Alors que la littérature scientifique décrète que l’innovation collaborative n’est pas une nouveauté, les définitions sont souvent contradictoires et sa mise en œuvre reste énigmatique. Par conséquent, cette thèse en sciences de gestion a souhaité apporter des clarifications et des premiers éléments de réponse à travers la problématique centrale suivante : " Comment appréhender les nouvelles formes d’organisation du travail au service de l’innovation collaborative dans le cadre des territoires inscrits dans une démarche de stratégie intelligente ? Le cas des espaces de coworking ". Plusieurs objectifs en ont découlé : 1. Analyser la dimension collaborative de l’organisation du travail afin de déceler son potentiel novateur ; 2. Identifier les processus de gestion qui favorisent l’innovation collaborative en utilisant le cas des espaces de coworking ; 3. Conjuguer ces processus au niveau d’un territoire afin de pouvoir proposer un modèle de gestion intégratif capable de démultiplier le potentiel d’innovation collaborative. La thèse s’est, donc, articulée autour de trois niveaux d’analyse : conceptuel, conjoncturel et territorial. La recherche empirique s’est concentrée sur plusieurs études de cas : 11 espaces de coworking en France et 6 espaces de coworking aux États-Unis. La triangulation des données à partir des entretiens semi-directifs, de l’analyse documentaire et de l’observation empirique a contribué à une meilleure qualité des résultats obtenus. L’analyse conceptuelle nous a permis de clarifier la notion de « nouveauté » associée aux nouvelles formes d’organisation de travail, ainsi que leur potentiel novateur, afin de pouvoir esquisser la grille d’analyse de l’innovation collaborative, le schéma conceptuel de la thèse. Le niveau conjoncturel de l’analyse propose, donc, un schéma conceptuel enrichi intégrant les éléments du terrain. Enfin, l’analyse territoriale a donné lieu à un modèle intégratif de gestion territoriale de l’innovation collaborative. Ces résultats visent, d’un côté, la prise de conscience de nouveaux enjeux associés au concept de travail collaboratif et son potentiel, notamment l’innovation collaborative ; et de l’autre, la prise de conscience de l’importance de l’espace et des trois types de communication - communication pour coordination, communication pour information, communication pour inspiration - dans la gestion de l’innovation collaborative afin d’envisager de nouvelles politiques (publiques) de gestion de l’innovation collaborative (territoriale). / While the scientific literature concludes that collaborative innovation is not a new concept, definitions are often contradictory and its implementation remains enigmatic. Therefore, this thesis in management aimed to address the issue by stating its main question as follows: "How do we capitalize on the new forms of work organization targeting collaborative innovation in regions supporting smart specialization strategies? The case of coworking spaces". As a consequence, the following research objectives have been formulated: 1. To analyze the collaborative dimension of the organization of work in order to detect its innovative potential; 2. To identify management processes that foster collaborative innovation using the case of coworking spaces; 3. To conjugate these processes at the level of a territory in order to propose an integrative management model capable of enhancing the potential of collaborative innovation. The thesis was articulated around three levels of analysis: conceptual, conjunctural and territorial. Empirical research has focused on several case studies: 11 coworking spaces in France and 6 coworking spaces in the United States. The triangulation of the data from semi - structured interviews, documentary analysis and empirical observation helped produce quality results. The conceptual analysis permitted to clarify the notion of "novelty" associated with the new forms of work organization, as well as their innovative potential; thus, this level of analysis aimed to outline the collaborative innovation analysis grid, the conceptual schema of the thesis. The conjunctural level of the analysis proposed an enriched conceptual diagram by integrating the elements of the fieldwork. Finally, the territorial analysis provided an integrative model of the territorial management of collaborative innovation. On the one hand, these results are meant to raise awareness of the new implications of collaborative work and its potential, particularly collaborative innovation; on the other hand, they emphasize the importance of space and the importance of the three types of communication - communication for coordination, communication for information, and communication for inspiration - in the management of collaborative innovation. Thus, they underline multiple opportunities to define new (public) policies for the management of (territorial) collaborative innovation.

