L’investissement en matière de systèmes d’information (SI) constitue un enjeu fondamental de développement des organisations mais également un risque considérable, compte tenu des probabilités d’échecs de ce type de projet. La prise en compte du facteur humain est une composante essentielle de la réussite d’un projet SI, devant être considérée comme partie intégrante du processus d’innovation. Appliqué au domaine des Systèmes de Transport Intelligents (ITS), ce travail de recherche s’est évertué à proposer une démarche intégrant l’activité humaine et ses transformations au cœur du processus de conduite de projet SI. Son objectif était de fournir à l’association ITS Bretagne un canevas d’intervention permettant de poser un diagnostic complet des besoins d’accompagnement d’une organisation, souhaitant intégrer un ITS, et de construire, à partir des résultats de ce diagnostic, un dispositif de conduite de changement adapté. Fondamentalement intégrative, la démarche élaborée s’appuie sur une opérationnalisation du processus de genèse instrumentale (Rabardel, 1995) – c’est-à-dire la transformation mutuelle des composantes techniques et humaines d’un instrument – à des niveaux d’activités organisationnels, collectifs et individuels. Elle s’inscrit de manière transversale et continue au sein des trois temps d’analyse des usages : l’acceptabilité, l’acceptation et l’appropriation. Sa mise en œuvre dans le cadre d’un projet pilote, au sein de la chaîne logistique d’un industriel français, a permis d’en démontrer sa faisabilité et sa pertinence, tout en ouvrant des champs de recherche quant à ses applications et développements futurs / Information System (IS) investment is a major issue for the development of organizations although it also represents a significant risk, regarding the failure probability of these kinds of projects. The Human Factor is a key component of successful IS projects, and must be considered as part of the innovation process. Applied to the field of Intelligent Transport Systems (ITS), this research work does its utmost to put forward an approach to integrate human activity and its transformation at the heart of IS project management processes. The goal of this research was to provide ITS Bretagne with an intervention framework, which would enable it to diagnosis what support would be needed by an organization which is planning to integrate an ITS. The results of this diagnosis would then be used to propose an appropriate change management procedure. Intrinsically integrative, the approach created in this research is based on the operationalization of the instrumental genesis process (Rabardel, 1995) – i.e. the mutual transformation of human and technical components of an instrument – at organizational, collective and individual activity levels. It works in a transversal and continuous way, throughout the three usage analysis stages: acceptability, acceptance and appropriation. The use of this intervention framework for an experimental project, within the logistic chain of a French manufacturer, enabled us to prove its feasibility and relevance, as well as opening up new fields of research concerning its future applications and development

O presente estudo teve como objetivo realizar a triagem de PHA sintases numa biblioteca metagenômica de solo de Mata Atlântica, empregando duas técnicas de busca: o método de detecção fenotípica e a técnica de PCR. Resultados positivos foram obtidos com este último, empregando iniciadores descritos na literatura e iniciadores descritos neste trabalho. Em 10.67% dos clones da biblioteca foram obtidos amplicons, dos quais 7 foram seqüenciados, apresentando similaridade para os genes phaC dos tipos II e IV. Adicionalmente, 67 clones positivos para a classe III foram obtidos e 4 destes foram seqüenciados. Duas das seqüências obtidas mostraram alta similaridade com o gene codificador da enzima glutamina sintetase tipo I, outro deles para a proteína hipotética conservada pertencente à família de enzimas oxidoredutases e a outra para o componente D do gene hidrogenase-4. A partir da análise dos resultados, iniciadores mais específicos são propostos. Assim, a técnica de PCR foi mais eficiente na detecção de genes da biossíntese de PHA na biblioteca metagenômica estudada. / To perform a PHA synthase screening in a metagenomic library from Atlantic forest soil two search methods were applied: phenotypic detection and PCR. Positive results with PCR were obtained by using primers described in the literature and proposed in this study. Amplicons were obtained in 10.67% of the library, 7 of them were sequenced showing similarity with class II and IV phaC genes. In addition, 67 positive clones for class III were obtained and 4 of them were sequenced. Two of these sequences showed high similarity to the glutamine synthase gene type I, the third one showed similarity to the conserved hypothetical protein of the reductase family, and the forth presented similarity to the component D of the hidrogenase-4. According to the results, more specific primers are suggested. Therefore, PCR was more efficient in the detection of PHA biosynthesis genes in the studied metagenomic library.

