Le modèle classique de la finance (Markowitz, Sharpe, Black, Scholes, Fama) a, dès le début, été remis en cause par le mathématicien Benoît Mandelbrot (1924-2010). Il démontre que la loi normale ne correspond pas à la réalité des marchés, parce qu’elle sous-estime les risques extrêmes. Il faut au contraire utiliser les lois de puissance, comme la loi de Pareto. Nous montrons ici toutes les implications de ce changement fondamental sur la finance, mais aus-si, ce qui est nouveau, en ce qui concerne la gestion des entreprises (à travers le calcul du coût des capitaux propres). Nous tentons de mettre à jour les raisons profondes de l’existence des lois de puissance en économie à travers la notion d’entropie. Nous présen-tons de nouveaux outils théoriques pour comprendre la formation des prix (la théorie de la proportion diagonale), des bulles (la notion de réflexivité), des crises (la notion de réseau), en apportant une réponse globale à la crise actuelle (un système monétaire diversifié). Toutes ces voies sont très peu, ou pas du tout exploitées. Elles sont surtout, pour la pre-mière fois, mises en cohérence autour de la notion de loi de puissance. C’est donc une nou-velle façon de comprendre les phénomènes économiques que nous présentons ici. / The classical model of finance (Markowitz, Sharpe, Black, Scholes, Fama) has, from the be-ginning, been challenged by the mathematician Benoit Mandelbrot (1924-2010). It shows that the normal distribution does not match the reality of the market, because it underesti-mates the extreme risks. Instead, we must use the power laws, such as the Pareto law. We show the implications of this fundamental change in the finance, but also in the manage-ment of companies (through the calculation of cost of capital). We try to update the underly-ing reasons for the existence of power laws in economics through the concept of entropy. We present new theoretical tools to understand price formation (the theory of diagonal proportion), bubbles (the notion of reflexivity), crisis (network concept), providing a com-prehensive response to the current crisis (a diversified monetary system). All these ways are very little or not at all exploited. They are mostly for the first time, made consistent around the notion of power law. This is a new way of understanding economic phenomena present-ed here.

This work narrates a qualitative sociological exploration with auto-ethnographic underpinnings. It deals with the South African Truth and Reconciliation Commission (SATRC) as a contextual case among others. The thesis seeks to answer the question of whether countries following a TRC route did better than those that did not use TRCs, when it comes to establishing civil control over the military. The author's exposure and involvement in the process as participant, participant observer, observer participant and observer inform the study. With the SATRC as one cornerstone other cases reflected upon include Argentina and Chile (Latin America), Spain and Portugal (Southern Europe), Namibia, Nigeria and Rwanda (Africa). / Sociology / D.Litt. et. Phil. (Sociology)

This qualitatively oriented Practical Theology research project was based on a narrative inquiry into the spiritualities of six gay women who are related to Northfield Methodist Church, which is situated in Benoni, Gauteng. These conversations occurred within a small group context, and were aimed at co-authoring preferred ways of being both gay and Christian. Toward the end of the research journey, I asked each participant to prepare a written text that would summarise their experience of being simultaneously gay and Christian, so that by hearing their own stories of their journey, they would be able to find a voice. As these women are usually marginalised in the Methodist Church, I invited various groups to audience their stories. This research report records the beginning of my journey into working towards the complete acceptance of gay and lesbian Christians into the Methodist Church of Southern Africa. / Philosophy, Practical and Systematic Theology / M. Th. (Pastoral Therapy)

This qualitatively oriented Practical Theology research journey, informed by postmodernism and social constructionism, was based on a narrative enquiry into the healing and renegotiation of identity of five "faithful spouses" post infidelity and divorce. These conversations occurred within a small group context, where narratives were spoken and witnessed (pastoral therapeutic gatherings), and were aimed at enabling the participants to remember and re-author preferred identities and new ways of being. This dissertation attempts to bring together the narratives of the participants, the literature, narrative therapy and pastoral care. My research curiosity was prompted by my mother's experience of divorce, and by the myriad number of conversations I have had with both "infidels" and "faithful spouses" in my pastoral practice. This research journey examines the process of co-creating, along with my fellow travellers (research participants), a viable model of divorce recovery in the face of infidelity and divorce. / Philosophy, Practical and Systematic Theology / M.Th. (Pastoral Theology)

