Le sepsis est une dérégulation de la réponse de l’hôte à une infection, associé à un dysfonctionnement des organes engageant le pronostic vital du patient. Plus de 30 millions de cas et 5 millions de décès sont estimés par an dans le monde. Le diagnostic du sepsis est basé sur des signes cliniques non spécifiques et la longue procédure d’identification des pathogènes responsables de l’infection. L’objectif de cette étude est de développer et d’évaluer le potentiel de la spectroscopie vibrationnelle appliquée au sérum pour améliorer le diagnostic du sepsis. Les défis inhérents à la nature de l’échantillon et à la technique de même que certains paramètres pré-analytiques ont été évalués pour assurer la qualité des données. Les variations de contenu en eau des échantillons après séchage pouvant affecter la discrimination des données, ont été corrigées en testant différentes méthodes. Enfin, des sérums de patients septicémiques (n=380) collectés avant chirurgie et jusqu’à 3 jours avant et le jour du diagnostic ont été analysés. Les échantillons du groupe contrôle (n=353) collectés suivant la même cinétique, provenant de patients ayant un profil similaire en termes d’âge, de sexe, de procédure chirurgicale subie mais n’ayant pas développé de sepsis et des échantillons (n=180) de patients atteints d’un syndrome de réponse inflammatoire systémique collectés avant chirurgie et le jour du diagnostic ont également été analysés. Les données acquises ont été exploitées par méthodes chimiométriques pour discriminer des zones spectrales reflétant des différences de composition moléculaire avec des sensibilités et spécificités supérieures à 70% malgré l’influence de l’eau résiduelle. / Sepsis is a dysregulated host response to an infection that causes life-threatening organ dysfunction. Each year, over 30 million cases and 5 million deaths are estimated worldwide. Diagnosis of sepsis is based on non-specific clinical signs and time consuming positive identification of the causative pathogen. The objective of this study is to develop and evaluate the potential of vibrational spectroscopy applied to human serum to improve diagnosis of sepsis. Challenges of serum spectroscopy inherent to the sample nature and preparation as well as to the technique have been assessed to determine the most suitable methodological approach. Then, some aspects of the pre-analytical phase have been addressed in order to standardise protocols in sample handling and preparation for spectral acquisitions to ensure quality and reproducibility of spectral data collected. Different methods have been tested to correct water content variations in dried serum, which can impact on data discrimination. Finally, based upon the developed methodology, patient serum samples (n=380) collected before surgery, up to 3 days before sepsis diagnosis, and on the day of sepsis diagnosis have been analysed. Control serum samples (n=353) from age/ sex/ procedure-matched patients who did not go on to develop sepsis have been also analysed over similar timeframes post-surgery as well as samples (n=180) from patients with systemic inflammatory response syndrome. Spectral data acquired have been interrogated by chemometric methods to identify spectral zones reflecting differences in molecular composition allowing discrimination with over 70% of sensitivities and specificities despite water interferences.

Cette thèse étudie le rôle des brevets essentiels pour la coordination de l'innovation dans les standards des Nouvelles Technologies d'Information et de Communication (NTIC). Les firmes actives dans la standardisation ont réagi au défi de la marée de brevets essentiels en créant des mécanismes innovateurs de coordination, et notamment des consortia informels de standardisation et des pools de brevets. La thèse met en lumière le mécanisme d'appropriation original que représentent les brevets essentiels. Ce mécanisme peut cependant générer des incitations à recourir à des stratégies opportunistes. Les pools de brevets peuvent exacerber ces incitations, mais induisent également une augmentation du nombre de brevets déposés autour des standards technologiques. Les consortia informels ont un effet positif sur le nombre de brevets liés aux standards si les incitations à innover sont insuffisantes. L'effet des consortia est plus faible, voire négatif, si les incitations à innover sont excessives. Les brevets essentiels influencent le progrès technologique des standards, notamment en donnant lieu à un progrès plus continu, consistant dans de nombreuses mises à jour et évitant les remplacements de standards. / This thesis studies the role of essential patents for the coordination of innovation in ICT standards. The increasing number of essential patents around technological standards is an increasing challenge for standardizing firms. In response, these firms have developed innovative coordination mechanisms, and in particular patent pools and informal standards consortia. This thesis sheds light on the function of essential patents as a distinctive appropriation mechanism tailored to cumulative innovation. This mechanism can however induce incentives for opportunistic strategies, which can be even exacerbated by patent pools. Nevertheless, patent pools also lead to an increase in the number of patented technologies developed for technological standards. Informal consortia induce an increase in the number of standard-related patents when incentives to innovate are insufficient. When the incentives to innovate are excessive, the effect of consortia on the number of patents is weaker, or even negative. Essential patents have an incidence on the technological progress of standards. For instance, inclusion of essential patents induces a more continuous type of technological progress, consisting in many small standard updates, and avoiding discontinuous standard replacements.