Designers often look for inspiration in their environment when exploring possible solutions to a given problem. However, many studies have reported that external stimuli may constrain designers’ imagination and limit their exploration to similar solutions, a phenomenon described as design fixation. Inspiration and fixation effects are traditionally studied with a similar experimental paradigm, which has produced a complex web of findings and explanations. Yet, when analysing the experiments and their findings closely, it becomes clear that there is considerable variation in how studies are conducted and the results they produce. Such variation makes it difficult to formulate a general view of how external stimuli affect the design process, and to translate the research findings into education and practice. Moreover, it raises questions about the reliability and effectiveness of the traditional experimental method. This thesis reports on a collection of studies that examine how design inspiration and fixation research is done and how it can be improved. It explores the research area by reviewing the literature and analysing data from a workshop; describes the research method by scrutinising experiments and their procedures; and explains the variation in research findings by testing experimental procedures empirically and suggesting new interpretations. My main findings are that: abstract stimuli can inspire or fixate designers to different degrees depending on how explicitly the stimuli are represented; external stimuli can inhibit the exploration of ideas that would otherwise be explored; the effect of experimental instructions varies depending on how encouraging the instructions are; and the way participants represent and elaborate ideas can moderate fixation results. Whilst this thesis offers insights into design practice and education, its main contribution is to design research, where it represents a fundamental material for those who are new to inspiration and fixation research, and for those who are already expert.

Notre hypothèse de travail est la suivante : sous le couvert d’un pacte de fausseté et de jeu, Baudelaire met en œuvre le passage vers une poésie qui, pour s’interroger désormais profondément sur elle-même (fondements, référents, métamorphoses, essence et nécessité), exige et engendre sans cesse son foyer propre de vérité, au-delà de tout système. Ainsi, à la différence de ses prédécesseurs, le poète ne fait plus porter principalement son attention, ses efforts, ses doutes et soupçons, sur la portée lisiblement et socialement constructive de ce qu’il écrit, mais sur le rapport entre une apparence poétique ou artistique qui se tient (la figure, l’image) et le tréfonds de l’homme, soit un certain effondrement. La perspective esthétique et morale que nous cherchons donc à définir dans l’œuvre baudelairienne interroge le lien de la parole avec celui qui l’émet d’une part, et celui qui la reçoit d’autre part : la mise en cause de la langue en tant que vecteur effectif est donc posée, ainsi que la recherche anxieuse qui l’accompagne. À la fois nés et déjà distanciés du Romantisme, ce nouveau point de mire et cette réflexivité libèrent, exacerbent et menacent le poétique : c’est ainsi qu’à travers les motifs de l’hypocrisie, du mensonge, du masque, et de l’art lui-même, le poète défie cet idéal au fur et à mesure qu’il l’initie, tout en vivant une véritable passion poétique dans laquelle il s’investit et se consume, corps et esprit, non sans une forme d’intégrité. Tels sont les paradoxes envisagés. En quels termes peut-on parler de vérité poétique dans l’œuvre de Baudelaire ? En extrait-il l’idée vers un déploiement et une postérité assurément fertiles, ou bien l’étouffe-t-il dès sa source dans la clairvoyance qui le caractérise ? Une telle lucidité peut-elle travailler contre l’authenticité du geste artistique ? Où, quand et comment se joue donc le vrai du poème ? Pourquoi et vers quoi ? En quoi l’œuvre trouve-t-elle à travers ce fil une cohérence particulièrement éclairante en tant qu’initiatrice de la modernité ? Mais également, avec quelles limites ? Comment et pourquoi le sens poétique peut-il et doit-il échapper au souci dialectique, donc se jouer pareillement des travestissements et de toute adhérence systématique - notamment d’une fidélité à toutes les évidences de gravité ? Il s’agit donc de tenter de comprendre en quoi le poétique, à partir de Baudelaire, et conséquemment à son travail, dans les transports et substitutions qu’il suppose, dans son improuvable et sa mystification, mais également dans la rigueur qui le caractérise, peut-être mis est en rapport avec le vrai, non pas selon des systèmes constants extérieurs et préalables, mais selon des entrées, des perspectives interférant avec la parole créatrice, notamment avec l’expérience de l’inspiration, de la composition, et de la lecture du symbole. Puisque telle vérité ne peut évidemment pas être posée comme un théorème ou axiome positivement prouvés et applicables, elle ne sera donc pas envisagée à travers un prisme théorique et philosophique précis, mais bien confrontée méthodiquement à la littérarité du texte, au poème, en ce qu’il présente et initie une forme d’existence intrinsèque, dont l’originalité et le paradoxe seraient précisément de ne pas être positive, au sens d’appuyée sur quoi que ce soit de préjugé, où tendue à dessein vers un objectif prescrit. / Our working hypothesis is as follows : under the cover of a pact of falsehood and play, Baudelaire implements the passage toward a poetry which, in order to deeply question itself henceforth with regard to its groundings, referents, metamorphoses, essence, and necessity, requires and incessantly engenders its own center-of-truth beyond any system. Thus, as distinct from his predecessors, the poet no longer aims his attention, efforts, doubts and suspicions at the readably and socially constructive import of what he writes, but at the relation between a poetic or artistic appearance that holds together (the figure, the image) and the inmost depths of humankind, that is, a certain dejection or collapse. The esthetic and moral perspective we seek thus to define in Baudelaire’s work questions the connection between the word and the person emitting it on the one hand, and those receiving it on the other: hence the calling into question of language as an actual vector as well as the anxious research that accompanies it are posed. At once born of and already distanced from Romanticism, this new focus and reflexivity free, exacerbate, and threaten the poetical: thus, by way of the motifs of hypocrisy, lying, the mask and art itself, the poet challenges this ideal in the very process of initiating it, all the while living a veritable poetic passion in which he invests and consumes himself, body and mind, not without a form of integrity. Such are the paradoxes envisioned. In what terms can one speak of poetic truth in Baudelaire’s work? Does he extract the idea of it toward an unfolding and assuredly fertile posterity or else does he stifle the upsurge with his characteristic clairvoyance ? Can such lucidity work against the authenticity of the artistic gesture? Where, when, and how does trueness come into play in a poem ? Why and with a view to what? In what manner does the work, by way of this strand, find a particularly illuminating coherence as initiator of modernity? But equally, within what limits? How, why, can and must poetic meaning escape dialectical concerns and hence deceive, likewise, all travesties and systematic adherence — and especially faithfulness to all obvious facts of solemnity? It’s about attempting to understand in what way the poetical, starting with Baudelaire, and as a result of his work, within the transfers and substitutions it presupposes, in its unprovability and its mystification, but equally in the rigor that characterizes it, may be placed in relation with the true, not according to constant external and pre-existing systems, but according to access-ways, perspectives interacting with creative speech, namely with the experience of inspiration, composition, and the reading of symbols. Since such a truth obviously cannot be posed as a theorem or axiom positively proven and applicable, it will therefore not be envisioned through a precise theoretical and philosophical prism, but rather confronted methodically with the literariness of the text, with the poem, in that it presents and initiates an intrinsic form of existence whose originality and paradoxy would be precisely not to be positive, in the sense of supported by anything pre-judged whatsoever, or tending by design toward any prescribed objective.