Il existe une inefficience du processus de décision [...] due à un dysfonctionnement de compétence des dirigeants [...]. Pour augmenter l'efficience du processus de décision, les dirigeants doivent maîtriser les Stratégies de Décision, par l'utilisation d'un Modèle-Outil [...] PPPERFFS [qui] répertorie 36 Stratégies de Décision dans les catégories Domaines managériaux, Postures cognitives et Mécanismes cognitifs... / Inefficiency of decision process exists and is characterised by:- simple loop learning,- strictly limited rationality,- and hidden costs of the decision process.The inefficiency of decision process is due to a dysfunction of managers’ competence, who:- lose their decision marks,- lack reflexivity,- use Decision Strategies in beneficial and toxic way, such as:· lack of contradictory mindset (strongly validated hypothesis),· lack of perfectionism (weakly validated hypothesis).To increase the efficiency of decision process, managers should master DecisionStrategies, by using a problem solving support Model-Tool, integrator-facilitator ofDecision Strategies steering, and endowed with PPPERFFS qualities:- "Practical",- "Paradoxical",- "Polyvalent / Exhaustive" (Multi-Skilled / Comprehensive),- "Rapid / Fluent" (Fast / Easy)- "Faithfull" (Reliable),- "Schematic" (Diagrammatic).This Model-Tool has to be drafted and its performance has to be tested.[This has been done:]The drafted PPPERFFS Model-Tool itemises 36 Decision Strategies into the followingcategories: managerial Domains, cognitive Postures and cognitive Mechanisms. Firsttests demonstrate a contingent performance.

