Nous comptons au total vingt-deux « comédiens-poètes », dont deux sont des femmes, entre le dernier tiers du XVIe siècle jusqu’à la fondation de la Comédie-Française en 1680, soit une période de cent ans environ. Afin de comprendre la naissance puis la montée en puissance de cette pratique d’écriture propre aux comédiens, nous commençons à étudier les conditions de création des pièces de Châteauvieux et Hardy au début du siècle. Dans la première partie, nous étudions l’apparition de cette pratique chez les comédiens parisiens dans les années 1640 à travers Desfontaines et Montfleury. Dans la deuxième partie, nous mettons en lumière l’importance du rôle des commandes et des institutions lors de l’émergence des comédiens-poètes itinérants dans les années 1650 et 1662, à travers des recherches archiviques qui nous révèlent les rapports entre Des Carreaux, Dorimond et Rochefort, comédiens-poètes contemporains de Molière, et les commanditaires de fêtes en province. Dans la troisième partie, toujours selon la même méthode, nous suivons principalement l’activité de Dorimond, Rosidor et Rochefort, dans les années 1660. Nous examinons la concurrence qui se joue entre eux à La Haye et à Bruxelles concernant la création de leurs propres pièces et la reprise de pièces d'auteurs, en particulier celles à machines. Dans l’épilogue, nous mettons en lumière la singularité des habitudes de composition chez les comédiens-poètes, qui sont tout à fait différentes de celle des auteurs, à travers l’analyse des ouvrages de Villiers, Madeleine Béjart, La Thorillière, tous comédiens-poètes occasionnels, et nous perçons à jour le secret de la rapidité de composition des comédiens-poètes en général. / We count in total twenty-two actors-authors, including two women, from the last third part of the XVIth century until the creation of la Comédie-Française in 1680, so upon a hundred years period of time. To understand the birth and then the rising of this actors’ very writting way, we start to study in the prologue Chateauvieux and Hardy’s plays’ first productions’ conditions at the beginning of the century. In the first part, we study the emergence of this practice among parisian actors around 1640 through Desfontaines and Montfleury. In the second part, we light up the important role of plays made to order as well as the institutions while strolling actors-authors emerging in 1650 and 1662. To that purpose we use archivic methods revealing us relationships between Des Carreaux, Dorimond and Rochefort, three contemporaneous actors-authors of Molière, and also provincial parties’ sponsors. In the third part, still with archives’help, we mainly follow Dorimond, Rosidor and Rochefort’s activities around 1660. We study the competition between them in La Haye and Bruxelles regarding their own plays’s first productions as well as authors’plays revival, especially plays with stage effects. In the epilogue, we light up the specificity of the actors-authors writting way, quite different from the authors’way, through the analysis of Villiers, Madeleine Béjart, La Thorillière’s works, all chance actors-authors, and we find out the writting swiftness of actors-authors generally speaking.

The purpose of this study is to investigate the relationship between the physical environment and children’s play and actions. We want to find out how the environment affects children’s behavior and whether it goes in harmony with the preschool teachers thoughts and educational purposes or not. Furthermore, the aim is to investigate how the children act in the environment and if and how objects affect children’s play and interaction in a certain direction. In order to do this, we observed children’s free play in two different rooms at a preschool on three different occasions. To document our observations we used field notes. We supplemented the observations with three interviews with professional preschool teachers. This was done in order to capture the preschool teacher’s views of the environment versus the children’s behavior in it. In our analysis of our empirical data, we used Bruno Latour’s actor network theory. This study is based on children's actions, but also on educators' perspectives. We want to point out that the purpose is not to show right or wrong, but rather to highlight the educational environment from different perspectives while focusing on inclusion and participation. The result indicates that the environment and materials affect children’s play to a greater extent than expected. The teacher’s communicated a clear educational idea about the “home room” in the interviews. While dressing gowns and roleplay had a central place in the “homeroom”, it was harder to identify an educational idea in the larger common room. On the other hand, the observations indicated that the building toys had a relatively high force of attraction with the children in the larger room.When it came to inclusion, the educators talked about inclusion based on the availability of different materials but also that the available material connects to children’s interests or not. Emphasis was also put on assistive devices to support children with special needs, such as linguistic difficulties.