Les insectes sont capables de prouesses remarquables lorsqu’il s’agit d’éviter des obstacles,voler en environnement perturbé ou poursuivre une cible. Cela laisse penser que leurs capacités de traitement, aussi minimalistes soient-elles, sont parfaitement optimisées pour le vol. A cela s’ajoute des mécanismes raffinés, comme la stabilisation de la vision par rapport au corps, permettant d’améliorer encore plus leurs capacités de vol.Ces travaux de thèse présentent l’élaboration d’un micro drone de type quadrirotor, qui ressemble fortement à un insecte sur le plan perceptif (vibration rétinienne) et reprend des points structurels clés, tels que le découplage mécanique entre le corps et le système visuel. La conception du quadrirotor (de type open-source), son pilotage automatique et son système occulo-moteur sont minutieusement détaillés.Des traitements adaptés permettent, malgré un très faible nombre de pixels (24 pixels seulement), de poursuivre finement du regard une cible en mouvement. A partir de là, nous avons élaboré des stratégies basées sur le pilotage par le regard, pour stabiliser le robot en vol stationnaire, à l’aplomb d’une cible et asservir sa position ; et ce, en se passant d’une partie des capteurs habituellement utilisés en aéronautique tels que les magnétomètres et les accéléromètres. Le quadrirotor décolle, se déplace et atterrit de façon autonome en utilisant seulement ses gyromètres, son système visuel original mimant l’oeil d’un insecte et une mesure de son altitude. Toutes les expérimentations ont été validées dans une arène de vol, équipée de caméras VICON.Enfin, nous décrivons une nouvelle toolbox qui permet d’exécuter en temps réel des modèles Matlab/Simulink sur des calculateurs Linux embarqués de façon complètement automatisée (http://www.gipsalab.fr/projet/RT-MaG/). Cette solution permet d’écrire les modèles, de les simuler, d’élaborer des lois de contrôle pour enfin, piloter en temps réel, le robot sous l’environnement Simulink. Cela réduit considérablement le "time-to-flight" et offre une grande flexibilité (possibilité de superviser l’ensemble des données de vol, de modifier en temps réel les paramètres des contrôleurs, etc.). / Insects, like hoverflies are able of outstanding performances to avoid obstacles, reject disturbances and hover or track a target with great accuracy. These means that fast sensory motor reflexes are at work, even if they are minimalist, they are perfectly optimized for the flapping flight at insect scale. Additional refined mechanisms, like gaze stabilization relative to the body, allow to increase their flight capacity.In this PhD thesis, we present the design of a quadrotor, which is highly similar to an insect in terms of perception (visual system) and implements a bio-inspired gaze control system through the mechanical decoupling between the body and the visual system. The design of the quadrotor (open-source), itspilot and its decoupled eye are thoroughly detailed. New visual processing algorithms make it possible to faithfully track a moving target, in spite of a very limited number of pixels (only 24 pixels). Using this efficient gaze stabilization, we developed new strategies to stabilize the robot above a target and finely control its position relative to the target. These new strategies do not need classical aeronautic sensors like accelerometers and magnetometers. As a result, the quadrotor is able to take off, move and land automatically using only its embedded rate-gyros, its insect-like eye, and an altitude measurement. All these experiments were validated in a flying arena equipped with a VICON system. Finally, we describe a new toolbox, called RT-MaG toolbox, which generate automatically a real-time standalone application for Linux systems from a Matlab/Simulink model (http://www.gipsalab.fr/projet/RT-MaG/). These make it possible to simulate, design control laws and monitor the robot’s flight in real-time using only Matlab/Simulink. As a result, the "time-to-flight" is considerably reduced and the final application is highly reconfigurable (real-time monitoring, parameter tuning, etc.).

