Diss.--Berlin--Freie Universität, 1991. / Bibliogr. p. 267-272.

In municipalities across the globe, traditional forms of governance are being supplemented by collaborative arrangements between governments and their constituencies toward jointly produced public services. Since the late 1970s, this phenomenon known as coproduction has been utilized in efforts to survive severe budget cuts, improve performance, increase accountability, and welcome traditionally silenced voices. However, no study to date has undergone a citywide assessment of coproduction to determine its breadth and depth in a city. Additionally, there is practically no empirical study that examines what citizen characteristics and perceptions are associated with participation in coproduction. The present study represents a first attempt to begin to fill these gaps in the literature. Specifically, this dissertation analyses: (1) How prevalent is coproduction? (2) Who engages in coproduction? and (3)What motivates coproducers? I employ a mixed-method case study of Atlanta, Georgia via its Neighborhood Planning Unit system, using focus groups, citizen questionnaires, census and GIS data, and direct observations. Overall, the coproduction classifications developed in this dissertation enable more systematic research on coproduction. The dissertation findings also contribute to our understanding of (1) how much this service delivery strategy is being utilized in an urban municipality, (2) which forms are most utilized, (3) what triggers participation in each form, and (4) who utilizes coproduction the most – even challenging the longstanding perception that African Americans and low-income groups do not participate in such activities. Lastly, study findings suggest a need to reconceptualize the current theory of coproduction as a public service delivery strategy.

In municipalities across the globe, traditional forms of governance are being supplemented by collaborative arrangements between governments and their constituencies toward jointly produced public services. Since the late 1970s, this phenomenon known as coproduction has been utilized in efforts to survive severe budget cuts, improve performance, increase accountability, and welcome traditionally silenced voices. However, no study to date has undergone a citywide assessment of coproduction to determine its breadth and depth in a city. Additionally, there is practically no empirical study that examines what citizen characteristics and perceptions are associated with participation in coproduction. The present study represents a first attempt to begin to fill these gaps in the literature. Specifically, this dissertation analyses: (1) How prevalent is coproduction? (2) Who engages in coproduction? and (3)What motivates coproducers? I employ a mixed-method case study of Atlanta, Georgia via its Neighborhood Planning Unit system, using focus groups, citizen questionnaires, census and GIS data, and direct observations. Overall, the coproduction classifications developed in this dissertation enable more systematic research on coproduction. The dissertation findings also contribute to our understanding of (1) how much this service delivery strategy is being utilized in an urban municipality, (2) which forms are most utilized, (3) what triggers participation in each form, and (4) who utilizes coproduction the most – even challenging the longstanding perception that African Americans and low-income groups do not participate in such activities. Lastly, study findings suggest a need to reconceptualize the current theory of coproduction as a public service delivery strategy.

The Gujarat earthquake of 2001 caused widespread devastation to livelihoods and the built environment, demolishing or badly damaging in excess of 400,000 buildings in the Kutch region as well as killing upwards of 15,000 people. This research examines the work of Hunnarsh?l?, an urban development and architecture firm based in Bhuj, Gujarat, India who, in response to the immediate and long-term needs apparent in the aftermath of the earthquake, proposed an owner-driven redevelopment strategy which sought to promote the socio-cultural needs of the ‘users’ as embodied in the artefacts and processes of the vernacular traditions common to the communities, as essentially empowering and therefore critical to the long-term sustainability of any reconstruction work. Hunnarsh?l?’s approach is an illustration of the coproduction of housing, leading to what is termed here as ‘synthetic vernacular architecture’. The thesis explores the potential of the coproduction of housing as an alternative model for architectural development for disadvantaged individuals and groups, with the potential for broader application in other contexts. Using three settlements on which Hunnarsh?l? worked as case studies, this research examines the efficacy of such an approach through both artefacts and processes of production as found in the field through a qualitative methodological approach based on ethnographic and design analysis methods. The research indicates that whilst there are distinct and problematic issues raised by an approach such as that used by Hunnarsh?l? in the context of Kutch, their approach is an illustration of the coproduction of housing, Such an approach has not been investigated to any significant degree in terms of its potential as a means of making culturally resonant architecture and therefore as a strategy of empowerment. This it is felt is an oversight which this research seeks to remedy.

