Cette thèse vise à rendre compte conjointement des jugements de valeurs de vérité non-bivalents, c'est-à-dire des jugements ne correspondant ni à « Vrai » ni à « Faux », déclenchés par des phrases présuppositionnelles (telles que 1 en contexte où Oscar n'est pas français), vagues (telles que 2 en contexte où Oscar est de taille moyenne) ou encore hybrides (telles que 3 en contexte où l'interlocuteur est de taille moyenne).1. Oscar a réalisé que tu es français.2. Oscar est vieux.3. Oscar a réalisé que tu es vieux.Sur la base de systèmes logiques définissant trois valeurs de vérité (vrai, faux et autre) proposés dans la littérature sur le vague tout comme dans la littérature sur la présupposition, j'élabore dans un premier temps un système à cinq valeurs de vérité ordonnées, qui définit ainsi trois paliers intermédiaires entre le vrai et le faux.Suite à l'obtention de résultats expérimentaux incompatibles avec les prédictions de ce système, je propose dans un deuxième temps un système à quatre valeurs de vérité non ordonnées, compatible avec les résultats et qui place cette fois le vague et la présupposition sur des dimensions distinctes. Une expérience menée avec Paul Égré établit par ailleurs que les locuteurs rejettent systématiquement des descriptions contradictoires comme « vieux et jeune », mais qu'ils peuvent accepter des descriptions contradictoires comme "ni vieux ni jeune", "ni veux ni pas vieux" et "vieux et pas vieux". Ces résultats confortent l'idée qu'une phrase vague comme 1 peut être jugée "Ni vraie ni fausse" mais aussi "Vraie et fausse", et nous permettent de discriminer entre deux approches concurrentes de l'antonymie adjectivale. / The aim of my thesis is to give a uniform account of non-bivalent truth-value judgments induced by presuppositional expressions and by vague expression (namely judgments other than "True" or "False"). For example, a presuppositional sentence like 1 below is typically judged neither true nor false in a context where Oscar is not French, and a vague sentence like 2 is also reported as neither true or nor false in a context where Oscar is of an average height. The same holds of a hybrid sentence like 3, combining a vague adjective and a presuppositional expression, in a context where the interlocutor is of an average height:1. Oscar has realized that you are French.2. Oscar is old.3. Oscar has realized that you are old. Abstract:Drawing on systems defining three logical values (true, false and other) and discussed both in the literature on vagueness and in the literature on presupposition, I propose a system with five totally ordered values, thereby defining three intermediate levels between true and false.After collecting experimental data conflicting with the predictions of this system, I propose a system with four values which is compatible with the experimental results and where the four values are partially ordered along a dimension specific to vagueness and along a dimension specific to presupposition.To get further insights about truth-value judgments specific to vagueness, I conducted another set of experiments (in collaboration with Paul Égré), showing that speakers systematically reject contradictory descriptions of the form "old and young" but that they can accept contradictory descriptions of the form "neither old nor young", "neither old nor not old" and "old and not old". These results echo the idea that vague sentences like 1 can be judged "Neither true nor false" but also "True and false", and allow us to discriminate between two competing theories of adjectival antonyms.

