Understanding factors that impact teacher utilization of learning from professional development is critical in order maximize the educational and financial investment in teacher professional learning. This study used a multicase mixed quantitative and qualitative methodology to investigate the factors that influence teacher adoption, adaption, or abandonment of learning from science teacher professional development. The theoretical framework of activity theory was identified as a useful way to investigate the phenomenon of teacher appropriation of pedagogical practices from professional development. This framework has the capacity to account for a multitude of elements in the context of a learning experience. In this study educational appropriation is understood through a continuum of how an educator acquires and implements both practical and conceptual aspects of learning from professional development within localized context. The variability associated with instructional changes made from professional development drives this inquiry to search for better understandings of the appropriation of pedagogical practices. Purposeful sampling was used to identify two participants from a group of eighth-grade science teachers engaged in professional development designed to investigate how cyber-enabled technologies might enhance instruction and learning in integrated science classrooms. The data from this investigation add to the literature of appropriation of instructional practices by connecting eight factors that influence conceptual and practical tools with the development of ownership of pedagogical practices in the appropriation hierarchy. Recommendations are shared with professional development developers, providers, and participants in anticipation that future science teaching experiences might be informed by findings from this study.

Le monopole de fait est consacré au neuvième alinéa du Préambule de la Constitution du 27 Octobre 1946, selon lequel : « tout bien, toute entreprise, dont l’exploitation a ou acquiert les caractères d’un service public national ou d’un monopole de fait, doit devenir la propriété de la collectivité ». Sous une apparente clarté, la formulation n’en est pas moins énigmatique pour le juriste. Si cette disposition a semblé justifier les nationalisations (ce qui explique le caractère ponctuel des études qui lui sont portées), la condamnation du monopole de fait relève d’une logique intemporelle : celle de la concordance des mécanismes de marché avec la réalisation de l’intérêt général. C’est notamment ce que font sourdre les origines, tout à la fois économiques et politiques, du monopole de fait ; cet euphémisme utile pour mieux désigner les féodalités économiques et la défaillance de marché. Le monopole de fait est une menace, et lorsqu’il sévit il empêche la réalisation d’une démocratie économique et sociale. Faut-il mentionner ces entreprises qui, disposant d’un pouvoir de marché d’envergure, optent pour des stratégies d’entreprise agressives. Les GAFA, les banques et les assurances, les opérateurs historiques dans les secteurs de réseaux, les géants de l’agroalimentaire, sont autant d’exemples flagrants de monopole de fait. C’est donc sans détour qu’il faut le condamner par l’appropriation collective. Notion qui se meut aux confins du droit et de l’économie, le monopole de fait constitue la pierre angulaire de ce que l’on pourrait qualifier de droit du marché. Ce droit qui viendrait pallier, mutatis mutandis, aux défaillances de marché. Rien de plus nécessaire, alors, que de caractériser le monopole de fait. Or en la matière, les différentes situations possibles présentent toutes une même caractéristique et tendent toutes au même résultat : il s’agit de l’exercice abusif d’un pouvoir de marché, aboutissant à la constitution d’une rente de situation, à la confiscation d’une rente de situation. Ce sont ces deux aspects combinés qui permettent d’identifier le monopole de fait, en droit. Fort de cette première découverte, la sanction par l’appropriation collective ne peut qu’être redéfinie. L’approche purement propriétaire qui prévalait permettait en substance l’appropriation collective (parce que les propriétés publiques sont, plus que les autres, tenues par l’intérêt général). Mais elle est reléguée, dans cette étude, à une place subsidiaire, au profit d’une analyse plus pragmatique mettant l’accent sur les différentes parties en présence, le déséquilibre de pouvoir existant entre elles, et les intérêts lésés par le monopole de fait. Pour faire écho au neuvième alinéa du Préambule de 1946, on pourrait dire que le régime applicable au monopole de fait doit permettre aux parties prenantes de de pouvoir se constituer en véritable contre-pouvoir vis-à-vis des entreprises qui, abusant elles-mêmes de leur pouvoir de marché, heurtent leurs intérêts. / The "monopole de fait" is promoted in the French Constitution’s 9th preambular paragraph of October 27, 1946, according to which: "any good, any enterprise, whose exploitation has or acquires the characteristics of a national public service or a "monopole de fait", must become the property of the collectivity". In apparent clarity, the wording is nonetheless enigmatic for the jurist. While this policy seemed to justify nationalization (which explains the punctual nature of the studies that are made to it), the condemnation of the "monopole de fait" is a timeless logic: that of the participation of the market to the realization of the public interest. This is what the origins of the "monopole de fait", both economic and political, leads to. This euphemism, is useful to precisely designate economic feudalism and market failure. The "monopole de fait" is a threat, and when it is rife it prevents the realization of what the French scholars called an economic and social democracy. Should we mention those companies which, having a large market power, opt for aggressive corporate strategies; GAFA, banks and insurance companies, the incumbent operators in the network sectors, the agribusiness giants, are all flagrant examples of "monopole de fait". It is therefore straightforward that we must condemn it by collective appropriation. Notion that moves to the confines of law and economics, the "monopole de fait" is the cornerstone of what could be called market law. This branch of law would mitigate, mutatis mutandis, market failures. Nothing morenecessary, then, than to characterize the "monopole de fait". In this field, the different situations all have the same characteristic and all tend to achieve the same result: it is an abusive exploitation resulting in a rent situation. It is these two aspects combined that make possible the identification of "monopole de fait", in law. Strong of this first step, the sanction through collective appropriation must be redefined. The purely proprietary approach that prevailed allowed, in part, collective appropriation (because public property is, more than the others, held by the public interest). But it is neglected in this study in favor of a more pragmatic analysis focusing on the various parties involved and the legitimate interests harmed by "monopole de fait". To echo the 1946’s 9th preambular paragraph, it could be said that the de facto monopoly regime must enable stakeholders to assert their right (s) against companies.