The Swift programming language recently introduced the actor model alongside Swift concurrency as a first-class citizen. Previously, concurrent programming in Swift required importing modules, e.g., Grand Central Dispatch. Grand Central Dispatch is a concurrency framework, often used for implementing shared memory concurrency in Swift. In contrast to Grand Central Dispatch, the Swift actor provides implicit mutual exclusion via message passing concurrency and the notion of actor isolation. This thesis evaluates the performance of the Swift actor and Swift concurrency in comparison to thread-safe objects with Grand Central Dispatch. The study assembled a benchmark suite to measure the performance over central bottlenecks (Chameneos), large counts of independent objects (Dining Philosophers), long-living concurrent objects (Dining Philosophers) and massively parallel messaging (Big). The results indicate the lack of a catch-all solution to concurrent programming in Swift. In comparison to Grand Central Dispatch, a system of actors tends to require more memory to finish execution. By upper bounding concurrency in actors, memory use is effectively limited at the cost of possibly longer execution times. In particular, the results were gathered on a macOS computer. With unique implementations of threads in different operating systems, further studies are needed to evaluate Swift concurrency and the Swift actor on other systems and hardware. In addition, further studies may evaluate the risk of congestion at large numbers of concurrent actors. / Programmeringsspråket Swift introducerade nyligen actor-modellen med Swift concurrency som en förstklassig medborgare. Samtidig programmering i Swift krävde importmoduler innan dess, t.ex. Grand Central Dispatch. Grand Central Dispatch är ett ramverk för samtidighet och används ofta för att implementera samtidighet med delat minne i Swift. I kontrast till Grand Central Dispatch tillhandahåller Swift actors implicit ömsesidig uteslutning via message passing och actor-isolering. Detta examensarbete utvärderar prestandan av Swift actors och Swift concurrency i jämförelse med trådsäkra objekt via Grand Central Dispatch. Studien sammanställde en benchmark suite för att mäta prestandan över centrala flaskhalsar (Chameneos), stora antal oberoende objekt (Dining Philosophers), samtidiga objekt med långa liv (Dining Philosophers) och massivt parallella meddelanden (Big). Resultaten indikerar en avsaknad av en fullständig lösning för samtidig programmering i Swift. I jämförelse med Grand Central Dispatch tenderar ett system av Swift actors att använda mer minne för att slutföra exekvering. Med en övre gräns för samtidighet hos actors begränsas minnesanvändningen effektivt med eventuellt längre exekveringstider. Denna studie samlade resultat med en macOS-dator. Med unika implementeringar av trådar i olika operativsystem behövs ytterligare studier för att utvärdera Swift concurrency och Swift actors på andra system och hårdvaror. Dessutom kan ytterligare studier utvärdera risken av trängsel vid stora antal samtidiga actors.