Yes / This study aimed to understand which character strengths are most important for people living with dementia and therefore which strengths-based psychological interventions could be most meaningful and acceptable. A participatory design, utilising Delphi methodology, was incorporated into an iterative three stage framework: (1) literature reviewed for Positive Psychology (PP) interventions and patient public involvement to define the character strengths; (2) modified Delphi (N = 10) identified which character strengths are most important for living with dementia; (3) focus groups (N = 14) explored which PP interventions are most acceptable and meaningful. Qualitative data from the focus groups was analysed using thematic analysis. Love, kindness and humour were deemed the most important character strengths for living with dementia. Qualitative data from the focus groups was captured in three superordinate themes: (1) lack of opportunity not capacity; (2) key considerations of PP interventions for people living with dementia; and (3) potential benefits of PP interventions. Love, kindness and humour come naturally to people with dementia, but people may lack social opportunities to use these strengths. Therefore, a PP intervention promoting positive emotion, social relationships and connection to one's values appears most meaningful and acceptable as this may provide a social context to use and maintain these strengths.

In nonprofit organizations (NPOs) volunteers often work alongside paid workers. Such a coproduction setting can lead to tension between the two worker groups. This paper examines for the first time if and how volunteers in uence the separation of paid employees, and thus it contributes to the debate over whether volunteers can substitute paid workers. Using Austrian data on an organizational level we find a significant impact of volunteers on the separations of paid workers in NPOs facing increased competition. These findings support the assumption that a partial substitution effect exists between paid workers and volunteers.

Le thème de la recherche est né d'un constat : il existe un lien intime entre le droit d'auteur et le financement de l'oeuvre cinématographique. En effet, le producteur délégué, garant de la bonne fin de la fabrication et de la livraison du film, délivre à ses partenaires des autorisations d?exploitation en contrepartie desquelles il obtient des concours qui assurent la structuration financière du film. Coproducteurs, distributeurs, télédiffuseurs et autres exploitants sont ainsi, selon des formules diverses, autant de partenaires industriels et commerciaux, ayants droit et contributeurs financiers du film. A la question de la couverture financière d'un devis de fabrication, vient s'ajouter celle du financement de la trésorerie du film. Les bailleurs de fonds limitent habituellement leur risque à la commercialisation et n?entendent pas assumer le risque de fabrication. Le recours au crédit est, par conséquent, un aspect fondamental du financement du film. La propriété intellectuelle constitue alors la principale forme de valeur dans la composition des garanties et des moyens de paiement du cinéma. De fait, le droit d'auteur est la cause et l'objet des grands édifices juridiques et financiers du cinéma. A partir de ce constat, l'étude a pour ambition de rechercher l'aptitude du droit d'auteur à se dédoubler pour constituer une forme de propriété adaptée au financement des films tout en assurant la protection efficace des auteurs des oeuvres cinématographiques. Les difficultés de cette ubiquité résident dans le rapport d'opposition entre les fonctions assignées au droit d'auteur : l'intégrité artistique de l'oeuvre cinématographique procède de la préservation de la personne du créateur et dicte, en conséquence, une vision personnaliste du droit d'auteur ; les impératifs de la fabrication financière du film commandent de protéger la mission de production et reposent, en conséquence, sur une vision propriétariste du droit d'auteur. En réalité, le droit d'auteur français est avant tout un ensemble d'attributs d'ordre moral, intellectuel et patrimonial sanctionné par l'ordre public de protection de l'auteur. Un équilibre des protections de l'auteur et du producteur reste à trouver. Le contrat, comme outil d'anticipation, en est l'un des instruments. / The theme for this research originated in the realization that there is an intimate link between the author's rights and the financing of a feature film. Indeed, the "delegate" producer, as guarantor of the completion and delivery of the film, passes on to its partners the consents necessary for the exploitation of the film in consideration for the contributions which insure the financial structuring of such film. The co-producers, distributors, broadcasters and other exploitants are thus, so many industrial and business partners, rights holders and financial contributors to the film. To the issue of the financing of a budget must be added that of the cash flow. The fund providers usually limit their risks to the distribution of the film and do not intend to take on a production risk. Using credit is consequently a fundamental aspect of the financing of the film. In that context, intellectual property constitutes the principal form of asset to substantiate the securities and the means of payment of the film industry. The author's rights is thus the cause and subject matter of the great legal and financial structures of the film industry. From that realization, this research ambitions to / aspires to study the ability of the author's right to divide to form a sort of proprietary right fit for the financing of the films while insuring an efficient protection of the authors of cinematographic works. The complexity of such ubiquity resides in the opposing forces of the set functions of the author's rights: the artistic integrity of the work derives from the preservation of the creator and dictates a personal vision of the author's right. The constraints of the financial production of the film impose to protect the producer's mission and are grounded on a proprietary vision of the author's rights. In reality the French author's rights is above all an ensemble of moral, intellectual, financial features sanctioned by the public order of the protection of the author. The balance between the protection of the author and the producer remains to be found. The agreement, as an anticipation tool, is one of its instruments.

