41 research outputs found
Resource management in Big Data initiatives: processes and dynamic capabilities
© 2016 The Authors. Effective management of organizational resources in big data initiatives is of growing importance. Although academic and popular literatures contain many examples of big data initiatives, very few are repeated in the same organization. This suggests either big data delivers benefits once only per organization or senior managers are reluctant to commit resources to big data on a sustained basis. This paper makes three contributions to the Special Issueâs theme of enhancing organizational resource management. One is to establish an archetype business process for big data initiatives. The second contribution directs attention to creating a dynamic capability with big data initiatives. The third identifies drawbacks of resource base theory (RBT) and itâs underpinning assumptions in the context of big data. The paper discusses lessons learnt from the case study and draws out implications for practice and business research. The paperâs intellectual and practical contributions are based on an in-depth case study of the European Poles of Excellence (EIPE) big data initiative and evidence from the extant literature
COVID-19 symptoms at hospital admission vary with age and sex: results from the ISARIC prospective multinational observational study
Background:
The ISARIC prospective multinational observational study is the largest cohort of hospitalized patients with COVID-19. We present relationships of age, sex, and nationality to presenting symptoms.
Methods:
International, prospective observational study of 60â109 hospitalized symptomatic patients with laboratory-confirmed COVID-19 recruited from 43 countries between 30 January and 3 August 2020. Logistic regression was performed to evaluate relationships of age and sex to published COVID-19 case definitions and the most commonly reported symptoms.
Results:
âTypicalâ symptoms of fever (69%), cough (68%) and shortness of breath (66%) were the most commonly reported. 92% of patients experienced at least one of these. Prevalence of typical symptoms was greatest in 30- to 60-year-olds (respectively 80, 79, 69%; at least one 95%). They were reported less frequently in children (â€â18 years: 69, 48, 23; 85%), older adults (â„â70 years: 61, 62, 65; 90%), and women (66, 66, 64; 90%; vs. men 71, 70, 67; 93%, each Pâ<â0.001). The most common atypical presentations under 60 years of age were nausea and vomiting and abdominal pain, and over 60 years was confusion. Regression models showed significant differences in symptoms with sex, age and country.
Interpretation:
This international collaboration has allowed us to report reliable symptom data from the largest cohort of patients admitted to hospital with COVID-19. Adults over 60 and children admitted to hospital with COVID-19 are less likely to present with typical symptoms. Nausea and vomiting are common atypical presentations under 30 years. Confusion is a frequent atypical presentation of COVID-19 in adults over 60 years. Women are less likely to experience typical symptoms than men
Le Moi, LâHistoire, 1789-1848, Textes rĂ©unis par Damien Zanone, avec la collaboration de Chantal Massol
Guellec Laurence. Le Moi, LâHistoire, 1789-1848, Textes rĂ©unis par Damien Zanone, avec la collaboration de Chantal Massol. In: Romantisme, 2006, n°134. Les grands boulevards. pp. 143-144
Brand(ed) content ou la stratĂ©gie du contenu : cadrage pour lâanalyse des nouveaux dispositifs publicitaires
Le brand(ed) content dĂ©signe des opĂ©rations publicitaires visant Ă construire un contenu de marque plutĂŽt quâĂ mettre en vedette un produit, dans lesquelles la vidĂ©o en ligne est lâĂ©lĂ©ment clef du dispositif, permettant dâassocier de façon interactive les consommateurs Ă la dĂ©marche de promotion. Si le franglicisme « brand content » sâest imposĂ© dans le domaine français, les dĂ©nominations de « branded content » ou de « brand entertainment » ont essaimĂ© dans la langue internationale de la publicitĂ©. 2012 est lâannĂ©e de lâinstitutionnalisation Ă travers les nouveaux prix mis en place lors des compĂ©titions crĂ©atives nationales et internationales (Lions de Cannes). Parce quâil modifie lâĂ©conomie communicationnelle de la marque autant que les investissements mĂ©dias, et quâil rĂ©concilie les consommateurs avec la publicitĂ© en proposant des « expĂ©riences » inĂ©dites, le brand(ed) content ouvre une nouvelle page de lâhistoire de la publicitĂ©, tout en confirmant lâancrage culturel des marques dans les sociĂ©tĂ©s (post)modernes. Mais il est douteux quâil pĂ©rime les modalitĂ©s dâanalyse du discours publicitaire parmi lesquelles demeure lâauscultation critique de la rhĂ©torique marchande.Brand(ed) content covers advertising activities that build a content in relationship with a brand rather than showcase a product, in which online video is the key element of the device and that associate consumers to the promotion in an interactive way. The franglicism "brand content" has established itself in the French field whereas "branded content" or "brand entertainment" names have spread in the international language of advertising. 2012 is the year of institutionalization through new awards occurring in national and international competitions (Cannes Lions). Because it changes the communication economy of the brand as much as the media investments and reconciles consumers with advertising by offering them new "experiences", brand(ed) content opens a new page in the history of advertising while confirming the cultural and ideological integration of brands in (post)modern societies. The modalities for analyzing and interpreting advertising discourse do not seem outdated, however, especially the critical approaches of commercial rhetoric