The question of whether outsourcing is a good or bad organizational practice has traditionally come down to whether the positive financial impact of outsourcing overcomes the potential organizational liabilities. The theoretical model proposed in this thesis argues that such thinking underestimates the positive organizational benefits that arise from outsourcing by giving inadequate consideration to impacts that outsourcing has on the innovation cycle of outsourcing providers. This research adds to our understanding of outsourcing decision-making in three important ways. First, the thesis presents how innovation benefits can arise from outsourcing and proposes four potential innovation benefits from outsourcing – the motivation for creativity, innovation scale, innovation scope and complementarity of capability. The central hypotheses argue that these beneficial factors should increase the likelihood of a decision to outsource an activity. Second, this research extends our understanding of outsourcing by examining the moderating effect of value appropriation on the decision to outsource. Third, the thesis provides a rigorous empirical utility theoretical approach – best-worst scaling and discrete choice modeling – to understanding managerial preferences and the components of outsourcing decision making. The findings reveal that a significant segment of managers do indeed look beyond cost in choosing to outsource, focusing instead to concentrate broadly on a supplier’s commitment to innovation, complementarity of capabilities and the ability of an outsourcing contract to appropriate value created in a relationship. This implies that the managerial application of outsourcing is not restricted to a short-term solution for cost savings, but can potentially be thought of, and used as, a strategic mechanism to drive innovation in organizations. Some benefits may not be immediately obvious (e.g., a supplier’s motivation for innovation) and require more awareness from managers. Together, the theory and empirics provide insight into outsourcing decision-making and the opportunities for extending outsourcing as a strategic mechanism to drive innovation more broadly.

L'analyse des pratiques des touristes et des stratégies des acteurs institutionnels et privés du tourisme conduit à mettre en évidence des disjonctions territoriales. Aussi, au terme de cette étude, les avons-nous confrontées. L'analyse statistique du premier territoire, celui des touristes, fait clairement apparaître une pratique de découverte dominante au sein de notre espace d'étude, de même qu'une hyper-mobilité et une indépendance notoire des touristes. Le territoire des touristes est construit par leurs pratiques des lieux. L'étude du second territoire, celui des acteurs professionnels, laisse voir, de la part de ceux-ci, une augmentation des moyens d'intervention, un déploiement de stratégies et une diversification des actions. Cependant, institutionnels comme privés ont des logiques différentes : les acteurs privés développent des rapports tandis que chez les acteurs institutionnels interfèrent des représentations techniques et politiques du territoire.

