549 research outputs found
A New Course on Creativity in an Engineering Program: Foundations and Issues
The importance of innovation in the world's economy, now undeniable, draws
great attention to the need to improve organizations' creative potential. In
the last 60 years, hundreds of books have been written on the subject and
hundreds of webpages display information on how to be more creative and achieve
innovation. Several North American and European universities offer graduated
programs in creativity. However, building an effective and validated creativity
training program is not without challenges. Because of the nature of their
work, engineers are often asked to be innovative. Without aiming for a degree
in creativity, could future engineers benefit from training programs in
creativity? This article presents the conceptual framework and pedagogical
elements of a new course in creativity for engineering students.Comment: 10 pages, Intl Conf on Innovative Design and Manufacturing (pp.
270-275). Aug 13-15, Montreal. IEEE Conference Proceeding
Creativity Training for Future Engineers: Preliminary Results from an Educative Experience
Due in part to the increased pace of cultural and environmental change, as
well as increased competition due to globalization, innovation is become one of
the primary concerns of the 21st century. We present an academic course
designed to develop cognitive abilities related to creativity within an
engineering education context, based on a conceptual framework rooted in
cognitive sciences. The course was held at \'Ecole Polytechnique de Montr\'eal
(\'EPM), a world renowned engineering school and a pillar in Canada's
engineering community. The course was offered twice in the 2014-2015 academic
year and more than 30 students from the graduate and undergraduate programs
participated. The course incorporated ten pedagogical strategies, including
serious games, an observation book, individual and group projects, etc., that
were expected to facilitate the development of cognitive abilities related to
creativity such as encoding, and associative analytical thinking. The CEDA
(Creative Engineering Design Assessment) test was used to measure the students'
creativity at the beginning and at the end of the course. Field notes were
taken after each of the 15 three-hour sessions to qualitatively document the
educative intervention along the semester and students gave anonymous written
feedback after completing the last session. Quantitative and qualitative
results suggest that an increase in creativity is possible to obtain with a
course designed to development cognitive abilities related to creativity. Also,
students appreciated the course, found it relevant, and made important,
meaningful learnings regarding the creative process, its cognitive mechanism
and the approaches available to increase it.Comment: 10 page
Genital pain in women : beyond interference with intercourse
This article may not exactly replicate the final version published in the journal. It is not the copy of record. / Cet article ne constitue pas la version officielle, et peut différer de la version publiée dans la revue
Le dommage moral et le préjudice extrapatrimonial
Notre recherche visait au dĂ©part l'analyse de la substance du dommage moral: retrouver les sentiments Ă l'intĂ©rieur des chefs de dommage moral. Une premiĂšre lecture des jugements quĂ©bĂ©cois publiĂ©s, rendus entre le 1er janvier 1950 et le 31 dĂ©cembre 2008 et Ă l'intĂ©rieur desquels des dommages et intĂ©rĂȘts ont Ă©tĂ© octroyĂ©s pour rĂ©parer un dommage moral en matiĂšre de responsabilitĂ© civile extracontractuelle, laisse une impression de confusion et de dĂ©sordre, tant au plan terminologique qu'au plan conceptuel. Dommage moral, prĂ©judice extrapatrimonial, dommage non pĂ©cuniaire, prĂ©judice moral: autant de termes qui rendent impossible une synthĂšse des chefs de prĂ©judice. C'est finalement Ă l'analyse des raisons de cette confusion, aux formes qu'elle prend, aux moyens dĂ©ployĂ©s par les juristes pour, sinon la surmonter, du moins la contenir, que la prĂ©sente thĂšse est consacrĂ©e.