The main purpose of this research is to examine artistic thinking processes from my practical experience as an artist. This thinking process is discussed through my term: 似藝術-art-like in the context of 'practice-based research'. '似藝術-art-like' is an amalgamated form of Mandarin characters with English words; it is both a picture and a word that serves as a temporary conceptual framework that aims to keep possibility open and meaning mobile.' Significantly,似藝術-art-like is addressed through language and artworks together with an attempt to reinterpret the relation between thinking, outcomes of thinking, and the complexity of meaning in relation to art. 似藝術-art-like operates as a temporary conceptual framework for discussing the thinking process and demonstrating the problems and contradictions in art research. This is a practice-based study so that visual and written elements and the structure of the thesis are each approached as a form of 'practice'. In addressing 似藝術-art-like in the written elements of the thesis, a series of stratagems or gambits are employed that attempt to explain or find formulation for the developing thinking process in art research. Each gambit is a form of artifice that serves to demonstrate the pursuit of addressing thinking through language as an impossible task, and functions as a manoeuvre for opening a conversation in understanding the thinking process in art. To facilitate my understanding, I explore my questioning of thinking in relation to Jacques Derrida's supplement and différance, Gilles Deleuze and Félix Guattari's rhizome, Mieke Bal's, framing, Susanne Langer's distinction between art and language, and Immanuel Kant's disinterestedness and aesthetic idea. It becomes apparent that no one theory satisfactorily explains what happens; it is too complex. Presentation of the inadequateness and contradictions in my developing process provides an examination of there being no specific answer. As a result, I conclude that utilising written words and artworks in my thinking processes and demonstrating them as physical outcomes is a process of constant confrontation with contradictions. It is a provocation that makes an artist-based researcher/research-based artist, re-think, re-disturb, re-articulate, and re-consider the conceptual frameworks in relation to developing artistic research. Ultimately, this research responds to the problems surrounding the relationship between thinking and the outcomes of thinking and meaning in relation to art. It demonstrates the difficulties and complications for seeking mobile thinking and for exploring the possibilities of artistic research. As a whole, the research points out the complexity of the process in terms of employing thinking through artworks and written words together. This invites a suspension of preconceived concepts and questions what knowledge mightbe in the context of an art enquiry.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Human resource professionals have extensive involvement in workplace bullying situations and workplace bullying research is not reflective of their experience. This study sought to better understand how HR professionals understood and defined bullying, how they made sense of bullying situations and their position in them, and how policies associated with bullying activities were understood and utilized. Using qualitative methods, the findings indicate that HR professionals define and understand bullying as targets do, except they differed in what elements actually turn bullying behaviors into a situation they would label as "bullying." They also felt that addressing and dealing with bullying was complicated due to its definitional state and their low power position. Still, they felt they took complaints of bullying very seriously and acted in these situations. The HR professionals also made sense of how and why bullying happened by pointing to issues like management style, conflict skills, and personality clashes. Additionally, the roles they played in bullying situations were marked by contradiction and paradox and equated to ?walking a tightrope?. Although many felt their organizations had policies that addressed bullying, it was found that most were ambiguous in regards to bullying or did not mention it at all. This study suggests a number of implications for both theory and practice. The findings also point to many necessary areas of future research which could further our understanding of workplace bullying and where organizations in the U.S. formally stand on the issue.

Human resource professionals have extensive involvement in workplace bullying situations and workplace bullying research is not reflective of their experience. This study sought to better understand how HR professionals understood and defined bullying, how they made sense of bullying situations and their position in them, and how policies associated with bullying activities were understood and utilized. Using qualitative methods, the findings indicate that HR professionals define and understand bullying as targets do, except they differed in what elements actually turn bullying behaviors into a situation they would label as "bullying." They also felt that addressing and dealing with bullying was complicated due to its definitional state and their low power position. Still, they felt they took complaints of bullying very seriously and acted in these situations. The HR professionals also made sense of how and why bullying happened by pointing to issues like management style, conflict skills, and personality clashes. Additionally, the roles they played in bullying situations were marked by contradiction and paradox and equated to ?walking a tightrope?. Although many felt their organizations had policies that addressed bullying, it was found that most were ambiguous in regards to bullying or did not mention it at all. This study suggests a number of implications for both theory and practice. The findings also point to many necessary areas of future research which could further our understanding of workplace bullying and where organizations in the U.S. formally stand on the issue.

Title from title page of PDF (University of Missouri--St. Louis, viewed March 3, 2010). Includes bibliographical references (p. 70-73).

The Steiner-Lehmus Theorem has garnered much attention since its conception in the 1840s. A variety of proofs resulting from the posing of the theorem are still appearing today, well over 100 years later. There are some amazing similarities among these proofs, as different as they seem to be. These characteristics allow for some interesting groupings and observations.

<p> Jürgen Moltmann's trilogy-Theology of Hope, The Crucified God, and The Church in the Power of the Spirit-is pervaded by the concept of "contradiction." Secondary literature commonly alludes to his theology of contradiction, describing his theology as "dialectical," but the literature rarely analyzes it comprehensively. This thesis seeks to fill this lack. It argues that in Moltmann's trilogy God creates and fosters in the world three different types of contradiction (objective, subjective and active) through three different means (God's promises, his crucifixion, and the work of his Spirit in and through the Church) in order to accomplish his purposes. The inductive sections of the thesis show that contradiction exists in nearly every chapter of each book. The systematic sections show contradiction is central to the main systematic theological topics of the trilogy. Understanding Moltmann's theology of contradiction this way allows for clearer interpretation of his theology as a whole.</p> / Thesis / Master of Arts (MA)

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