Fondée sur un corpus de huit films allemands réalisés entre 1919 et 1924 (Das Cabinet des Dr. Caligari, Genuine et Raskolnikow de Robert Wiene, Algol de Hans Werckmeister, Von morgens bis mitternachts et Das Haus zum Mond de Karlheinz Martin, Torgus/Verlogene Moral de Hanns Kobe et Das Wachsfigurenkabinett de Paul Leni), cette étude porte sur l'esthétique et la réception du cinéma expressionniste, dont l'étiquette fait aujourd’hui encore l'objet de confusions. Pour identifier des traits constitutifs de son esthétique, trois axes sont envisagés : la réception critique, l'esthétique fantastique et la réflexivité. Le retour à la première phase de la réception repose sur un corpus de 225 documents d'archives majoritairement inédits, principalement extraits de huit revues de cinéma allemandes, et notamment des trois périodiques qui font alors autorité : Der Kinematograph, Lichtbild-Bühne et Film-Kurier. Le recours aux critiques et aux premières théories esthétiques qui précédent les célèbres ouvrages de Siegfried Kracauer et de Lotte Eisner permet d'appréhender l'horizon d'attente de la critique. Dans le contexte du débat sur la valeur artistique du cinéma, l'expressionnisme est perçu comme l’avènement d'un art du cinéma, caractérisé par la volonté des créateurs de faire œuvre d'art, qui s'exprime par l'unité stylistique, la conception des décors et l'opposition au naturalisme. La réception se fait aussi au prisme du fantastique et témoigne à la fois de l'héritage du romantisme et de l'importance du renouveau du fantastique. L'enjeu de l'analyse filmique proposée est de dégager en quoi la tension entre les deux pôles du fantastique est constitutive d'une esthétique des frontières, à l'origine de la structure narrative, de la configuration de l'espace et d'une réflexion ontologique. Enfin, ambition artistique et fantastique se rejoignent dans l'esthétique d'un cinéma qui se prend lui-même pour objet. En recourant à la notion d'écran second, élaborée dans le cadre de l'énonciation cinématographique, l'analyse identifie des formes de mise en scène du regard et de l'expérience cinématographique, dans leur rapport au désir. / Based on a corpus of eight german films made between 1920 and 1924 (Das Cabinet des Dr. Caligari, Genuine and Raskolnikow by Robert Wiene, Algol by Hans Werckmeister, Von morgens bis mitternachts and Das Haus zum Mond by Karlheinz Martin, Torgus/Verlogene Moral by Hanns Kobe and Das Wachsfigurenkabinett by Paul Leni), this thesis investigates the aesthetics and the reception of German expressionist film. Up until today, there is still some confusion over the definition of expressionist cinema. In order to identify constituent characteristics of its aesthetics, three areas of research are explored: the critical reception, the fantastic aesthetics and the self-reflexivity. The analysis of the first period of reception is based on a corpus of 225 mostly unpublished archival documents. These documents come from eight different film periodicals, mainly from the three leading trade journals of the early twenties: Der Kinematograph, Lichtbild-Bühne and Film-Kurier. By focusing on film reviews and on the first theories of aesthetics that preceeded Siegfried Kracauer's and Lotte Eisner's famous works on Weimar cinema, we get a sense of film critics' expectations back when the movies were first released. In the context of the debate about cinema and its artistic value, expressionism was perceived as the advent of film art, caracterised by the deliberate will of its contributors to create art. This ambition expresses itself through stylistic unity, a very distinctive conception of set designs and an opposition to Naturalism. Expressionist film is also perceived through the lense of the fantastic, which shows both the legacy of German romanticism and the importance of the renewal of fantastic literature and film in Germany. The film analysis of the present work aims at showing how the tension between the two poles of the fantastic is a constituent characteristic of the aesthetics of borders that caracterises expressionist film: it accounts for its narrative structure, its configuration of space and the ontologic reflexion it offers. Finally, cinema itself appears to be one of the main topics of these films. This is both the result of the artistic ambition of expressionist filmmakers and the explanation for their predilection for the fantastic: in some respect, films are fantasies, in that they manipulate the spectator and produce illusions. This is why spectatorship plays a major role in expressionist cinema: thanks to the notion of secondary screen, borrowed from the field of filmic enunciation, our analysis identifies characteristic representations of looks and gazes as well as of cinematic experiences, and reveals their relation to human desires.

Why has the resurrection once again become the centre point of a new storm brewing in both popular and academic culture? Because of the combination of a realisation of death, and of human beings’ need to interpret its (death’s) mysteries; a question innate to the human experience. In a fear-filled world where war, terrorism, and economic collapse bring the question of death (and the afterlife) to the fore, people are asking – perhaps more than ever – what happens after we die. This popular fascination with the end, with death, and with what (if anything) lies beyond it, has also influenced the theme and the direction of academic work in the theological field. For this reason an informed analysis of the resurrection debate has become necessary – a process of analysing the different strata of understanding as it relates to current resurrection research. Any consideration given to gender or power, birth or burial, money or food is made in an effort to situate the debates being studied. Could a reason for these still varied conclusions on the subject be that those writing on it are not equipped for the task of analysing and interpreting history and historical method? In order to be able to begin answering this question, one of this study's main objectives is to learn and apply the approach of historians – outside of the community of Biblical scholars – to the question of whether Jesus of Nazareth rose from the dead; thus providing interaction with philosophers of history related to hermeneutical and methodological considerations. The method proposed here is a combination of historiography and an ethics of understanding, with the use of Correspondence theory (in which history is described as knowable, and some hypotheses as truer than others in a correspondence sense). This study wants to address both the different questions and analyses of the debate by asking: What if we see things differently? What if we were to ask a different set of questions? In order for this to be possible, we need to develop an ethics of interpretation – instead of asking the expected questions, this study aims to ask: What interests and frameworks inform the questions we ask and the way in which we interpret our sources? How does scholarship echo (and even participate in) contemporary public discourses about Christian identity? These questions will be attended to through three intersecting practices – critical reflexivity, complemented by the use of the two related practices of textual re-reading and public debate. However, these are not methodical steps in a linear progression, they are mutually interacting practices that draw on each other; raising new possibilities for the way in which we historically reconstruct the Jesus movement, allowing us to enter into the public debate about Jesus and eschatology in a way that takes the ethical possibilities and consequences of our reconstructions of Christian origins and identity seriously. For, though fragmentary and broken human words may be, they nevertheless possess a capacity to function as the medium through which God is able to disclose himself. Copyright / Dissertation (MTh)--University of Pretoria, 2010. / New Testament Studies / unrestricted