MalgrĂ© cette confusion et ce dĂ©sordre, un constat gĂ©nĂ©ral d'homogĂ©nĂ©itĂ© et de stabilitĂ© des discours judiciaire et juridique sur le prĂ©judice extrapatrimonial peut d'abord ĂȘtre tracĂ©. Le dommage moral et le prĂ©judice extrapatrimonial (les deux Ă©tant couramment assimilĂ©s) sont rĂ©putĂ©s difficilement rĂ©parables. Afin de contenir l'arbitraire et la subjectivitĂ© qui caractĂ©risent le prĂ©judice extrapatrimonial, un discours dominant rationnel et raisonnable s'est construit et une Ă©valuation globale du prĂ©judice est pratiquĂ©e par les juges. Il en rĂ©sulte une stabilitĂ© des montants des dommages et intĂ©rĂȘts octroyĂ©s Ă titre de rĂ©paration.
Mais pourquoi autant de mots pour dĂ©crire une mĂȘme rĂ©alitĂ©? Dommage et prĂ©judice sont actuellement employĂ©s en droit quĂ©bĂ©cois comme s'ils Ă©taient terminologiquement et conceptuellement indistincts; il en rĂ©sulte une sursimplification de la responsabilitĂ© civile. Nous proposons que le dommage (qu'il soit corporel, matĂ©riel ou moral) et le prĂ©judice (qu'il soit extrapatrimonial ou patrimonial) sont distincts. Le dommage se qualifie au siĂšge de l'atteinte (des corps, des choses, des sentiments et valeurs) et le prĂ©judice se qualifie au regard de la nature des rĂ©percussions du dommage (rĂ©percussions patrimoniales ou extrapatrimoniales). Ainsi distinguĂ©s, dommage et prĂ©judice retrouvent un sens tout en faisant ressortir les deux temps composant la responsabilitĂ© civile: l'Ă©tablissement d'une responsabilitĂ© Ă l'aide de la faute, du dommage et du lien de causalitĂ© les unissant (1er temps) et la rĂ©paration du prĂ©judice accompagnant le dommage (2e temps).
Par une telle distinction, la sursimplification de la responsabilitĂ© civile est dĂ©passĂ©e et force est de constater que bien peu de choses sont dites dans les jugements sur la substance du dommage moral et mĂȘme sur le dommage moral tout court. Le discours dominant porte essentiellement sur la difficile dĂ©termination de la quotitĂ© des dommages et intĂ©rĂȘts pour rĂ©parer le prĂ©judice extrapatrimonial. Si le dommage moral et le prĂ©judice extrapatrimonial n'Ă©taient pas confondus et employĂ©s par les juristes avec une apparente cohĂ©rence, une synthĂšse des chefs de prĂ©judice extrapatrimonial, telle qu'envisagĂ©e au dĂ©part, aurait peut-ĂȘtre Ă©tĂ© possibleâŠOur research initially aimed at analysing the substance of dommage moral: discover feelings within the heads of dommage moral. At first, the reader, when looking at the published judgments made by the Quebec jurisdictions between January 1, 1950 and December 31, 2004 and which grant damages to compensate tortious prĂ©judice extrapatrimonial, is under an impression of confusion and disorder, on a terminological as well as on a conceptual level. Dommage moral, prĂ©judice extrapatrimonial, dommage non pĂ©cuniaire, prĂ©judice moral: such terms make a synthesis of the heads of damage impossible. Finally, this thesis is dedicated to the analysis of the reasons for such confusion, to the forms it takes, to the means used by jurists in order to contain it, if not to surmount it.
Despite such confusion and disorder, it may first be generally observed that the judicial and legal discourses on préjudice extrapatrimonial are homogeneous and stable. Dommage moral and préjudice extrapatrimonial (both being treated as similar) are said to be hard to compensate. In order to contain the arbitrary and subjectivity which characterise préjudice extrapatrimonial, a dominant rational and reasonable discourse has been built and a comprehensive estimate of the damage is carried out by judges. As a result, the amounts of the damages allotted as compensation are stable.