Le Prince, le peuple et le droit. Autour des plébiscites de 1851 et 1852
Guellec Laurence. Le Prince, le peuple et le droit. Autour des plébiscites de 1851 et 1852. In: Romantisme, 2002, n°115. De ceci à cela. pp. 114-116
De la récalcitrance littéraire. La position des écrivains face à la publicité
Machinerie sĂ©miotique performante, la publicitĂ©, au XIXe siĂšcle « la rĂ©clame », fait partie du processus commercial. Câest un investissement de communication visant le bĂ©nĂ©fice financier, qui rapporte en principe plus quâil ne coĂ»te au tarif de lâespace achetĂ© dans les journaux â plusieurs milliers de francs dĂ©pensĂ©s par Lamartine pour une page entiĂšre dâannonces dans un journal. Payer pour la gloire, comme le poĂšte des MĂ©ditations, se vendre comme Zola semblant dire que lâĂ©crivain nâest quâ« un marchand comme un autre ». Les stratĂ©gies publicitaires des « commerçants littĂ©raires » déçoivent la reprĂ©sentation sublime de lâĂ©crivain et attisent les antinomies critiques. Elles ne signifient peut-ĂȘtre rien dâautre que lâadaptation pragmatique des producteurs littĂ©raires aux logiques culturelles du capitalisme et aux nouvelles rĂšgles de la communication mĂ©diatique. Un espace dâinterprĂ©tation sâouvre concernant leurs rĂ©ponses littĂ©raires. « Dieu lui-mĂȘme a besoin quâon le sonne », aurait lancĂ© Lamartine Ă qui lâon reprochait dâabuser de rĂ©clame. Sentence olympienne, prospectus de librairie dĂ©tournĂ© (la cĂ©lĂšbre prĂ©face-prospectus de Sand pour ses Ćuvres complĂštes), deux Ă©tudes de cas sont dĂ©veloppĂ©es ici. Lâintelligence des nouvelles « rĂšgles de lâart » en rĂ©gime de modernitĂ© se mesure aussi formellement dans ces stratĂ©gies rĂ©flexives (au sens barthĂ©sien) par contraste avec les dispositifs publicitaires, intentionnels et fonctionnels mais aussi avec le commentaire critique. Elles rĂ©tablissent lâautoritĂ© de lâauteur, restaurent par la mise en abyme la hiĂ©rarchie des valeurs entre littĂ©rature et publicitĂ©. MarquĂ©es par lâironie supĂ©rieure, elles participent de la « rĂ©calcitrance » et renvoient donc Ă une forme de rĂ©action trĂšs spĂ©cifique face au devenir marchand de la culture.Advertising is performing semiotic machinery but it also belongs to the business process. As an investment in communication, seeking financial gain, advertising is supposed to bring more money than it costs: Lamartine spent several thousands francs to pay an entire page of commercials in newspapers. To pay for glory as did the poet who wrote The Poetical Meditation or in the manner of Zola, regarded by his contemporaries as a king of ârĂ©clameâ, and claiming that the writer is a nothing but a (book)seller. The advertising strategies of French writers who considered themselves occasionally or more seriously as literary traders may contradict sublim image of the romantic author and the fact stirs the critical antinomies. Maybe they are signifying nothing more than the pragmatic adaptation of literary producers to the cultural logics of capitalism and to the new rules of media communication. However their literary replies need to be interpreted. âDieu lui-mĂȘme a besoin quâon le sonneâ, as majestically answered Lamartine to his friends who blamed him for his excessive use of advertising. I study this Olympian sentence in its literary context as well as the editorial context in which George Sand presents the new collection of her writings in 1842. They have to be considered as reflexive strategies by contrast with advertising messages and also because they destabilize the critical commentary. Lamartineâs witticism and Sandâs gesture both configure the authority of the author and restore in the modern way the value hierarchy between literature and commercial advertising. Characterized by superior irony, they express what I define as ârecalcitrancyâ, i.e. a very specific reaction to the commodification of culture
Le Prince, le peuple et le droit. Autour des plébiscites de 1851 et 1852
Guellec Laurence. Le Prince, le peuple et le droit. Autour des plébiscites de 1851 et 1852. In: Romantisme, 2002, n°115. De ceci à cela. pp. 114-116
Ăcrire dâor : la vĂ©ritĂ© sur lâaffaire Harry Quebert de JoĂ«l Dicker, et la tentation publicitaire de lâĂ©crivain
JoĂ«l Dicker « écrit dâor », pourrait-on dire, en se souvenant du slogan « Cuisinez dâor avec Astra » dont Roland Barthes a jadis extrait des analyses dĂ©finitives. La VĂ©ritĂ© sur lâaffaire Harry Quebert est publiĂ© Ă la rentrĂ©e littĂ©raire 2012 et ce « roman amĂ©ricain », dont lâaction se situe sur la cĂŽte Est des Ătats-Unis, devient rapidement un best-seller. Son succĂšs est peut-ĂȘtre emblĂ©matique de la « fausse littĂ©rature » au regard de la « vraie », de la « fake literature » est-on mĂȘme tentĂ© d..
Le Moi, LâHistoire, 1789-1848, Textes rĂ©unis par Damien Zanone, avec la collaboration de Chantal Massol
Guellec Laurence. Le Moi, LâHistoire, 1789-1848, Textes rĂ©unis par Damien Zanone, avec la collaboration de Chantal Massol. In: Romantisme, 2006, n°134. Les grands boulevards. pp. 143-144
La voie utilitariste : doctrine de lâintĂ©rĂȘt bien entendu et morales secrĂštes dans la DĂ©mocratie en AmĂ©rique de Tocqueville
International audienc