Dans la perspective d’une sociologie pragmatique, cette thèse interroge ce qu’il en est du renouveau du conte. Ainsi, il ne s’agit pas de définir les causes de ce phénomène datant des années 1970, ni d’établir des filiations – entre un conte considéré comme « traditionnel » et un « néoconte » – mais de prendre pour thème de l’enquête celles qui lui sont prêtées par les conteurs ou les chercheurs s’étant intéressés à la question. L’approche n’étant pas interprétative, la thèse ne s’intéresse pas au texte, ni même au couplage texte/contexte, mais au conte-en-acte. Elle propose de penser le renouveau du conte en termes d’acclimatation plutôt que de changement de contexte et introduit ce faisant la notion de milieu. Cette hypothèse du conte associé à son milieu est mise à l’épreuve des redéfinitions contemporaines de la pratique du conte. Une première épreuve est considérée comme centrale en ce qu’elle transforme le mode d’existence du conte : grâce aux collectes entreprises par les folkloristes puis les ethnologues, le conte existe désormais sous un état non seulement graphique mais surtout bibliographique. Cette épreuve chapeaute toutes les autres. Les deux épreuves examinées ensuite sont celles de la persistance, à la campagne ou à la ville, d’une version ethnologisante du conte qui considère que le conte est attaché à la communauté. Les deux dernières épreuves concernent la définition d’une version esthétisante du conte. La thèse montre alors que le processus d’autonomisation du conte – au plan esthétique comme au plan politique ou institutionnel – n’aboutit jamais ; surtout qu’il n’y a là ni un défaut du conte ni une défaillance de ceux qui le défendent. Au contraire, c’est là leur qualité : le conte est une parole bègue, un art en mode mineur.Prenant au sérieux la réflexivité dont font preuve les acteurs du conte, la thèse met également en évidence, chemin faisant, différents régimes de réflexivité croisée entre les chercheurs et les acteurs du conte. / From a pragmatic sociology point of view, this dissertation calls into questions what the revival of storytelling is about. It does not deal with defining the causes of this phenomenon which dates back to the 1970s, nor with drawing filiations – from a storytelling understood as “traditional” and to a “new-storytelling” – but it is about focusing on those storytellers or researchers attribute to it. As the approach is not interpretative, the dissertation does not focus on the text, nor on the articulation text/context, but on the tale-in-action. It tries to figure the revival of storytelling in terms of acclimatation rather than of context evolutions. Thus, it weaves the notion of milieu.Contemporary redefinitions of the practice of storytelling challenge this hypothesis of a storytelling connected to its milieu. A first probing test can be considered as crucial as it transforms tale’s mode of existence: through collections initiated by folklorists and later on ethnologists, tale now exists not only in a graphic, but also bibliographic form. This probing test embraces the others.The two probing tests that are then explored are those of the persistence, in rural spaces as much as in cities, of an ethnologizing version of storytelling, which considers storytelling as tied to the community.The last two probing tests deal with the definition of an aestheticizing version of storytelling. The dissertation evinces then that the process of autonomization of storytelling – on the aesthetic level as much as on the political or institutional one – is never accomplished; especially since there is neither a flaw of storytelling or a failure of those who promote it. On the contrary, it is their quality: storytelling is stuttered speech, an art in a minor mode.Considering with attention the reflexivity actors of storytelling are showing, the dissertation also underlines, along its way, different regimes of crossed reflexivity between researchers and actors of storytelling.