But why are so many words used to describe the same reality? Dommage and préjudice are currently used in Quebec law as if they were indistinct on a terminological and conceptual point of view; the result is an over-simplification of civil liability. We propose that dommage (whether bodily, material or moral) and préjudice be distinct. Dommage qualifies at the siÚge de l'atteinte (bodies, goods, feelings and values) and préjudice qualifies with regards to the nature of the effects (whether patrimonial or extrapatrimonal) of the dommage. Being thus distinguished, dommage and préjudice gain sense while distinguishing the two steps composing civil liability: determination of liability based on fault, dommage and causal link between them (1st step), and compensation of the préjudice that accompanies the dommage (2nd step).
By making such a distinction, the over-simplification of civil liability is passed and it must be noted that very few words are said in court judgements on the substance of dommage moral and even on dommage moral itself. The dominant discourse essentially bears on the difficult determination of the quota of damages to compensate préjudice extrapatrimonial. If dommage moral and préjudice extrapatrimonial were not confused and employed by jurists with apparent coherence, a synthesis of the heads of préjudice extrapatrimonial, as contemplated at the beginning, would perhaps be possible
L'enseignement explicite de la lecture des consignes
Ăchouer Ă un cours au collĂ©gial, surtout en premiĂšre session, peut avoir des consĂ©quences majeures sur le choix de carriĂšre, sur la durĂ©e du cursus scolaire, sur le sentiment dâefficacitĂ© personnelle et sur lâengagement scolaire des personnes Ă©tudiantes. Cet article de vulgarisation scientifique rend compte dâune innovation rĂ©alisĂ©e dans le respect de la dĂ©marche du Scholarship of Teaching and Learning (SoTL) auprĂšs des personnes Ă©tudiantes en Techniques de soins infirmiers. Il propose un scĂ©nario pĂ©dagogique permettant aux personnes Ă©tudiantes de premiĂšre session dâexpĂ©rimenter, par lâenseignement explicite, un outil servant Ă dĂ©cortiquer et Ă analyser une question Ă dĂ©veloppement. Lâobjectif Ă©tait dâoffrir un meilleur soutien aux personnes Ă©tudiantes de premiĂšre session et leur permettre dâexpĂ©rimenter une transition adaptĂ©e Ă leur arrivĂ©e au cĂ©gep tout en favorisant leur sentiment dâefficacitĂ© personnelle lors des Ă©valuations
Améliorer la performance créative des futurs ingénieurs par une approche cognitive
RĂSUMĂ : Les personnes crĂ©atives et innovantes sont reconnues pour leur contribution au bien-ĂȘtre de la sociĂ©tĂ©. En tant que professionnels, les ingĂ©nieurs sont souvent appelĂ©s Ă produire des idĂ©es novatrices et Ă participer ainsi Ă lâamĂ©lioration des produits, services et procĂ©dĂ©s de leur organisation. La recherche sur la crĂ©ativitĂ© fournit des thĂ©ories, des modĂšles, des outils et des rĂ©sultats empiriques pouvant ĂȘtre exploitĂ©s dans les programmes de formation sur le sujet. Les institutions dâenseignement et les entreprises pourraient en tirer profit afin de dĂ©velopper les compĂ©tences crĂ©atives de leurs Ă©tudiants et employĂ©s. Cependant, lâĂ©tendue et la dispersion de la littĂ©rature sur la crĂ©ativitĂ© dans plusieurs disciplines, le manque de structure dans les cadres thĂ©oriques, la grande diversitĂ© des