The purpose of this thesis is to investigate if increasing complexity for a problem makes a difference for a learning system with dual parts. The dual parts of the learning system are modelled after the Actor and Critic parts from the Actor-Critic algorithm, using the reinforcement learning framework. The results conclude that not any difference can be found in the relative performance in the Actor and Critic parts when increasing the complexity of a problem. These results could depend on technical difficulties in comparing the environments and the algorithms. The difference in complexity would then be non-uniform in an unknowable way and uncertain to use as comparison. If on the other hand the change of complexity is uniform, this could point to the fact that there is an actual difference in how each of the actor and critic handles different types of complexity. Further studies with a controlled increase in complexity are needed to establish which of the scenarios is most likely to be true. In the discussion an idea is presented of using the Actor-Critic framework as a model to understand the success rate of psychological treatments better. / Syftet med den här uppsatsen är att undersöka om en ökande komplexitet på ett problem, innebär en skillnad för ett lärande system med två samverkande. De två samverkande delarna som används är från “Actor” och “Critic”, som kommer ifrån algoritmen “Actor-Critic”. som implementeras med hjälp av ramverket “Reinforcement learning”. Resultaten bekräftar att det inte verkar vara någon skillnad i relativ effektivitet mellan “Actor” och “Critic” när komplexiteten ändras mellan två problem. Detta kan bero på tekniska svårigheter att jämföra miljöerna i experimentet och algoritmerna som används. Om det finns problem med jämförelserna skulle skillnaden i komplexitet vara icke-uniform på ett obestämbart sätt, och att kunna göra jämförelser blir därför svårt. Däremot om skillnaden i komplexitet är uniform, skulle det kunna tyda på det kanske finns en skillnad i hur “Actor” och “Critic” hanterar olika typer av komplexitet. Vidare studier med kontrollerade ökningar för komplexiteten är nödvändiga för att fastställa hur “Actor-Crtic” algoritmen samverkar med skillnader i komplexitet. I diskussionen presenteras iden att använda Actor-Critic modellen för att förstå metoder för psykologiska behandlingar bättre.

Cette recherche vise à apporter un éclairage sur les facteurs déterminants de la concertation économique. De manière spécifique, elle poursuit trois principaux objectifs. Premièrement, nous cherchons à définir la notion de dialogue social et les termes qui y sont généralement associés tels que la concertation, la consultation, le tripartisme, le partenariat, la négociation collective, etc. Deuxièmement, nous faisons le point sur l’État du dialogue social au Québec, notamment en décrivant son évolution historique, les acteurs impliqués, les objets abordés et les instances de dialogue. Certaines comparaisons entre la culture québécoise de concertation et celles caractérisant d’autres cultures (Canada, États-Unis, Europe) sont par ailleurs présentées. De plus, ce tour d’horizon des différents lieux de dialogue social permettra de mieux saisir les composantes de la concertation en lien avec le développement économique, plus particulièrement, sur les façons de planifier le développement économique d’une manière socialement responsable (Papadakis, 2010). Troisièmement, une analyse empirique des facteurs déterminants de la concertation économique est effectuée. Pour atteindre les objectifs et répondre à notre question de recherche, nous articulons cette recherche en deux phases. Dans un premier temps, une cartographie des instances de dialogue social au Québec et la collecte de données auprès d’instances québécoises sont établies. Cette première phase permet également d’identifier quels sont les facteurs déterminants de la concertation économique généralement reconnus au sein de la littérature. Afin de mieux saisir ces facteurs et par conséquent, bonifier le modèle d’analyse, l’étude s’appuie sur une série d’entretiens exploratoires réalisés au Québec, mais aussi en France où la culture de dialogue social économique semble plus développée. Ce mouvement itératif entre la littérature et les entretiens exploratoires effectués permet de construire un modèle d’analyse des facteurs déterminants de la concertation économique. Dans un second temps, ce modèle d’analyse est testé en se concentrant sur deux organismes de concertation économique au Québec. Au sein de ces organismes ont été rencontrés des acteurs syndicaux, patronaux et gouvernementaux. L’entretien a été retenu comme la méthode de collecte de données utilisée auprès des individus (Gavard-Perret, Gotteland, Haon et Jolibert, 2008) et plus spécifiquement, des entretiens semi-directifs auprès des répondants afin de leur laisser la liberté de s’exprimer de façon plus large sur les questions et possiblement apporter de nouveaux éléments pouvant enrichir le modèle. La méthode de l’appariement logique sert à analyser les réponses aux questionnaires d’entrevues (Yin, 1994) et à les comparer aux propositions de recherche. Au plan théorique, l’apport des théories néo-institutionnalistes permet d’approfondir nos constats en lien avec la naissance et le développement des institutions de dialogue social. L’analyse de nos résultats nous permet de vérifier la théorie sur la création des institutions qui se veut la prise de