L’émergence de la Renaissance en Italie s’est accompagnée d’un intérêt renouvelé pour la problématique des origines et, plus spécifiquement, de la création du monde. Les figures de la genèse qui imprègnent le discours humaniste, aux XVe et XVIe siècles, n’ont cessé d’exalter la fonction matricielle du mythe cosmogonique pour penser le rapport au temps présent. Les images – en particulier les œuvres d’art – constituent les traces visibles de ces spéculations qui touchent autant les conceptions religieuses et philosophiques relatives au commencement que les moyens visuels, mis en œuvre par les artistes, pour figurer le mystère de la première naissance. La première partie de ce travail consiste en une étude de l’imaginaire de la création du monde aux XVe et XVIe siècles à travers la mise en évidence de son rôle fondamental dans la pratique de l’histoire, la structuration des savoirs sur la nature et l’exercice du pouvoir. Une série d’étude de cas de grands décors peints – de la voûte de la chapelle Sixtine, complétée en 1512, à la sala della Creazione du palazzo Besta, achevée à la fin du Cinquecento – compose la deuxième partie et la troisième partie de cette thèse. À partir de la mise en évidence d’un ensemble de textes et d’images, la quatrième partie de ce travail explore les ressorts poétiques et figuratifs de l’analogie entre la création du monde et le faire artistique. L’investissement théorique de l’iconographie de la création du monde à la Renaissance a été au fondement de la définition de la notion de « création artistique » et de l’œuvre comme monde agencé par l’artiste qui marque la conception moderne de l’art. / The emergence of Renaissance in Italy was associated with a renewed interest in the questioning of origins and, more specifically, in the creation of the world. The humanist discourse in the fifteenth and sixteenth centuries was permeated by figures of the genesis that ceaselessly glorified the matrix functionality of the cosmogonic myth to conceive the relationship to the present time. Images, and more specifically works of art, constitute the visible remnants of these contemplations, affecting the religious and philosophical representation of the beginning, as well as the visual means used by the artists to portray the mystery of the first birth. The first part of this study analyses the idea of the creation of the world, during the fifteenth and sixteenth centuries, through the portrayal of its fundamental role in the practice of history; the construction of knowledge about nature; and the exercise of power. The second and third part of this thesis take the form of case studies focusing on mural paintings - the vault of the Sistine Chapel, completed in 1512, to the Sala della Creazione of Palazzo Besta, completed at the end of the Cinquecento. Finally, the fourth part of this study will explore the poetic and figurative drive emerging from the analogy between the creation of the world and the artistic practice, illustrated via an evocative ensemble of texts and images. During the Renaissance, the theorized iconography of the world’s creation yielded the concept of “artistic creation” and of the work of art as a universe modeled by the artist, thus introducing the modern notion of art.