objectifs poursuivis et des activitĂ©s pĂ©dagogiques rapportĂ©es dans les Ă©tudes sur lâenseignement de la crĂ©ativitĂ© et le peu de travaux sur lâĂ©valuation des impacts font que les enseignants et les concepteurs de programmes Ă©ducatifs ont besoin de guidage pour savoir comment sây prendre pour obtenir de bons rĂ©sultats. Suivant une approche cognitive, nous avons rĂ©alisĂ© trois Ă©tudes qui nous ont menĂ©e Ă concevoir et dĂ©velopper un cours sur la crĂ©ativitĂ© ayant les avantages dâĂȘtre ancrĂ© sur un cadre thĂ©orique solide, dâĂȘtre pleinement expliquĂ© et dâavoir Ă©tĂ© testĂ© sur le terrain auprĂšs de trois groupes dâĂ©tudiants en ingĂ©nierie. La premiĂšre Ă©tude visait Ă clarifier le processus d'Ă©valuation du test Creative Engineering Design Assessment (CEDA) et Ă vĂ©rifier sa fiabilitĂ© selon une mĂ©thode statistique frĂ©quemment utilisĂ©e en gĂ©nie, la mĂ©thode ReproductibilitĂ© et RĂ©pĂ©tabilitĂ© (R&R). Celle-ci, gĂ©nĂ©ralement utilisĂ©e sur des donnĂ©es quantitatives comme la longueur ou la tension, a Ă©tĂ© appliquĂ©e au CEDA qui utilise des Ă©chelles de Likert pour faire des Ă©valuations subjectives. Les Ă©chelles permettent dâĂ©valuer cinq aspects de la crĂ©ativitĂ© (pensĂ©e divergente, pensĂ©e convergente, satisfaction des contraintes, identification des opportunitĂ©s, rĂ©solution de problĂšme) selon quatre critĂšres (fluiditĂ©, flexibilitĂ©, originalitĂ© et utilitĂ©). Trois juges ont ainsi Ă©valuĂ© 22 rĂ©sultats de tests effectuĂ©s auprĂšs de professionnels intĂ©ressĂ©s par le sujet de la crĂ©ativitĂ©. Lâanalyse de ces rĂ©sultats rĂ©vĂšle que l'utilisation de la mĂ©thode R&R est pertinente dans cet environnement de psychomĂ©trie pour Ă©valuer la performance du CEDA. Celle-ci est jugĂ©e satisfaisante en ce qui concerne la variation totale mesurĂ©e, puisque moins de 10% de la variation des rĂ©sultats est due Ă l'outil lui-mĂȘme. De plus, lâutilisation de cartes de contrĂŽle (graphiques permettant de suivre et maĂźtriser la variation de processus) pour analyser la fiabilitĂ© de la stratĂ©gie d'Ă©valuation a montrĂ© que le processus d'Ă©valuation mis en Ćuvre pour les deux critĂšres qualitatifs (originalitĂ©/utilitĂ©) Ă©tait sous contrĂŽle, puisque les rĂ©sultats obtenus se situaient entre les limites de contrĂŽle calculĂ©es, et que les variations Ă©taient dues Ă des causes inĂ©vitables ou incontrĂŽlables. Par ailleurs, des discussions entre les juges ont permis de clarifier le processus dâĂ©valuation de la crĂ©ativitĂ© en dĂ©finissant de maniĂšre dĂ©taillĂ©e les Ă©chelons des Ă©chelles de Likert pour les critĂšres dâoriginalitĂ© et dâutilitĂ©. La clarification du processus d'Ă©valuation avec le CEDA permet aux Ă©ducateurs d'avoir une mesure plus prĂ©cise et fiable de la performance crĂ©ative de leurs Ă©tudiants. Les modĂšles thĂ©oriques de la crĂ©ativitĂ© suggĂšrent souvent que le processus de crĂ©ativitĂ© implique un style de pensĂ©e particulier. Par consĂ©quent, la deuxiĂšme Ă©tude visait Ă investiguer le lien entre deux capacitĂ©s cognitives reliĂ©es Ă la crĂ©ativitĂ© et la performance crĂ©ative (Ă©valuĂ©e par le CEDA). LâĂ©tude comprenait deux expĂ©riences et un test (CEDA) impliquant diffĂ©rents groupes de futurs ingĂ©nieurs. Dans la premiĂšre expĂ©rience qui porte sur le rappel et la reprĂ©sentation externe (sur papier) dâinformations stockĂ©es en mĂ©moire, nous avons Ă©tudiĂ© le