Many organisations aim to grow and increase their profitability, yet not many start-ups manage to survive beyond birth. The transformation into a well-established enterprise is generally seen as a big obstacle to tackle. Further on, project based organisations faces several challenges during scale-up such as how to maintain customisation within customer projects and how to keep up across-functional integration. This thesis addresses how a start-up manufacturing enterprise can scale-up its customer project management. Accordingly, the aim of this thesis is to get a better understanding of the difference between a start-up and an incumbent enterprise, and in turn highlight how to maintain customised operations in a project based organisation. The basis for this thesis is a case study conducted at Northvolt, a lithium-ion battery manufacturing enterprise located in Sweden. The outcome was performed through a collaboration with Northvolt’s customer project management department, and an analysis of conducted best-practice interviews together with a literature review. The empirical findings can be summarised in the following: • First, a growing enterprise needs to implement industry quality standards through the identification of standardised modules. Likewise, an enterprise needs to find which layers to keep flexible and create an environment that enables customisation. • Second, the dynamics within organisational structures can be illustrated as a cradle moving back and forth. An external platform enables new product development. • Third, cross-functional integration is identified as a corner stone for scale-up, but also vital to maintain new product development and hence customisation. • Fourth, pushing down the ownership together with clear targets and milestones is crucial to facilitate a mindset that motivates the workforce in growing sustainable. At the end, this thesis provides Northvolt with some key aspects to have in mind while scaling-up their customer project management, and highlights the conceptual contribution. / En strävan efter uppskalning är vanligt förekommande för företag inom tillverkningsindustrin. Däremot är det inte en självklarhet att transformera ett start-up till ett väletablerat företag. Att omstrukturera verksamheten till en framstående och välfungerande organisation uppfattas i regel som en svår uppgift. Projektbaserade organisationer möter allt som oftast flera utmaningar under uppskalning, sa som att bibehålla kundanpassning inom kundprojekt samt att den tvärfunktionell kommunikationen ofta blir lidande. Den har uppsatsen adresserar huruvida ett tillverkningsföretag, som befinner sig inom start-upstadiet, kan skala upp sin kundprojektavdelning. Därmed syftar denna uppsats till är att ge en ökad förståelse av vad som skiljer ett start-up från ett väletablerat företag, samt identifiera huruvida det går att bibehålla kundanpassning inom växande projektbaserade organisationer. Grunden till denna uppsats är en fallstudie genomförd tillsammans med Northvolt, ett batteritillverkande företag baserat i Sverige. Resultatet är baserat på best-practice intervjuer samt en litteraturstudie, varav analysen ar utförd i samarbete med Nortvhvolts kundprojekt avdelning. Det empiriska resultatet kan kort sammanfattas enligt: • För det första, ett växande företag behöver implementera branschspecifika kvalitetsstandarder genom att identifiera vad som kan standardiseras. Likaså behöver ett företag specificera vilka delar som kan hållas flexibla för kundanpassning. • För det andra, en organisation pendlar allt som oftast mellan olika strukturer. Genom att skapa en extern plattform kan ett företag generera produktutveckling i allt högre grad. • För det tredje, tvärfunktionell kommunikation är en grundsten för uppskalning, men även en nyckel för att generera produktutveckling och därmed kundanpassning. • För det fjärde, att trycka ansvaret längre ner i hierarkin tillsammans med att implementera tydliga mål och hållpunkter utgör en grund för att ge arbetskraften den motivation som krävs för att växa hållbart. Till sist bidrar denna uppsats med några applicerbara verktyg som Northvolt kan ta tillhanda för att skala upp deras kundprojekt avdelning, och slutligen en redovisning av det konceptuella bidraget inom uppskalning av projektbaserade organisationer.

The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015

The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015

Product-oriented environmental improvement is a great challenge for SMEs. There are two main reasons for this; firstly, a contradictory situation exists because SMEs lack the knowledge and competence to adopt the mainstream principle holistic approach of environmental product policy and regulations, and, secondly, there is a growing demand to incorporate environmental management system (EMS) and product dimension via ecodesign. To address these issues, this research focused on a product-oriented environmental management system (POEMS) that has been specifically developed to solve these problems. However, POEMS studies so far lack methodological development and focus more on how to incorporate EMS and eco-design rather than how to interpret the contents and improve POEMS as a standard tool. This research aimed to develop a new model, namely, component-based POEMS (CPOEMS). The C-POEMS model is a first attempt to define a potential standardised form of POEMS in its contents and structure, and form the basis for a useable self-help format for SMEs. A C-POEMS model, comprising stages of process, categories of functional areas/units, and elements, and a diagnosis template, as a component-based application, are developed and formulated. Through primary research, the C-POEMS conceptual model was verified and applicability of a C-POEMS component to SMEs was validated. C-POEMS made major contributions of two aspects: (1) methodological development of POEMS; (2) improvement of the format applicable for SMEs incorporating mainstream principles. Regarding methodological development of POEMS, arguments of existing POEMS methods were revealed, and the suggestions as well as analytical information in this research would provide benefit for further research in this field. The C-POEMS improved POEMS by providing clear contents and structure with predefined prior and iii correlated categories of functional area/units, which are helpful for SMEs. In addition, a diagnostic approach would help SMEs recognise their own problems and focus areas. As a result, SMEs can reduce the initial time to identify a structure of product-related environmental management, and increase opportunities to focus on major targets and product aspect for environmental improvements. Because of time constraint and underdevelopment of POEMS, there remain problems, in particular, to fully integrate EMS and eco-design, and the asymmetric situation between maintaining the broad scope of POEMS and focusing upon specific areas and user demand. However, this C-POEMS model provides a foundation for the development of EMS for SME’s and for ongoing development of POEMS.