<p>HOGARTH'S PROGRESS: `MODERN MORAL SUBJECTS' IN THE ART OF DAVID HOCKNEY, LUBAINA HIMID AND PAULA REGO</p><p>An Abstract by</p><p>Mora J. Beauchamp-Byrd</p><p> Hogarth's Progress: "Modern Moral Subjects" in the Work of David Hockney, Lubaina Himid and Paula Rego, examines three late twentieth-century, British appropriations of William Hogarth's narrative series. Hogarth is best known for the paintings and engravings that he termed "modern moral subjects," exemplified by satirical series such as The Harlot's Progress (1732) and The Rake's Progress (1733-5). These cautionary yet humorous tales evince a period of great social, political, economic and cultural transformation in England, a time of profound change wrought by colonial enterprise, an increasingly powerful middle class, and a heightened public interest in moral questioning. Recent scholarship on Hogarth has increasingly focused on the artist's diverse representations of eighteenth-century London life, his numerous images of servants of African descent, French dancing masters and Italian castrati. Unsurprisingly, for many contemporary artists, Hogarth's narratives provide a complex visual template for a host of present-day issues regarding race, gender, sexuality and national identity. </p><p>The dissertation will investigate how Hogarthian re-workings by artists David Hockney in the early 1960s; Lubaina Himid in the mid-1980s; and Paula Rego in 1999-2000, modify and/or expound upon narratives of gender and sexuality that are already present in the eighteenth century artist's narrative series. The three contemporary works examined here engage with two works by Hogarth: Marriage-a-la-Mode (1745), which chronicles the doomed union of an Earl's son and the daughter of a wealthy merchant, who sells her in marriage to obtain a higher social standing, and The Rake's Progress. Rake recounts the tale of Tom Rakewell, a merchant's son whose exuberant spending and moral decay, aided by a procession of effeminate French dancing masters, prostitutes and criminals, leads to his final residence, the madhouse "Bedlam." </p><p> </p><p>I will first examine David Hockney's early 1960s "Rake's Progress", a series of 16 etchings loosely based on the artist's first visit to the United States, an insertion of his own personal narrative into Hogarth's tale of moral decline. I will then investigate the work of Lubaina Himid, who initiated a Black women artists movement in 1980s London. In 1986, Himid produced a large-scale installation entitled A Fashionable Marriage. The work employs Scene 4 of Hogarth's Marriage-a-la-Mode series to critique the racist and sexist policies of the London art world during this period. Finally, I will discuss the work of Paula Rego, best known for her large-scale paintings of emotionally-charged domestic scenes. Rego has also re-worked Hogarth's Marriage, employing the earlier series to critique arranged marriages in her native Portugal. Rego's triptych entitled After Hogarth: Betrothal; Lessons; Wreck (1999-2001), like much of her work, reveals the psychological anxieties and ambiguities of gender relations and, in a broader sense, human interaction. For Hockney, Himid and Rego, Hogarth's contradictory evocations of eighteenth century London society provide a complex visual template for a host of contemporary issues such as race, gender, sexuality and national identity. </p><p>Also critical to this study is the relationship between the three contemporary artists. Hogarth is present as the key driving factor in all three works, yet also to be considered is the role that Hockney, as a critical figure in late twentieth-century art, played in the construction of both Himid and Rego's later works. </p><p>Although Hogarth's work has been appropriated by a wealth of artists from the eighteenth through twentieth centuries for a wide variety of uses, this dissertation will examine how three relatively recent quotations employ Hogarth as an "ally in subversion," while simultaneously making use of Hogarth's stature within the English art historical canon. I am proposing that these later uses of Hogarth, many of which explored various configurations of race, gender and sexuality, evolved from a key element inherent within the artist's work, a form of `ambiguous narrativity' that yet somehow appeared to crystallize issues of moral questioning as central ideological theme.</p> / Dissertation