Stefan Hirschauer kritisiert mit dem Konzept des Undoing Gender den Theorieentwurf des Doing Gender nach West & Zimmerman. Er begreift Geschlecht als Effekt von Interaktionen und lehnt sich dabei an Garfinkels ethnomethodologisches Konzept der Accountability und der Omnirelevanz von Geschlecht an. Aus institutioneller Perspektive wird die Möglichkeit der Neutralisierung der Kategorie Geschlecht betont. Forschungsperspektivisch ist Geschlecht auf seine konkrete Relevanzsetzung in Interaktionen unter der Bedingung unterschiedlicher kultureller Konfigurationen und institutioneller Arrangements zu untersuchen ('kontextuelle Kontingenz').

That consciousness is ubiquitous, and relevant to autopoietic self-organisation and embodiment within every living being and/or organism, is a prevalent idea in contemporary consciousness research. However, because ‘consciousness’ as a word is derived from con or cum, meaning ‘with’ or ‘together’ and scire, ‘to know’ or ‘to see’ it infers the experience of knowing with an ‘other’ and/or ‘others’. The narrative that follows, while expressing a life of its own, documents the interdisciplinary research conducted and questions who and/or to what ‘other’ might infer. My visual diary, Dust from dust: Microorganisms and other tales: An Artist’s diary, created as the visual component of a creative practice-as-research undertaking, was silently performed amidst ‘others’ in the Unisa gallery, in an attempt to render visible, the autopoietic, self-organising embodiment essential to the conscious self-developmental component of the project. Once upon a time, I grew bacterial yeast cells in a glass vitrine to observe how they self-organised their own embodiment and photographed the process. At the same time, I conducted interdisciplinary research into consciousness as a self-developmental process, and utilising the cellular symbiosis unfolding in the vitrine as a self-reflexive mirror, came to visualise how indispensable bodily feelings are to conscious self-development, and being-in-the-world-with-others processes. As a creative-practice-as-research undertaking, I grew, manipulated and photographed the cellular imagery in the vitrine over many years in an attempt to unfold personal bodily feeling associations the imagery held captive, while gathering photographic footage I considered capable of expressing the primordial nature of certain emotive feeling experiences. Once obtained, I choreographed and performed a stop-frame video, entitled Dust from Dust: Microorganisms and other tales. An artist’s diary. The stop-frame video, along with a catalogue that focuses on the processes engaged with, accompanies the written narrative. Once edited, I macroscopically projected different phases of the video into a three-walled enclosure in the UNISA Art gallery. The three videos, representing a facet of my praxis, ran concurrently over a two week period. The fourth facet, presented with the video projections to emphasise conscious self-development as an in-the-world-with-others process, was the glass vitrine. It was positioned in a darkened enclosure in the gallery space, opposite the video projections. This narrative documents how I projected myself into the cellular imagery developing in the glass vitrine, in a way akin to how the ancient alchemists ‘projected’ themselves into the prima materia with which they worked. While the alchemists seemingly worked unconsciously, and my praxis initially started somewhat unconsciously, the process developed into a conscious attempt to embody the research findings. So, while the video choreographed, champions a microbial cell story, by referring to it as an artist’s diary, I emphasise the subjective nature of my praxis as a whole. In this creative-practice-as-research undertaking, I address the significance of bodily feelings and their relevance to being-in-the-world-with-others processes. In doing so, I aim to offer insight into how and why feelings are essential to inter-subjectivity and/or sociality, self-organisation and conscious self-development, as well as how and why conscious self-development can lead to immersive experiences, which I interpret as embodied adaptation to the rich diversity and/or fullness of life itself. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)