This researched is focused on how public managers, bureaucrats, can show responsiveness to the needs and wants of the citizens they serve through authentically including citizens in the process of decision-making. To examine this topic, this research reviews a process of public decision-making regarding how revisions were made to public school boundaries in Washington, DC. The findings from this research showed that the inclusion, and authentic partnership, of citizens throughout the process lead to greater outcomes, which the citizens felt were reflective of their participants and feedback. / Doctor of Philosophy / This researched is focused on how public managers, bureaucrats, can show responsiveness to the needs and wants of the citizens they serve through authentically including citizens in the process of decision-making. To examine this topic, this research reviews a process of public decision-making regarding how revisions were made to public school boundaries in Washington, DC. The findings from this research showed that the inclusion, and authentic partnership, of citizens throughout the process lead to greater outcomes, which the citizens felt were reflective of their participants and feedback.

Les thèses de l'autonomie de la technique et l'identification du progrès au progrès technique ont exclu la notion de démocratie du champ de la réflexion de la philosophie politique sur les sciences et les techniques, au profit de conceptions technocratiques. Ce sont alors l'histoire et la sociologie des techniques qui ont essentiellement abordé les relations entre technique et démocratie. En examinant leurs travaux, nous montrons à la fois l'importance des facteurs socio-culturels pour expliquer le développement technique d'une société et l'existence d'une forme faible de déterminisme par lequel les techniques structurent les relations sociales. La possibilité et la pertinence qu'il y a à faire de la technique un objet du débat démocratique apparaît alors à double titre : d'une part, elle engage chaque société sur le chemin d'un mode de développement que les citoyens doivent pouvoir discuter et, d'autre part, elle est déjà un objet de politique puisqu'elle est concernée par des législations et constitue, sous la forme de l'innovation, un élément majeur des projets politiques nationaux et internationaux. Nous montrons que, confrontée à différentes critiques, la démocratie technique doit être complexifiée afin de ne pas s'en tenir à une réflexion sur l'expertise et la compétence et de pouvoir répondre aux enjeux des conditions juridiques, économiques et épistémiques de la production des savoirs et des innovations comme aux enjeux classiques de la démocratie en général dont elle constitue un approfondissement vers un nouveau champ, celui de la définition du progrès. / The topic of democracy has been excluded from thinking about sciences and technologies in political philosophy by the idea of an autonomous technology and the identification of technical progress to progress itself. Instead, technocratic conceptions of power have been examined. Consequently, it is in history and sociology of technology that we can find considerations on relationship beteween technology and democracy. By analysing how they conceive this relation, we show both the importance of socio-cultural factors to explain technical development of society and existence of a weak version of determinism which implies that technologies shape social relationships. Then, we can understand that there is two reasons which explain why making technology an object of democratic debate is possible and relevant: first, technology commit society on a development path that citizens should be entitled to discuss; second, it is already a political object for it is adressed by legislations and, as innovation, is a key element of national and international political objectives. We point out technical democracy, given the critics it receveid, has to become more complex in order no to be limited to thinking about expertise and skill and to be able to adress what is at stake in the economic, juridic and epistemic conditions of knowledge and innovation production as well as what is at stake in the classic thinking about democracy. For technical democracy is a way to enlarge democracy to new topics, particularly to the question of how to define progress.