This thesis works towards a theory of creative appropriation as critical praxis. Defining ‘appropriation’ as the re-use of already-authored cultural matter, I investigate how the ubiquity of aesthetically and commercially motivated appropriative practices has impacted concepts of creativity, originality, authorship and ownership. Throughout this thesis, appropriation is understood as bridging the artistic, political, economic, and scientific realms. As such, it strongly affects cultural and socio-political landscapes, and has become an ideal vehicle for effectively criticizing and, perhaps, radically changing dominant aesthetic, legal and ethical discourses regarding the (re)production, ownership and circulation of knowledge, artifacts, skills, resources, and cultural matter in general. Critical appropriation is thus posited as a political strategy that can draw together the different causes motivating appropriative processes across the globe, and organize them for the benefit of a multitude which values concepts of reusing, sharing and collectivity over concepts of the individually authored and the privately owned. My arguments regarding this critical potentiality are based on concrete practices emanating from several media (textual – visual – sonic – digital). The corpus includes Berlin Dadaist collage, ‘found footage’ filmmaking, audio sampling, and digital media art. It is critically contextualized in the fields of philosophy, law, and aesthetics, and paired with relevant examples from extra-aesthetic arenas (economics, industrial production and science). Following a trajectory from the analog to the digital, my thesis traces the emergence and tactical employment of critical appropriative practices in the context of different historical, philosophical, technological and economic circumstances. Focussing on conceptual and practical shifts from the analog to the digital furthermore enables me to draw connections between analytic perspectives founded in dialectic materialism and contemporary theories foregrounding issues of immaterial labor. The important qualitative changes that practices and perceptions of appropriation have undergone are argue to significantly amplify the critical potential of all appropriative practices. Ultimately, my comparative analyses thus establish appropriation as an ideal site for effectively challenging – both in terms of form and content – the ingrained, restrictive notions of original genius and naturalized authorship-qua-ownership on which present cultures and technologies of global capitalism are so heavily based.

This thesis works towards a theory of creative appropriation as critical praxis. Defining ‘appropriation’ as the re-use of already-authored cultural matter, I investigate how the ubiquity of aesthetically and commercially motivated appropriative practices has impacted concepts of creativity, originality, authorship and ownership. Throughout this thesis, appropriation is understood as bridging the artistic, political, economic, and scientific realms. As such, it strongly affects cultural and socio-political landscapes, and has become an ideal vehicle for effectively criticizing and, perhaps, radically changing dominant aesthetic, legal and ethical discourses regarding the (re)production, ownership and circulation of knowledge, artifacts, skills, resources, and cultural matter in general. Critical appropriation is thus posited as a political strategy that can draw together the different causes motivating appropriative processes across the globe, and organize them for the benefit of a multitude which values concepts of reusing, sharing and collectivity over concepts of the individually authored and the privately owned. My arguments regarding this critical potentiality are based on concrete practices emanating from several media (textual – visual – sonic – digital). The corpus includes Berlin Dadaist collage, ‘found footage’ filmmaking, audio sampling, and digital media art. It is critically contextualized in the fields of philosophy, law, and aesthetics, and paired with relevant examples from extra-aesthetic arenas (economics, industrial production and science). Following a trajectory from the analog to the digital, my thesis traces the emergence and tactical employment of critical appropriative practices in the context of different historical, philosophical, technological and economic circumstances. Focussing on conceptual and practical shifts from the analog to the digital furthermore enables me to draw connections between analytic perspectives founded in dialectic materialism and contemporary theories foregrounding issues of immaterial labor. The important qualitative changes that practices and perceptions of appropriation have undergone are argue to significantly amplify the critical potential of all appropriative practices. Ultimately, my comparative analyses thus establish appropriation as an ideal site for effectively challenging – both in terms of form and content – the ingrained, restrictive notions of original genius and naturalized authorship-qua-ownership on which present cultures and technologies of global capitalism are so heavily based.