The Grid has been recognised as the next-generation distributed computing paradigm by seamlessly integrating heterogeneous resources across administrative domains as a single virtual system. There are an increasing number of scientific and business projects that employ Grid computing technologies for large-scale resource sharing and collaborations. Early adoptions of Grid computing technologies have custom middleware implemented to bridge gaps between heterogeneous computing backbones. These custom solutions form the basis to the emerging Open Grid Service Architecture (OGSA), which aims at addressing common concerns of Grid systems by defining a set of interoperable and reusable Grid services. One of common concerns as defined in OGSA is the Grid accounting service. The main objective of the Grid accounting service is to ensure resources to be shared within a Grid environment in an accountable manner by metering and logging accurate resource usage information. This thesis discusses the origins and fundamentals of Grid computing and accounting service in the context of OGSA profile. A prototype was developed and evaluated based on OGSA accounting-related standards enabling sharing accounting data in a multi-Grid environment, the World-wide Large Hadron Collider Grid (WLCG). Based on this prototype and lessons learned, a generic middleware solution was also implemented as a toolkit that eases migration of existing accounting system to be standard compatible.

Ce travail doctoral propose une analyse de la standardisation des systèmes d’information (SI) au sein d’un groupe bancaire de dimension internationale. L’objectif est d’apporter des éléments de réponses à la problématique suivante : quels sont les principes de déploiement et les impacts d’une stratégie de standardisation des SI bancaires ? L’étude du cas du Crédit Agricole et dix-huit de ses filiales nous permet d’interpréter cette stratégie de standardisation des systèmes d’information comme un phénomène complexe et non linéaire. Les filiales étant autonomes juridiquement et opérationnellement, la démarche étudiée consiste à analyser le déploiement (gouvernance des SI, phénomènes d’isomorphisme), les conséquences organisationnelles entre la maison-mère et les filiales (apprentissage, routines organisationnelles) mais également les gains stratégiques attendus au niveau du groupe dans sa globalité (économies, interopérabilité, innovation). Au final, si cette stratégie se présente à première vue sous une forme d’impacts organisationnels simples, nous démontrons au travers de cette recherche que la standardisation des SI bancaires est une articulation bouclée complexe entre les niveaux de la stratégie, de la politique de standardisation et de l’organisation quotidienne. Nous montrons que cette complexité peut se gérer. / This doctoral work proposes an analysis of the standardization of information systems within an international banking group. The objective is to provide elements of answers to the following problematic: what are the principles of deployment and the impacts of a strategy of standardization of banking IS? The case study of Credit Agricole and eighteen of its subsidiaries allows us to interpret this strategy of information systems standardization as a complex and non-linear phenomenon. Since the subsidiaries are legally and operationally autonomous, the approach studied consists in analyzing the deployment (IS governance, isomorphism phenomenon), the organizational consequences between the parent company and the subsidiaries (learning, organizational routines) but also expected strategic gains at the the group as a whole (savings, interoperability, innovation). In the end, if this strategy appears at first glance in a form of simple organizational impacts, we demonstrate through this research that the standardization of banking IS is a complex looped articulation between the levels of the strategy, the standardization policy and the daily organization. We show that this complexity can be managed.

This multifaceted study documents validates, and verifies the changes in oral surgery teaching in Dundee University Dental School, which have changed with time to accommodate the demands of an ever increasingly complex discipline. Availability of instructive teaching material in hard copy and as video and text on the internet combined with close clinical supervision and detailed assessment with feedback allows students to attain competency in exodontia with falling patient numbers. It has been demonstrated that the undergraduate training in the oral surgery clinics still attains competency or BDS standard of ‘safe beginner’ for simple extractions and minor oral surgery, despite fewer procedures being carried out. The criteria used for undergraduate assessment and marking of exodontia have been validated in house and nationally. These are appropriate, objective and reliable. Using Thiel cadavers is a valid and reliable method of teaching undergraduate students the technique of extraction with forceps prior to their clinical exposure. Further employment of the cadavers for continuing practice and the introduction of new skills has been mooted. The use of the ‘Blackboard’ was investigated and found not to be well used; the effort to produce the work was not well directed since it was not taken advantage of by the whole year nor very frequently by those who do use it. Alternative methods of engaging the student to investigate and research the discipline have been suggested. Encouragement of the students to interact more when the exodontia clinic time is available for this opportunity has been introduced and suggestions to increase this activity to enhance the teaching of core topics have been made. From apprehension to enjoyment our student assure us that they find this discipline worthwhile whilst acknowledging that it will not be a practice builder and that they are equipped to deal with simple oral surgery procedures.

Thesis (M.A. (Psychology)) -- University of the North, 1995 / Refer to the document