Thèse de doctorat : Sociologie : Lyon 2 : 2000. / Titre provenant de l'écran-titre. Bibliogr.

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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.

Thesis (Ph. D.)--Binghamton University, State University of New York, 2006. / Includes bibliographical references (leaves 300-321).

Mémoire (M.E.S.R.)--Université du Québec à Chicoutimi, 1999. / Document électronique également accessible en format PDF. CaQCU

Thèse (M. Serv. Soc.)--Université Laval, 2008. / Bibliogr.: f. 128-137. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

This thesis presents the results of a research that examines technology appropriation (TA) awareness and identification in digital services start-up companies. Technology appropriation refers to the unexpected ways in which people adopt and adapt technology to make it serve their personal needs and motives. The research questions(Chapter 1) are: (1) How to identify TA within the development of digital services in the context of start-ups? (2) How aware are service providers of the phenomenon of TA? (3)What are the enablers for the appropriation of services by users? To address these questions, the thesis presents in chapter 2 a literature review that illustrates the context of the research, and explains its key concepts: digital services, user involvement in the development of digital services, technology appropriation, and levels of user engagement. Specific research methodological choices as well as specially designed research data collection and analysis tools are subsequently explained in chapter 3. An exploratory study is then introduced in chapter 4 to demonstrate how users can be involved in the development of digital services, evidencing the need for further research in TA. This initial work is concluded in chapter 5 by the introduction of a theoretical framework for TA (TF TA). Chapter 6 outlines the design and planning of the main study consisting of five case studies which provide empirical data for the core findings of this research. A first set of findings deriving from a comparison of TA examples found in the case studies based on the TA three levels proposed framework (TF TA) is presented in chapter 7. A second set of findings presented in chapter 8 helps to respond to the questions: (1) how aware are service providers of the phenomenon of TA, and (2) what are the enablers for the appropriation of services by users? These findings establish the level of TA awareness of each case study, outline the taxonomy of TA service types, and introduce emerging themes resulting from a thematic analysis, which also serves to propose enablers for TA within digital start-ups. Chapter 9 and 10 identifies and presents a third set of findings and contributions to knowledge. Main contributions are: a new tested and revised TA Level Framework created by examining the empirical findings against the TA Theoretical Framework (TA TF). And a new TA Identification Method within the development of digital services in the context of start-ups, underpinned by the tools previously developed in the research. Minor contributions explained in chapter 10 are: A taxonomy of TA services (pro-active/re-active/inactive), an account of the Key Aspects of TA Awareness, a Typology of TA Outcomes (Soft TA, Hard TA, and Hard & Soft), and a revised classification of TA Impact and TA levels. It also comprises an explanation of the relationship of TA Levels & TA Impact, a revised model of the user involvement approach, a new categorisation of TA User Actions (Expected/Engage/TA savvy), and an identification of TA Enablers (User Lead & Service Control). This research has found that the Key Aspects of TA Awareness are TA Concept, Systematic Programme of User Involvement, Mode of User Involvement, Identifying TA Actions, and the TA Enablers (User Lead & Service Control). The research has also found that the users actions and outcomes related to the adoption and adaption the technology, can be classified in High (when the users lead parts of the service), Medium (when the users customised and personalised the service) and Low levels (when the users used the service as intended, but give feedback to the service providers about its used). Additionally, this work has determined that the services and service providers TA Level Awareness is determined by how much they understand and know about TA. This awareness can be classified as proactive (when the service provider understands, identifies, and knowingly foster TA within the service), reactive (when the service provider understands TA in other services but cannot identify TA and reacts to users feedback and TA) and inactive (when the service provider does not recognised and cannot identify TA within the service). This investigation also has established that the aspects of the TA Level Framework can be integrated and employed as a method for TA identification within the services. This study has recognised that TA impact, the extent to which services are employed in the process of appropriation, can be classified as high, medium and low depending on how the service providers change and further develop their service because of their understanding and identification of TA. The enquiry also found that the level of TA impact is different from the TA Level, that the knowledge and awareness of TA impact are underpinned by the user actions and outcomes, as well as by their change and development. Another finding of this research is that the users TA outcomes (this is the tangible consequence of the user adoption and adaptation of technology) can be classified as Soft TA, Hard TA and Soft & Hard TA. Soft TA corresponds to the changes made by users related to the social practices evolution of the service, Hard TA refers to the changes made by the users in the API of the service. Soft & Hard TA relates to the combination of user changes in social aspects and the manipulation of the service s API. The study found that the service providers main approaches to user involvement are: listening to and collaborating, testing and experimenting and active observation. Last, this investigation determined that users actions concerning TA can be expected (users do nothing else other than the expected use of the service), engaged (where users are involved in the development of the service for personal motives) and TA savvy (where users are involved in in the development of the service for personal motives, but they have software and programming skills). The conclusions section summarises the research and explains its limitations. It also presents a personal reflection and indicates avenues for future research.