conscience d’une problématique par les acteurs qui perçoivent leur implication au sein des institutions comme une façon de résoudre cette situation. Nous vérifions également la notion d’acteur dominant via le double rôle de l’acteur gouvernemental comme participant et comme donneur d’argent. Finalement, notre recherche a permis de confirmer notre modèle d’analyse tout en le raffinant par l’ajout de nouveaux facteurs déterminants de la concertation économique. Les entrevues que nous avons réalisées nous ont permis d’apporter des nuances et de préciser la portée des facteurs déterminants tirés de la littérature. Notre analyse confirme trois de nos propositions de recherche telle que formulées et deux autres le sont que partiellement. Nos constats confirment en effet que la volonté réelle des parties à travailler ensemble, la présence d’intérêts communs et la participation de l’État sont tous des facteurs qui ont un impact positif sur la concertation économique. La question de la confiance est nécessaire pour la poursuite de la concertation. En appui aux travaux antérieurs sur la question, nous avons observé que la confiance entre les acteurs influence positivement le déroulement de la concertation économique. Nous avons toutefois constaté qu’un certain niveau de méfiance réside entre les acteurs qui participent à ce processus, ces derniers représentant des organisations distinctes qui ont leurs intérêts propres. Pour permettre la concertation entre acteurs, le niveau de confiance doit être plus élevé que le niveau de méfiance. Nos observations nous ont aussi permis d’établir des liens entre la présence des facteurs déterminants et l’atteinte de résultats par la concertation, mais nous ne pouvons pas déterminer leur importance relative: nous ne pouvons donc pas prétendre qu’un plus grand nombre de facteurs réunis va assurer la réussite du processus de concertation ou s’il s’agit plutôt de la présence de certains facteurs qui auraient plus d’impact sur les résultats. Notre recherche fournit un apport important à la littérature sur la concertation puisqu’elle a permis de cerner de nouveaux facteurs déterminants à la réussite de ce processus. Les entretiens réalisés ont montré que le « contrôle des égos » des acteurs de la concertation et la mise en place de mécanismes permettant une intégration réussie des nouveaux participants au processus constituent des facteurs à ne pas négliger. De plus, notre recherche a permis de raffiner notre modèle conceptuel puisque nous avons été en mesure de cerner différents sous-facteurs qui permettent d’approfondir l’analyse des facteurs déterminants de la concertation. Notre recherche comporte toutefois certaines limites puisque les institutions comparées présentent des différences importantes en termes de culture et le nombre restreint d’organisme étudié limite grandement la généralisation des résultats. / This research aims to shed light on the determining factors of economic concertation. Specifically, it pursues three main goals. First, we define the notion of social dialogue and associated terms such as concertation, consultation, tripartism, partnership and collective bargaining. Second, we review the state of social dialogue in Quebec, describing its historical evolution, the actors involved, the themes addressed and the existing forums for dialogue. Some comparisons are also made between the culture of concertation in Quebec and elsewhere (Canada, United States, Europe). In addition, this overview of the different forums for social dialogue provides a better understanding of concertation related to economic development, in particular with regard to planning economic development in a socially responsible way (Papadakis, 2010). Third and lastly, we present an empirical analysis of the determining factors of economic development. This research was conducted in two stages. First, we mapped the existing forums for social dialogue in Québec and collected data from them. This first stage also allowed us to identify the determining factors of concertation generally referred to in the literature. To better understand these factors and improve our analytical model, exploratory interviews were conducted with actors of social dialogue in Quebec and France concerning their involvement in this process. These combined actions allowed us to create an analytical model of the determining factors of economic concertation. During the second stage, we studied two concertation organizations in Québec. Within these organizations, we met union, employer and government actors. Interviews were used as our method of data collection (Gavard-Perret, Gotteland, Haon & Jolibert, 2008), particularly semi-structured interviews with the actors. This type of interview allows the respondents to answer the questions more fully and possibly bring new elements to the model. The method of matching logic was used to analyze their answers (Yin, 1994) and compare them to our research proposals. On a theoretical level, neo-institutionalist theories enriched our observations regarding the creation and development of institutions of social dialogue. The analysis of our results confirmed the theory regarding the creation of these institutions, that is, that actors identify a problem and perceive their involvement as a way to solve it. Our analysis also confirmed the notion of the dominant actor and the dual role of the government actor. Lastly, our research confirmed our analytical model and revealed