and reliable estimates. The purpose of this study was to develop a process to create a PBA instrument, an analytic general rubric, with acceptable validity and reliability estimates to assess students' attainment of competencies in one of the IU's majors, Intercultural Development Management. The Human Capabilities Approach (HCA) was the theoretical framework and a sequential mixed method (Creswell, 2003; Teddlie & Tashakkori, 2009) was the research design. IU participants created a rubric during two focus groups, and seven Spanish-speaking professors in Mexico and the US piloted using students' research projects. The evidence that demonstrates the attainment of competencies at the IU is a complex set of actual, potential and/or desired performances or achievements, also conceptualized as "functional capabilities" (FCs; Walker, 2008), that can be used to develop a rubric. Results indicate that the rubric's validity and reliability estimates reached acceptable estimates of 80% agreement, surpassing minimum requirements (Newman, Newman, & Newman, 2011). Implications for practice involve the use of PBA within a formative assessment framework, and dynamic inclusion of constituencies. Recommendations for further research include introducing this study's instrument-development process to other IUs, conducting parallel mixed design studies exploring the intersection between HCA and assessment, and conducting a case study exploring assessment in intercultural settings. Education articulated through the HCA empowers students (Unterhalter & Brighouse, 2007; Walker, 2008). This study aimed to contribute to the quality of student learning assessment at the IUs by providing a participatory process to develop a PBA instrument.

Impact of high pCO2 and warmer temperatures on the process of silica biomineralization in the sponge Mycale grandis

Siliceous sponges have survived pre-historical mass extinction events caused by ocean acidification and recent studies suggest that siliceous sponges will continue to resist predicted increases in ocean acidity. In this study, we monitored silica biomineralization in the Hawaiian sponge Mycale grandis under predicted pCO2 and sea surface temperature scenarios for 2100. Our goal was to determine if spicule biomineralization was enhanced or repressed by ocean acidification and thermal stress by monitoring silica uptake rates during short-term (48 h) experiments and comparing biomineralized tissue ratios before and after a long-term (26 d) experiment. In the short-term experiment, we found that silica uptake rates were not impacted by high pCO2 (1050 µatm), warmer temperatures (27°C), or combined high pCO2 with warmer temperature (1119 µatm; 27°C) treatments. The long-term exposure experiments revealed no effect on survival or growth rates of M. grandis to high pCO2 (1198 µatm), warmer temperatures (25.6°C), or combined high pCO2 with warmer temperature (1225 µatm, 25.7°C) treatments, indicating that M. grandis will continue to prosper under predicted increases in pCO2 and sea surface temperature. However, ash-free dry weight to dry weight ratios, subtylostyle lengths, and silicified weight to dry weight ratios decreased under conditions of high pCO2 and combined pCO2 warmer temperature treatments. Our results show that rising ocean acidity and temperature have marginal negative effects on spicule biomineralization and will not affect sponge survival rates of M. grandis.

La musique acousmatique et le documentaire : vers un art sonore informatif

Ce mémoire rend compte de la création du « documentaire acousmatique » Littorale, une œuvre musicale à visée informative, élaborée au moyen de prises de son in situ, d’extraits d’archives sonores et des témoignages de sept informateurs. En tissant des liens entre les deux disciplines médiatiques que sont la composition acousmatique et le documentaire, l’œuvre retrace l’histoire d’un impressionnant corpus de chants folkloriques récoltés en 1918 par l’ethnologue Marius Barbeau, dans les villages côtiers de Sainte-Anne-des-Monts et Tourelle, Haute-Gaspésie. La démarche de composition s’élabore ainsi en trois axes communicants : la mise en lumière de liens préexistants mais sous-exploités entre le documentaire et l’acousmatique, la recherche de terrain entourant le répertoire de chansons et sa résurgence dans la population actuelle de la Haute-Gaspésie, ainsi que la composition des trois mouvements musicaux constituant Littorale. À travers l’investigation d’enjeux identitaires qui découlent de la redécouverte du répertoire et la mise en lumière de certains flous historiques qui y sont reliés, cet alliage de deux genres médiatiques vise l’émergence d’une démarche de composition informative et socialement pertinente.

Procéduralisme épistémique et légitimité démocratique : une défense de l'égalité politique

Ce mémoire explore la relation qui lie démocratie et légitimité politique, dans une perspective épistémique. La démocratie, dans son acception la plus générale, confère à chacun la possibilité de faire valoir les intérêts qu'il estime être les siens et ceux de sa communauté, en particulier à l’occasion d’un scrutin. Cette procédure décisionnelle qu’est le vote consacre ainsi en quelque sorte la liberté et l’égalité dont profitent chacun des citoyens, et confère une certaine légitimité au processus décisionnel. Cela dit, si le vote n’est pas encadré par des considérations épistémiques, rien ne garantit que le résultat politique qui en découlera sera souhaitable tant pour les individus que pour la collectivité: il est tout à fait permis d’imaginer que des politiques discriminatoires, économiquement néfastes ou simplement inefficaces voient ainsi le jour, et prennent effet au détriment de tous. En réponse à ce problème, différentes théories démocratiques ont vu le jour et se sont succédé, afin de tenter de lier davantage le processus démocratique à l’atteinte d’objectifs politiques bénéfiques pour la collectivité. Au nombre d’entre elles, la démocratie délibérative a proposé de substituer la seule confrontation d’intérêts de la démocratie agrégative par une recherche collective du bien commun, canalisée autour de procédures délibératives appelées à légitimer sur des bases plus solides l’exercice démocratique. À sa suite, la démocratie épistémique s’est inspirée des instances délibératives en mettant davantage l’accent sur la qualité des résultats obtenus que sur les procédures elles-mêmes. Au final, un même dilemme hante chaque fois les différentes théories : est-il préférable de construire les instances décisionnelles en se concentrant prioritairement sur les critères procéduraux eux-mêmes, au risque de voir de mauvaises décisions filtrer malgré tout au travers du processus sans pouvoir rien y faire, ou devons-nous avoir d’entrée de jeu une conception plus substantielle de ce qui constitue une bonne décision, au risque cette fois de sacrifier la liberté de choix qui est supposé caractériser un régime démocratique? La thèse que nous défendrons dans ce mémoire est que le concept d’égalité politique peut servir à dénouer ce dilemme, en prenant aussi bien la forme d’un critère procédural que celle d’un objectif politique préétabli. L’égalité politique devient en ce sens une source normative forte de légitimité politique. En nous appuyant sur le procéduralisme épistémique de David Estlund, nous espérons avoir démontré au terme de ce mémoire que l’atteinte d’une égalité politique substantielle par le moyen de procédures égalitaires n’est pas une tautologie hermétique, mais plutôt un mécanisme réflexif améliorant tantôt la robustesse des procédures décisionnelles, tantôt l’atteinte d’une égalité tangible dans les rapports entre citoyens.