O presente estudo buscou compreender as relações que as crianças estabelecem com a arte contemporânea quando a mesma é apresentada, discutida e explorada no contexto escolar. Refletindo sobre a desarticulação e lacuna existente entre a arte contemporânea e a concepção de arte escolar, pensada somente como um produto e aquém de um processo, esta pesquisa se propôs a investigar junto às crianças como elas se articulam com a arte contemporânea, a partir de ações propositivas que ampliam suas formas de perceber os materiais e objetos do cotidiano. Neste sentido, a arte contemporânea serviu para pensar a metodologia de pesquisa e as crianças. Sendo utilizadas referências artísticas como: Marcel Duchamp, Joseph Kosuth, Nelson Leirner, Lia Menna Barreto e Sandro Ka, investigação ancorou-se teoricamente nos estudos sobre Pesquisas com Crianças (Pereira, Rabello de Castro, Tomás, Sarmento), nos estudos da Arte Contemporânea (Archer, Cauquelin, Chiarelli e Canton), e nos estudiosos que discutem acerca das Crianças Contemporâneas (Dornelles e Heywood). Tratou-se, portanto, de uma investigação realizada dentro de uma escola pública na cidade de Porto Alegre/RS, com um grupo de nove crianças de um primeiro ano. Para este estudo foram realizadas duas semanas de observação, dezessete encontros, além de uma visita ao MARGS – Museu de Arte do Rio Grande do Sul – ocorridos entre os meses de julho a dezembro de 2012. Como recursos metodológicos, foram utilizados os encontros propositivos – denominados metodologicamente como “Encontros Crianceiros” – os registros audiovisuais, diário de campo da pesquisadora e os materiais explorados e produzidos pelas crianças. As perguntas centrais deste estudo: como as crianças se relacionam com as modalidades que a arte contemporânea suscita? E como as crianças exploram a arte quando ela adentra a escola? Foram respondidas por meio das análises feitas, que se desdobraram ao longo do período da pesquisa com as crianças. As concepções sobre arte, as maneiras como seus processos de criação ocorreram e suas relações com a materialidade, e ainda, a experimentação dos objetos por meio dos afetos estabelecidos foram os eixos principais de análises. O estudo destaca a potência existente no encontro entre as crianças e a arte contemporânea, principalmente no que se refere à proximidade e receptividade dos pequenos com as modalidades da mesma. Além disto, a pesquisa demonstra através dos processos de criação das crianças como estes são encharcados de significados e relações externas ao contexto escolar, que emergem em suas experimentações, assim como os afetos e enfrentamentos que se estabelecem na exploração, ressignificação e apropriação dos materiais e materialidades. Ao aproximar os pequenos da arte contemporânea, este estudo dá suporte para que se pense e discuta as articulações existentes entre arte e crianças nos contextos escolares, e o quanto estas relações podem ser pautadas pelos processos de experimentação e ressignificação, além de serem possibilidades de ampliação de repertórios, tanto para crianças, quanto para os educadores. / This study sought to understand the relationships that children have with contemporary art when it is presented, discussed and explored in the school context. Reflecting on the disarticulation and gap between contemporary art and design art school designed only as a product and a process falling short, this research proposes to investigate with the children how it relates to contemporary art, from purposeful actions that expand their ways of perceiving the materials and everyday objects. In this sense, contemporary art served to think about the research methodology and the children. Being used as artistic references: Marcel Duchamp, Joseph Kosuth, Leirner, Lia Menna Barreto and Sandro Ka. The research anchored itself theoretically in studies on Research with Children (Pereira, Rabello de Castro, Tomás, Sarmento), Studies of Contemporary Art (Archer, Cauquelin, Chiarelli and Canton), and researchers who discuss about the Contemporary Children (Dornelles and Heywood). It was, therefore, an investigation into a public school in the city of Porto Alegre / RS, with a group of nine children of a first year. For this study were made twice weeks of observation, seventeen meetings, plus a visit to MARGS - Art Museum of Rio Grande do Sul - occurred between the months from July to December 2012- As methodological resources were used in propositional meetings - as methodologically called "Encounters Crianceiros" - audiovisual records, the researcher's field journal and materials exploited and produced by children. The central questions of this study: how children relate to the modalities that contemporary art raises. And how children explore art when it enters the school? Were answered through of the analyzes performed, which unfolded over the period of research with children. Conceptions of art, the ways their creative processes occurred and its relationship with materiality, and also experimentation of objects using of affections were established the main axes of analysis. The study highlights the potency existing in the meeting between children and contemporary art, especially in relation to the proximity and responsiveness of children with the same modalities. Apart from this, research demonstrates through the processes of creation of children as they are drenched in meanings and relationships outside the school context, that emerge in their experimentations, as well as affections and confrontations that are established in the exploration, redefinition and appropriation of materials and materiality Approaching the children of contemporary art, this study supports that think and discuss the joints between art and children in school contexts, and also how these relationships can be guided by the processes of experimentation and reframing as well as being possibilities expansion of repertoire, both for children and for educators.