new factors. The interviews brought out nuances and precisions concerning the determining factors found in the literature. Our analysis confirmed three of our proposals and partially confirmed two others. More specifically, it confirmed the real intention of the parties to work together, the presence of common interests and the participation of the state. It revealed that trust is a necessary element of concertation. In support of previous work, we observed that trust between the actors has a positive influence on economic concertation. However, we observed a certain level of distrust between the actors given their role as representatives of organizations with differing interests. In order for concertation to proceed, the level of trust must be higher than the level of distrust. Our observations also brought out links between the presence of some determining factors and the results achieved through concertation, but it was impossible to determine their relative importance. Therefore, it is not possible to assert that the presence of several determining factors will have a greater impact on the results of the concertation process. Our research makes an important contribution to the literature by bringing out new determining factors of concertation. Our interviews showed that “ego control” on the part of the actors involved and the establishment of mechanisms for integrating new actors are important factors. Our research improved our model by identifying some sub-factors that enriched our study of the determining factors of concertation. However, the limited number of organizations studied and the significant cultural differences between them limit the generalizability of our results.

This study explores the social, technological economic, and environmental development of single-family residential water conservation programs at the Austin Water Utility and asks: What makes a conservation program successful? I hypothesize that water conservation programs will be successful if both institutional-producer goals and citizen-consumer goals are satisfied. While the findings suggest that this may be partially true, it also has become clear that my original actor-network model was too simple to predict the various types of influences on program success. Not only did I find other significant ‘actors’ involved in water conservation, I also found that utility and participant groups themselves represent a wide variety of interests. This study seeks to answer the research question by creating a series of narratives that critically explore water infrastructure and water conservation programs in Austin, Texas. Through a methodological lens referred to as ‘critical constructivism,’ I use mixed methods to analyze and interpret historic documents, interviews, and quantitative data as primary sources. Literature from Science and Technology Studies (STS) are used as secondary sources. This study will add to a body of knowledge that describes how and why we manage our environmental resources. The subject of conservation is especially relevant as urban growth continues with fewer affordable opportunities to increase regional water supplies. As we enter an era of expected water conflict, knowing how to conserve water effectively will help provide more opportunities for sharing a common resource amongst communities, industry, agriculture, and the environment. / text

The aim with this thesis is to find out how one can understand the exceptions not to introduce the euro as the currency of Denmark and the United Kingdom, as well as their attitude to European integration. It has been implemented in a comparative case study using theories in which the case has been the central focus of the investigation. The theories being used is rational actor model that emphasizes rational decision-making and self-interest. In comparison to that theory has a historical institutional perspective been used, which emphasizes path-dependency and critical events. The focus of the study is the time when the countries became members of the European Economic Community in 1973 to the Maastricht Treaty in 1993 where these exceptions not to introduce the euro as the currency was ratified. In the analysis section, one can see portions of both theories to a varying degree. The conclusions of the study is that both countries show a skeptical attitude to European integration and that the exceptions to not introduce the euro as a currency is based on this critical view of moving power to centralized institutions.

Theatre Triad is a new approach to devising collaborative ensemble theatre starting with the three main components of Performance: Voice, Movement, and Text. These components were deconstructed and reconstructed in pairs as the basis for the devising process. The performance process begins with creating an ensemble followed by four steps: exploring the theatrical genres affiliated with the pairings of Voice and Movement, Movement and Text, Voice and Text, and completed with reintegrating all three components. Through this process many things occur, a new play is created, ensemble members focus on exploring the elements of acting and performance, and a strong foundation of acting skills is laid for young actors. Theatre Triad can also be used as a method for teaching a number of courses in Devising Theatre or Acting classes. In this paper you will learn how Theatre Triad works as both a production approach and method in actor training.