One of the distinguishing marks of American Evangelicalism is a commitment to the Bible as the only authority for faith and practice. A question often debated is whether the Bible should be viewed as inerrant, and if so, how the concept of inerrancy should be understood. This study suggests that the concept of inerrancy should be maintained, but that the concept must be understood in accordance with the way in which the biblical materials present the concepts of truth and its opposite. The value of the doctrine of inerrancy must be found in a better understanding not only of the didactic portions but also of the phenomena ofthe biblical materials. The first chapter of this study looks at nature American Evangelicalism and considers the historical development of the doctrine of the inerrancy of the Bible. The next three chapters consider in turn each of three divisions within American Evangelicalism about the understanding and usage of the doctrine of inerrancy: Complete Inerrancy, Conditional Inerrancy, and Limited Inerrancy. Complete Inerrancy is the most rigid of the three, maintaining that in the original writings of the Bible there were no errors, neither in spiritual nor in secular matters. Conditional Inerrancy conditions the understanding of inerrancy by the intent and purpose for the Bible as understood from the phenomena ofthe texts. The focus is shifted from the autographs of the Scripture to the texts which the contemporary person has to read and study. Limited Inerrancy limits the usage both of the term and of the concept inerrant in relation to the Bible, preferring the descriptor infallible, arguing that neither in the original writings nor in the present texts of the Bible is inerrancy to be found. There are errors in the texts, but they do not take away from the ability of the Bible to accomplish its divine purpose ofbringing people into contact with the Redeemer God. The last chapter draws from the analysis of the arguments within American Evangelicalism material needed to construct a redefined concept of inerrancy which maintains its importance. / Philosophy, Practical and Systematic Theology / D. Th. (Systematic Theology)

The exodus tradition was passed on for posterity among the Jewish descendants about God who delivered their ancestors from bondage in Egypt, who divided the Red Sea waters and provided them with manna in the desert. The exodus tradition motivated them in many problematic situations about "God of their fathers" who delivered them. The modern post-biblical world has drawn some motivation from the exodus liberation motif, namely: Latin America, USA, South Africa, Rhodesia and Zimbabwe, amongst others. The topic: Reading the Exodus Tradition from a Zimbabwean Perspective is necessitated by the Zimbabwean experience of oppression. The function of the exodus tradition during colonialism in Rhodesia is discussed because it forms the nucleus from which Zimbabwe was born. Recently, the Zimbabwean people have been subjected to unjust treatments by the Zimbabwean regime. The function of the exodus tradition in the Zimbabwean situation is explored in chapters five and six, respectively. / Biblical and Ancient studies / M.A. (Biblical Studies)