Made available in DSpace on 2016-04-27T14:31:13Z (GMT). No. of bitstreams: 1 Carlos Alberto Dainese.pdf: 1401568 bytes, checksum: 1df771ce8cd092bfa3bf233f4005e0b5 (MD5) Previous issue date: 2013-09-26 / In the development of courses in Distance Education (DE), the uses of artifacts like Information and Communication Technology (ICT) predominate to create a virtual learning environment. However, these artifacts not always meet the expectations of the subjects, since, due to lack of experience, greater attention is paid to the functionalities of the artifact and the separation between users and computer systems; it is necessary to think about the technology in use. The aim of this study was to investigate the uses of ICT to develop a distance-learning training program in a public institution. This study was supported by the Activity Theory and Instrumental Genesis. The program offered three courses taught via Moodle Virtual Learning Environment, and the activities were developed through the use of ICT. The study included 1 teacher, 2 local tutors and 10 students geographically distant. The uses of ICT in the courses were described and analyzed according to: a) the program design and the teacher s interview, outlining the different stages of the program as an activity system, and b) through the records of Moodle, which allowed both the description of the Instrumental Genesis teacher, tutor and student, and the statistical analysis of changes through the frequencies of ICT. The results showed that changes in the courses and in the activity system of the program have a mutual relationship between the provision, by the teacher, of the types and frequencies of ICT, and the contradictions generated by the students and tutors uses. This study offers as contribution a genetic-historical approach of an activity system that allows for the reconstruction and analysis of the development through its internal contradictions. This can be used as a tool to model solutions in Distance Learning Education through the uses of ICT, allowing subjects to find their own solutions and expansion actions. Furthermore, this research emphasizes that, for the purposes of ICT in Distance Learning Education, it is necessary that the prescribed and intended procedures that the instructor is trying to implement be contrasted and adapted according to the processes that are being performed by other subjects / No desenvolvimento de cursos na modalidade de Educação a Distância (EAD) há predominância dos usos de artefatos do tipo Tecnologias Digitais de Informação e Comunicação (TDIC) para criar um ambiente virtual de aprendizagem. Contudo, muitas vezes esses artefatos não atendem as expectativas dos sujeitos, pois em função da falta de experiência é dada maior atenção às funcionalidades do artefato e à separação entre sujeitos e sistemas computacionais; é necessário pensar a tecnologia em uso. O objetivo deste estudo foi investigar os usos das TDIC no desenvolvimento de um curso de capacitação na modalidade a distância em uma instituição pública. A base do estudo foi a Teoria da Atividade e a Gênese Instrumental. O curso ocorreu por meio de 3 disciplinas no Ambiente Virtual de Aprendizagem Moodle, cujas atividades foram desenvolvidas fazendo usos das TDIC. Participaram deste estudo 1 professor, 2 tutores locais e 10 alunos geograficamente dispersos. Os usos das TDIC nas disciplinas foram descritos e analisados por meio: a) do Projeto do Curso e da entrevista do professor, traçando as diferentes fases de desenvolvimento do curso como um sistema de atividade; e b) por meio dos registros do Moodle, que permitiu tanto a descrição da Gênese Instrumental do professor, tutor e aluno, como a análise estatística de mudanças através das frequências das TDIC. Os resultados mostraram que as mudanças ocorridas nas disciplinas e no sistema de atividade do curso estão em relação mútua entre a disponibilização, pelo professor, de tipos e frequências de TDIC, e as contradições geradas nos usos por aluno e tutor. Este estudo apresenta como contribuição uma abordagem genético-histórica de um sistema de atividade que permite reconstruir e analisar o desenvolvimento por meio das contradições internas. Isto pode ser utilizado como artefato para modelar soluções na EAD com os usos das TDIC, permitindo aos sujeitos encontrar as próprias ações expansivas e soluções. A pesquisa salienta que para os usos das TDIC na EAD é necessário que os processos prescritos e planejados que o instrutor está tentando implementar sejam contrastados e adaptados de acordo com os processos que estão sendo realizados pelos demais sujeitos.