I det här kandidatarbetet har jag valt att undersöka hur man kan förnya erfarna bilisters körkunskaper som har kört bil i 30-40 år genom en anpassad E-learning applikation. Mitt mål är att förnya erfarna bilisters körkunskaper, så de får lära sig uppdaterade regler, vägmärken och körsätt. Detta för att förbättra trafikmiljön. För att kunna undersöka problemområdet skapade jag en lärplattform tillsammans med erfarna bilister där jag använder mig av körkortsregler, vägmärken, filmklipp och frågesport för att testa deras kunskaper. Genom att lysa upp dem viktiga aspekterna i de nya reglerna och körsättet samt få erfarna bilister att testa sina kunskaper på ett roande sätt via körkorts frågesporten får man användarna att förnya sina kunskaper  via deras nyfikenhet till ny information som har hänt 30-40 år senare efter dem tagit körkort. / In this bachelor thesis I have chosen to investigate how you can renew experienced drivers driving skills that have been driving for 30-40 years through a customized e-learning application. My goal is to renew the drivers driving skills as they learn the new rules , road signs and driving style to improve the traffic environment . In order to investigate the problem area , I created a learning platform with experienced drivers, where I use driving rules , road signs , movie clips and quizzes to test their knowledge. By highlighting the important aspects of the new rules and driving style, as well as getting experienced drivers to test their skills in a entertaining way, through driving license quizzes,   users will be able to renew their skills through their curiosity to new information that happened after 30-40 years  later they have taken a driving license.

Este trabalho pretende analisar os aspectos do trabalho voluntário de tradução e, em qual medida, ele interfere nas relações socioculturais e sociedade. Para tanto, tomaremos como objeto de estudo um grupo de tradutores voluntários que atuam na Organização Não-Governamental Soka Gakkai Internacional. Como se pretende estudar os agentes que participam desse processo, como parte de uma estrutura social, utilizaremos a teoria de actor-network de Bruno Latour (2005). Com o intuito de analisar a função e o desenvolvimento dos tradutores voluntários envolvidos no processo, sua experiência pessoal e profissional e suas relações socioculturais, utilizaremos a noção de habitus discutida por Pierre Bourdieu (1972; 1990; 2003). Com base nos estudos preliminares, pressupõe-se que os atores que desenvolvem esse trabalho voluntário de tradução compartilham princípios e disposições semelhantes, ou seja, possuem basicamente os mesmos habitus e negociam as regras que regem o seu trabalho de acordo com a prática, e não partindo da teoria. Finalmente, busca-se confirmar a premissa de que, para o grupo em questão, os valores que permeiam o seu trabalho, a despeito da recompensa financeira, agregam novas características ao trabalho de tradução, sob uma concepção mais humanista e social. / This article aims to analyze translation as volunteering work as long as to what extent it influences socio-cultural relations and society. Thus, the object of our study is a group of volunteers who work as translators for the Non-Governmental Organization Soka Gakkai International. As we intend to study the agents who participate in this process, considering them to be part of a social structure, the empirical data are discussed against the background of the Actor-Network-Theory by Bruno Latour (2005). We also intend to analyze the role and development of the volunteering translators involved in the process, their background and socio-cultural relations, which will be framed in terms of Pierre Bourdieus concept of habitus (1972; 1990; 2003). Based on preliminary studies, we may argue that the actors who take part in this translation volunteering work share similar principles and dispositions, that is, they have the same habitus and their starting point is not the theory, but they negotiate the rules of translation according to their practice. Finally, we intend to confirm the hypothesis that, for this group, the value of their job is beyond the financial reward, and bring new characteristics to translation.