This thesis is a context-sensitive study of key epistemological commitments and concerns presented in Philo’s two series of exegetical writings. The major conclusion advanced in this thesis is that two theological epistemologies, distinct yet related, can be detected among these writings. The first epistemology is specific to the Allegorical Commentary. The second epistemology is specific to the ‘Exposition of the Law.’ The epistemology of the Allegorical Commentary reflects a threefold conviction: the sovereignty of God, the creaturely contingency of the human mind and its inescapable limitations. In conversation with key epistemological notions of his day, Philo develops this threefold conviction in exegetical discourses that are grounded in Pentateuchal texts portraying the God of Moses as both possessing epistemic authority and aiding the aspiring mind to gain purification and perfection in the knowledge of God. Guided by this threefold conviction, Philo enlists key metaphors of his day – initiation into divine mysteries and divine inspiration, among others –in order to capture something of the essence of Moses’ twofold way of ascending to the divine, an approach which requires at times the enhancement of human reason and at other times the eviction of human reason. The epistemology of the ‘Exposition’ reflects Philo’s understanding of the Pentateuch as a perfect whole partitioned into three distinct yet inseverable parts. Philo’s knowledge discourses in the ‘creation’ part of the ‘Exposition’ reflect two primary movements of thought. The first is heavily invested with a Platonic reading of Genesis 1.27 while the second invests Genesis 2.7 with a mixture of Platonic and Stoic notions of human transformation and well-being. Philo’s discourses in the ‘patriarchs’ segment reflect an interest in portraying the three great patriarchs as exemplars of the virtues of instruction (Abraham), nature (Isaac), and practice (Jacob) which featured prominently in Greek models of education. In the ‘Moses’ segment of the ‘Exposition,’ many of Philo’s discourses on knowledge are marked by an interest in presenting Moses as the ideal king, lawgiver, prophet and priest who surpasses Plato’s paradigm of the philosopher-king. In keeping with this view, Philo insists that the written laws of Moses represent the perfect counterpart to the unwritten law of nature. The life and laws of Moses serve as the paradigm for Philo to understand his own experiences of noetic ascent and exhort readers to cultivate similar aspirational notions and practices.

The thesis focuses on sex education in the lower Primary School. The aim is to map it on the general level, that means its definition and settings for Primary Schools, and then to design the teaching units and to do a partial implementation at the chosen school. The theoretical part describes the development of sex education, inspiration from abroad and mainly its current concept from 1989 until today. There are mentioned its objectives, principles and ethics, legal representation, the negative aspects of human sexuality, the course and content. The thesis also examines the role of family and school. The practical part focuses on the approach of parents and teachers to sex education at the chosen school through a survey and a structured interview. Based on the positive results, there is a proposal of teaching units for education implementation, verification of one of them in practice, and there is also a list of recommended literature and materials for parents. KEY WORDS sex education, inspiration from abroad, current concepts, human and his/her health, sexuality, prevention, school concept, design of teaching units, cooperation

Main focus of this work is to compare and map the evolution of primal sources of inspiration in Czech art in the years 1980-2015. It brings the overview of the authors, who adopted the elements of visual reality, and describes the ways how they used it in their works. Highlighted are the authors whose works are influenced by some of the following topics: commerce and kitch, pornography, comic books, graffiti and street art, folklore, culture of natural nation and childs drawings. Reasons and motivation of the authors for using these extraordinary ways of expression are also clarified. The main part of the work is completed by a context of the exhibitions which took place in the defined time period and follow the topic. It is possible to imagine the evolution and the meaning of primal sources of inspiration in the context of post modern art, according to the basis of the discovered findings.

Dans l’œuvre dramatique de Shakespeare, la voix a le pouvoir de séduire et de faire naître le désir, d’atteindre l’âme comme les émotions et d’y insuffler un mouvement, d’ordonner et d’harmoniser les rapports entre les hommes, ou encore d’agresser, de blesser, de maudire, voire de tuer. La belle acoustique du Théâtre, du Globe ou des Blackfriars, permettait à la voix de résonner en se mêlant à des effets musicaux et à des bruits pour former des paysages sonores qu’il s’agit d’entendre et de déchiffrer. / In Shakespeare’s plays, the voice is an agent of seduction and desire as well as a source of inspiration which animates the soul, moves the heart and arouses emotions. It has the power to civilize men and form harmonious bonds between them, but it may also be a weapon used to curse and kill. At theatres such as the Globe and the Blackfriars which were designed to produce the best acoustic conditions, the actor’s voice resounded and blended with a multiplicity of musical effects and noises to compose soundscapes that the audience was meant to hear and decipher.