Contemporary criticism of the North American urban public realm has reached an unproductive state of exhaustion. For some time, it has painted a rather bleak portrait of public space attributed to the impacts of global private economic forces, the disintegration of traditional civic ideals and an increasing uncertainty in its ideal (or even relevant) spatial form. If a productive and meaningful dialogue about the public realm and architecture’s contribution to it is to emerge, a more complete definition of this realm must include the impacts of its informal others. This research-based thesis examines the city’s spaces and actors of hidden appearance as a contribution to that expanded definition. In so doing, it finds a more appropriate means for their description in what Henri Lefebvre terms the urban blind field. Just as the human eye’s blind spot is subjective, the urban blind field too is dynamic and shifting. Looking from multiple viewpoints is necessary to the blind field’s exposure and more genuine portrayal. The research centres around a series of blind fields encountered during field research undertaken across Toronto, Canada. Each is reconceived and foregrounded through participant actions upon them, rather than by professional design alone. Three fundamental urban acts — play, exchange and cultivation — serve as a loose framework for the theoretical, photographic and discursive explorations thereof. This thesis asserts that blind fields possess within them the seeds of active urban democracy — challenging contemporary criticism’s bleak claims. Therefore, their maintenance is paramount to a rich and active ongoing public realm. As a relational concept, the blind field also exposes a fertile means of reconsidering architectural praxis and its relationship to space, material, time and participatory hierarchies.

Contemporary criticism of the North American urban public realm has reached an unproductive state of exhaustion. For some time, it has painted a rather bleak portrait of public space attributed to the impacts of global private economic forces, the disintegration of traditional civic ideals and an increasing uncertainty in its ideal (or even relevant) spatial form. If a productive and meaningful dialogue about the public realm and architecture’s contribution to it is to emerge, a more complete definition of this realm must include the impacts of its informal others. This research-based thesis examines the city’s spaces and actors of hidden appearance as a contribution to that expanded definition. In so doing, it finds a more appropriate means for their description in what Henri Lefebvre terms the urban blind field. Just as the human eye’s blind spot is subjective, the urban blind field too is dynamic and shifting. Looking from multiple viewpoints is necessary to the blind field’s exposure and more genuine portrayal. The research centres around a series of blind fields encountered during field research undertaken across Toronto, Canada. Each is reconceived and foregrounded through participant actions upon them, rather than by professional design alone. Three fundamental urban acts — play, exchange and cultivation — serve as a loose framework for the theoretical, photographic and discursive explorations thereof. This thesis asserts that blind fields possess within them the seeds of active urban democracy — challenging contemporary criticism’s bleak claims. Therefore, their maintenance is paramount to a rich and active ongoing public realm. As a relational concept, the blind field also exposes a fertile means of reconsidering architectural praxis and its relationship to space, material, time and participatory hierarchies.

I uppsats och gestaltning vill jag lyfta fram och undersöka människors förhållande till det privata fotografiet. Både ur aspekten varför människor väljer att fotografera men också hur och vad som representeras i fotografier. Ämnet är allmängiltigt och lättillgängligt och ett viktigt område att synliggöra och reflektera på för människor i alla åldrar. Min förhoppning är att människor som inte problematiserat ämnet tidigare ska börja intressera sig och därigenom få ett vidgat synsätt. Arbetet har tagit stöd i teorier om fotografi skrivna av främst Roland Barthes, Susan Sontag och Vilém Flusser. I uppsatsen har fotografen Sally Manns arbeten undersökts som en levande text samt en visuell etnografisk undersökning ägt rum om människors fotografering. Exempel på begrepp som tas upp i texten är: appropriation, objektifiering, noem, motminnen och sanningen på snedden. Till uppsatsen bifogas två bilagor varav den ena innehåller bilder från den etnografiska undersökningen. I gestaltningen har både andra människors fotografering undersökts samt mitt eget förhållande till fotografering och representation. Den första delen behandlar de visuella representationer som blev till när informanter fotograferade under en etnografisk undersökning. Del två har utgått från ett fotografi taget av en fotograf på sin döda mor i förhållande till ett fotografi som både representerar mig och är berättat av mig. Del tre tar ett steg längre i de tankar som de första två delarna behandlar. Den lyfter fram hur lika berättelser kan representera samma person. Uppsats och gestaltning interagerar med varandra främst genom den visuella etnografiska undersökningen. Men självklart har alla olika delar befruktat varandra eftersom de behandlats och problematiserats under samma tidsperiod. Min metod att undersöka hur människor använder sig av fotografering kom att bli ett handfast pedagogiskt verktyg. Det material som finns i gestaltningen kan jag med fördel använda som igångsättare när jag i olika pedagogiska rum ska behandla ämnet fotografi. / BI/Media