Made available in DSpace on 2016-04-27T16:57:20Z (GMT). No. of bitstreams: 1 Gilson Bispo de Jesus.pdf: 2003628 bytes, checksum: b76e6d0b8ebbf82f910e9ece19c3d41a (MD5) Previous issue date: 2012-10-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis deals with the Instrumental Genesis, which is the preparation process of instrument by the subject. Studies on national and international levels have addressed this process, however, no studies that dealt with Instrumental Genesis referring to an abstract artifact were found. This research revealed the bisector as an abstract artifact. Thus, the goals were to analyze based on the actions of two teachers as the bisector artifact becomes an instrument to solve geometric problems, and investigate how this process could contribute to the learning of geometry by these teachers. Based on these objectives, the research conducted answered the following research questions: how the bisector of Instrumental Genesis happens when the subject interacts with this mathematical object to solve a geometric problem? How the insertion of a bisector mathematical object may interfere in the geometric content learning process by the subject? The methodological choice was the case study that contributed to the achievement of research objectives and the studies those carried out regarding Theory of Instrumentation and Anthropological Theory of Didactics which provided the theoretical elements appropriate for this research. The task, techniques and theoretical-technological discourse analysis enabled to perceive the various instruments developed by teachers while they organized their actions. Furthermore, the didactic organization enabled teachers to develop different techniques supported in the theoretical-technological discourse by solving geometric construction tasks proposed in this organization. The process of Instrumental Genesis of bisector was found in the teachers actions, since these actions emphasized the mobilization and/or construction of various use schemes that were added to this mathematical object. At the same time, this process contributed to the learning mediated by bisector of some topics of Plane Geometry / Esta tese trata da Gênese Instrumental, que consiste no processo de elaboração do instrumento pelo sujeito. Estudos em níveis nacionais e internacionais já abordaram esse processo; no entanto, não foram encontrados trabalhos que tratassem da Gênese Instrumental, tomando como referência um artefato abstrato. Nesta pesquisa, evidenciou-se a mediatriz como artefato desse tipo. Assim, seus objetivos foram analisar com base nas ações de dois professores, como o artefato mediatriz transforma-se em instrumento na resolução de problemas geométricos e investigar como esse processo poderia contribuir para a aprendizagem de conteúdos geométricos por parte desses professores. Com base nesses objetivos, a pesquisa realizada respondeu às seguintes questões de investigação: de que modo acontece a Gênese Instrumental da mediatriz, quando o sujeito interage com esse objeto matemático na resolução de problemas geométricos? Como a inserção do objeto matemático mediatriz interfere no processo de aprendizagem de conteúdos geométricos por parte do sujeito? A escolha metodológica foi o estudo de caso que contribuiu para o alcance dos objetivos da pesquisa e os estudos realizados a respeito da Teoria da Instrumentação e da Teoria Antropológica do Didático forneceram os elementos teóricos apropriados para esta pesquisa. A análise das tarefas, das técnicas e do discurso tecnológico-teórico fez perceber os vários instrumentos elaborados pelos professores, quando eles organizavam suas ações. Além disso, a organização didática favoreceu que os professores desenvolvessem técnicas diferentes apoiadas no discurso tecnológico-teórico, ao solucionarem as tarefas de construção geométrica propostas nessa organização. Constatou-se, nas ações dos professores, o processo de Gênese Instrumental da mediatriz, visto que essas ações evidenciaram a mobilização e/ou a construção de vários esquemas de utilização que foram agregados a este objeto matemático. Ao mesmo tempo, esse processo contribuiu para a aprendizagem mediada pela mediatriz de alguns tópicos de Geometria Plana

Made available in DSpace on 2016-04-27T16:57:21Z (GMT). No. of bitstreams: 1 Sergio Vicente Alencar.pdf: 4042349 bytes, checksum: c062eb6b102c607024c176085dae9756 (MD5) Previous issue date: 2012-10-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this work is the development of a workshop using the GeoGebra for teachers who teach mathematics in elementary education, so that they can develop their own strategies for teaching and learning with the use of this software. Therefore, the work was guided by the following research question: What guidelines are needed for an initial GeoGebra s workshop, structured according to Rabardel´s Instrumental Genesis, enable mathematics teachers of primary school develop their own teaching and learning strategies using this software? The theoretical support searches, through the processes of