La figure de l’homme a traversé l’histoire de la représentation, mais les valeurs signifiantes du mondecontemporain ne sont plus compatibles avec les conditions d’une histoire de l’idéal humain classique. Eneffet , face à l’évidence des changements induits par les avancées technologiques, nano et biotechnologiques,numériques, cognitives et génétiques, l’apparition d’une humanité augmentée semble irréversible. Entrel’angoisse d’un avenir profondément détérioré par les assauts d’un ultra libéralisme et le messianisme destechnoprohètes , l’expression d’un corps autre, « posthumain », conjugue émancipation narcissique, recherchescientifique, et hybridation corporelle. Le dispositif posthumain, qui émerge comme une des manifestations de«l’esprit du temps » dominant, peut se comprendre comme une « Vanité contemporaine ». Ce dispositif entenddépasser l’humain, construire un nouvel imaginaire, et chemin faisant, inventer une nouvelle représentationfigurative de l’individu.Dans le champ des arts plastiques, « le dispositif posthumain » donne lieu à de multiples expressionsqui en soulignent les incohérences, et surtout dénoncent certains déterminismes scientifiques. Conscient del’importance de ces enjeux scientifiques, culturels et idéologiques et souhaitant demeurer dans la logiqueinterrogative qui définit le champ des arts plastiques, / In front of the changes inferred by technological breakthroughs, nano and biotechnological, digital,cognitive and genetic, the appearance of a « increased » humanity seems inflexible. Between the anxiety of afuture profoundly damaged by the assaults of ultra liberalism, and the messianism of « technoprohets », theexpression of an other body, « posthuman « , conjugates narcissistic emancipation, scientific research, andphysical hybridization. The figure of the man crossed the history of the representation, but the significantvalues of the contemporary world are not compatible any more with the conditions of a history of the idealclassic human being. The « posthuman plan », which emerges as « spirit of the times », can understand as a« contemporary Vanity ». This device intends to overtake the human being, to build a new imagination, andcertainly to invent a new history of the representation of the individual. In the field of the plastic arts, « theposthuman device » give rise to multiple expressions who underlines the incoherence, and especially denouncescertain scientific determinisms. Aware of the importance of these scientific problems, but wishing to remainin this inquiring logic which defines the field of the plastic arts, I wanted to propose a plastic expression inall these questions. Three attitudes were respected to succeed for confining this question of the representationof the posthuman being. These attitudes could correspond in a kind of declension of the time : the end of thehumanism, the birth of a « increased » humanity, and finally, the appearance of a « posthuman being ».

This thesis explores connections between British amateur singers and black South African choral music that, over the past fifty years, have grown in strength and significance. By concentrating on a set of representative case studies, it investigates how and why this music is learned, performed and rehearsed within a variety of choirs and ensembles of different styles and experiences. In addition, the thesis focuses on certain songs that have become popular within specific choral contexts, and discusses the reasoning behind their enthusiastic reception and attractive power. My approach is ethnographical, and the material I present is taken from my own participant-observations of choir rehearsals, workshops and performances, as well as from interviews I conducted with choir members and leaders. On a theoretical level, this thesis engages critically with ethnomusicological and anthropological debates surrounding cultural appropriation. Particularly pertinent to each chapter are discussions concerning authenticity, cultural authority and power relations, and I explore the politics and logistics that are associated with British singers’ encounters with black South African choral music. By discussing critically these different levels of encounter and engagement, I offer some new and intriguing standpoints from which to consider existing debates surrounding cultural appropriation and, in so doing, suggest approaches for theorising cross-cultural encounters through a more nuanced postcolonial lens.