Le but d’une consultation médicale est de guérir le patient ou pour le moins, de tout mettre en oeuvre afin d’y parvenir. Jusqu’au XXème siècle, le médecin décide de tout puisqu’il sait mieux que quiconque comment soigner et quels traitements administrer. Au XXème siècle, cette pouvoir absolu décline peu à peu. Lorsqu’elle est ignorée, la dualité entre le médecin, expert des maladies, et le patient, expert de sa propre condition de malade, émerge comme un frein à la production du service de soins. La notion d’alliance thérapeutique apparait.Les Sciences de gestion mettent aussi en avant cette collaboration client-fournisseur avec le Service Dominant Logic. La qualité de la relation semble déterminante pour susciter la participation du client.Or la relation médecin-patient se construit au cours d’un processus dynamique retracé dans le Guide Calgary-cambridge, LA référence mondiale en matière de communication santé. Ce Guide doit permettre une cocréation de valeur.Paradoxalement, d’après ce Guide, le patient, de même pour le support du service lorsqu’il est vivant (animal, enfant, personne sous tutelle), participent passivement à l’interaction et ne mobilisent aucune compétence particulière.Ainsi, au cours d’une interaction de service, les conditions qui génèrent la coproduction du service et la cocréation de valeur et donc les compétences mobilisées pour y parvenir sont peu décrites en sciences de gestion ou dans l’activité de soins. Afin de répondre à cette question, nous avons choisi d’étudier la consultation vétérinaire canine, activité économique florissante très peu abordée jusque là. De plus, cette relation triadique de service B to C, implique un lien d’attachement entre le client et le support du service.La relation de service étant un processus dynamique dans le temps, nous avons choisi de filmer des consultations et de les analyser ensuite de manière qualitative et semi-quantitative en s’aidant d’entretiens avec les personnes présentes lors de la consultation. / The purpose of a medical consultation is to cure the patient or at least to do everything possible to achieve it. Until the twentieth century, the doctor decides everything since he knows better than anyone how to treat and which medicine to administer. Then this absolute power declines gradually. When ignored, the duality between the knowledge brought by the physician, an expert in diseases, and that brought by the patient, an expert in his own physical condition, emerges as a barrier to the service coproduction. As a result, the notion of therapeutic alliance arises.Management science also emphasizes client participation and client-provider collaboration through the Dominant Logic Service approach. Thus, the doctor-patient relationship is being built unsing a dynamic process outlined in the Calgary-Cambridge Guide.Paradoxically, according to this Guide, the patient passively participates to the interaction and do not mobilize any particular competence.Therefore, during a service encounter, what are the conditions that generate the service coproduction and therefore the competencies mobilized by each actor to achieve it?To answer this question, we decided to study the canine veterinary consultation, a flourishing economic activity that has been little discussed so far. Moreover, this triadic relationship of B to C service implies an attachment bound between the customer and the service support.Our research brings theoretical contributions, notably a typology of functional and dysfunctional triads, managerial contributions to veterinary clinics regarding their approach of the customer relationship, an adjustment of the reflerential of veterinary activities for the French veterinary schools, as well as methodological originalities by the use of video and triangulation of data analysis.