instrumentation and instrumentalization, an interaction of the subjects participating in the researches with the artifact, in this case, the GeoGebra, so to turn it into an instrument. As research methodology, the Design Experiments was used; its goal is to conduct a formative evaluation to test and refine educational projects. Three workshops were held with mathematics teachers of the public schools of São Paulo, and, at the end of each workshop, the activities were analyzed and proposed changes up for the other, so as to minimize the obstacles, allowing a progressive improvement of the research process. At the end of the study, it is concluded that more important than the activities conducted were the questions made to teachers, leading them to "think about mathematics", creating and testing their hypotheses, facilitating thereby the occurrence of the Rabardel´s Instrumental Genesis / O objetivo deste trabalho é o desenvolvimento de uma oficina com o uso do GeoGebra para professores que lecionam Matemática no ensino básico, de tal forma que possam elaborar estratégias próprias de ensino e aprendizagem com o uso desse software. Para tanto, o trabalho foi norteado pela seguinte questão de pesquisa: quais orientações são necessárias para que uma oficina inicial de GeoGebra, estruturada de acordo com a Gênese Instrumental de Rabardel, possibilite aos professores de Matemática da escola básica elaborarem estratégias próprias de ensino e aprendizagem com o uso desse software? O suporte teórico utilizado busca, por meio dos processos de instrumentação e instrumentalização, uma interação dos sujeitos participantes das pesquisas com o artefato, neste caso o GeoGebra, de tal forma a transformá-lo em um instrumento. Como metodologia de pesquisa utilizou-se o Design Experiments, cujo objetivo é realizar uma avaliação formativa para testar e refinar projetos educacionais. Foram realizadas três oficinas com professores de Matemática da rede estadual de São Paulo e, ao término de cada oficina, as atividades eram analisadas e propunham-se mudanças para as demais, de forma a minimizar os obstáculos, permitindo um progressivo aprimoramento do processo de investigação. Ao final do trabalho, conclui-se que, mais importante do que as atividades realizadas, foram os questionamentos realizados aos professores, levando-os a pensarem sobre a Matemática , criando e testando suas hipóteses, facilitando, dessa forma, a ocorrência da Gênese Instrumental de Rabardel

Metteur en scène contemporain dont l’itinéraire personnel est une conséquence de la décentralisation théâtrale, Daniel Benoin tire sa force de création du passage de l’image mentale à sa concrétisation dans le spectacle vivant par l’hybridation de savoirs multiples et de techniques artistiques. Cette étude d’un destin particulier dans un rapport holiste avec l’art dramatique permet une théorisation du processus de création dans lequel un regard croisé entre phénoménologie et pragmatique confirme l’hypothèse d’une empreinte matérielle et stylistique. L’approche comparative d’un grand nombre de représentations et de l’ensemble des répétitions préalables à cinq spectacles (Wozzeck, La Cantatrice chauve, Faces, la reprise de La Cantatrice chauve, Le roman d’un trader) définira cette empreinte comme idiosyncrasique, formelle et originale, le tout commun à l’ensemble de l’œuvre observée. Ainsi, grâce aux concours de pré-images modulables et fécondes, les images mentales primordiales s’installent au cœur de la création et la vision onirique se révèle être l’essence même de la particularité artistique de ce metteur en scène. La recherche entreprise ouvre alors des perspectives renouvelées quant à l’esthétique et à la présence/absence de l’artiste dans des domaines élargis (cinéma, danse, peinture, photographie, musique, écriture). / Daniel Benoin, a contemporary stage director whose personal career was a consequence of theatrical decentralization, draws his creative strength from his ability to make mental images become concrete in live shows by using numerous knowledge and artistic techniques in a hybrid way. This project on a distinctive destiny in a holist connexion with Drama enables to theorize about the creation process in which a crossed look at phenomenology and pragmatism confirms the hypothesis of a material and stylistic imprint. The comparative approach of many performances and of all the preliminary rehearsals to five theatrical shows (Wozzeck, La Cantatrice chauve, Faces, the remake of La Cantatrice chauve, Le roman d'un trader) will eventually define this mark as an idiosyncratic, formal and original one, to be found in the whole work which was studied. Thus, thanks to the help of fertile and adjustable pre-images, essential mental images settle in the heart of creation and the oneiric vision turns out to be the very essence of the artistic particularity of this stage director. Therefore the research opens up renewed angles about the aesthetics and the presence/absence of the artist in enlarged fields (such as cinema, dancing, painting, photography, music, writing).

This dissertation examines the various ways Anglo-Saxon authors interpreted and adapted Genesis 10–11: the Table of Nations and the Tower of Babel narrative. Although Genesis 10–11 offered Christians of Late Antiquity and the Middle Ages a scripturally authorized understanding of the origins of ethnic and linguistic diversity of the world, its nature as an ancient Jewish text that deals with matters more suitable to its original audience than to its late antique and medieval readers allowed these later readers to transform the meaning of the text in order to give it a significance more fitting to their own times. In the first section of my dissertation, I treat the topos of the number 72, which becomes prominent when authors of Late Antiquity and the Middle Ages read it into the Table of Nations as the number of descendants of Noah’s three sons. My first chapter deals with the initial development of this topos in Christian and Jewish writings of Late Antiquity; my second chapter with the topos in the Latin writings of early Anglo-Saxons, from the biblical commentaries from the School of Canterbury to Alcuin; and my third chapter with the topos in the writings of later Anglo-Saxons, from King Alfred to the Old English texts of the eleventh century. In the second section of my dissertation, I treat the interpretations of the Tower of Babel as they form and are informed in Late Antiquity and Anglo-Saxon England. As in the first section, three chapters are presented: the first on the initial developments in Late Antiquity; the second on the continual development into the Latin authors of early Anglo-Saxon England; and the third on the mainly Old English authors of the later Anglo-Saxon period.

This dissertation examines the various ways Anglo-Saxon authors interpreted and adapted Genesis 10–11: the Table of Nations and the Tower of Babel narrative. Although Genesis 10–11 offered Christians of Late Antiquity and the Middle Ages a scripturally authorized understanding of the origins of ethnic and linguistic diversity of the world, its nature as an ancient Jewish text that deals with matters more suitable to its original audience than to its late antique and medieval readers allowed these later readers to transform the meaning of the text in order to give it a significance more fitting to their own times. In the first section of my dissertation, I treat the topos of the number 72, which becomes prominent when authors of Late Antiquity and the Middle Ages read it into the Table of Nations as the number of descendants of Noah’s three sons. My first chapter deals with the initial development of this topos in Christian and Jewish writings of Late Antiquity; my second chapter with the topos in the Latin writings of early Anglo-Saxons, from the biblical commentaries from the School of Canterbury to Alcuin; and my third chapter with the topos in the writings of later Anglo-Saxons, from King Alfred to the Old English texts of the eleventh century. In the second section of my dissertation, I treat the interpretations of the Tower of Babel as they form and are informed in Late Antiquity and Anglo-Saxon England. As in the first section, three chapters are presented: the first on the initial developments in Late Antiquity; the second on the continual development into the Latin authors of early Anglo-Saxon England; and the third on the mainly Old English authors of the later Anglo-Saxon period.

Meaning or sense [sens] is traditionally thought to be bestowed by a subject, or found ready-made within the world. Against these views Merleau-Ponty develops an account of the genesis of sense in which it arises from the mutually formative relation between an intentionally directed body and the perceptual levels of the world. In this thesis I explore the implications of Merleau-Ponty's theory of sense for the work of art, arguing ultimately that artistic sense arises from a reversible relation between artist and world, intention and process, historical works and artistic goals, viewer and work. This account deepens through an analysis of the ontology of the Flesh through which we find that sense, as the intentional being of the body and the world, is what constitutes subject and object in the first place. Through a folding back on itself, being senses itself and gives rise to a generative difference through which new sense can emerge in perception, expression and aesthetic experience. / Social Sciences and Humanities Research Council of Canada (SSHRC) - Joseph-Armand Bombardier CGS Master’s, Ontario Graduate Fellowship (OGF)