nombre de mots (ou dâidĂ©es) que les participants rapportaient et les types de reprĂ©sentations externes quâils utilisaient pour montrer les informations stockĂ©es dans leur mĂ©moire relativement Ă trois stimuli (deux objets et un mot) qui leur Ă©taient prĂ©sentĂ©s un Ă un. Lâobjectif de cette expĂ©rience Ă©tait de voir si certains types de reprĂ©sentations externes (Ă©toile, chaĂźne, rĂ©seau ou leur combinaison) favorisaient une plus grande crĂ©ativitĂ© (mesurĂ©e avec le test). Les rĂ©sultats montrent que 89% des participants ont produit des graphiques en forme dâĂ©toiles reliant des mots (avec ou sans chaĂźnes de mots) avec une moyenne de 11 mots par participant. Au plan de l'originalitĂ©, 79% des participants ont obtenu un score entre 2 et 4 sur 10. La deuxiĂšme expĂ©rience visait Ă connaĂźtre l'Ă©tat d'esprit des participants Ă qui on demandait de lire deux courts textes se rapportant Ă deux domaines diffĂ©rents (dĂ©fense militaire et mĂ©decine) en vue de rĂ©pondre Ă une question posĂ©e Ă la fin du deuxiĂšme texte sur lâexistence de liens possibles entre les scĂ©narios prĂ©sentĂ©s dans les deux textes. Il sâagit dâune expĂ©rience utilisĂ©e dans le cadre dâĂ©tudes sur le raisonnement lors du traitement dâune analogie. Lâobjectif Ă©tait de voir si les personnes qui rĂ©ussissent mieux Ă Ă©tablir des liens entre diffĂ©rents domaines avaient une meilleure performance crĂ©ative (mesurĂ©e avec le CEDA). Les rĂ©sultats rĂ©vĂšlent que 76% des participants ont utilisĂ© des idĂ©es en cours de dĂ©finition ou « Ă moitiĂ© cuites », câest-Ă -dire qui sont prĂ©sentes dans le processus de rĂ©flexion amorcĂ© mais qui restent floues et incomplĂštes. Finalement, le test avec le CEDA a permis de mesurer la performance crĂ©ative des participants afin de voir sâil existait des corrĂ©lations entre la façon dont on reprĂ©sente (Ă lâexterne) lâinformation stockĂ©e dans la mĂ©moire ou lâoriginalitĂ© de ces mots et la performance crĂ©ative, et entre la perception dâanalogies entre diffĂ©rents domaines et la performance crĂ©ative. Aucune corrĂ©lation significative sur le plan statistique nâa pu ĂȘtre montrĂ©e. Cependant les rĂ©sultats empiriques ont pu ĂȘtre partagĂ©s avec les apprenants afin d'accroĂźtre leurs connaissances de leurs propres processus cognitifs (et mĂ©tacognitifs) leur donnant ainsi un levier Ă©ducatif additionnel pour dĂ©velopper leur potentiel de crĂ©ativitĂ©. La troisiĂšme Ă©tude a permis de concevoir, de dĂ©velopper, de donner et dâĂ©valuer lâimpact dâun cours de 45 heures sur la crĂ©ativitĂ© dans le contexte de lâingĂ©nierie. Le cours est ancrĂ© sur un cadre thĂ©orique cognitif et fait appel Ă 10 stratĂ©gies pĂ©dagogiques dont des jeux sĂ©rieux, un cahier d'observations personnelles, des projets individuels (artistiques) et collectifs (ingĂ©nierie). Lâimpact du cours sur la performance crĂ©ative a Ă©tĂ© Ă©valuĂ© quantitativement et qualitativement avec le CEDA. Le cours a eu lieu Ă l'Ăcole Polytechnique de MontrĂ©al durant trois sessions. Cent-trente-deux Ă©tudiants provenant de programmes de premier cycle et des cycles supĂ©rieurs ont participĂ© au cours. Les rĂ©sultats quantitatifs (t-test pairĂ©s prĂ©-post : fluiditĂ© (t=-2.95), flexibilitĂ© (t=-2.62), originalitĂ© (t=-3.06), utilitĂ© (t=-3.58)) indiquent que le cours permet dâamĂ©liorer significativement la performance crĂ©ative des participants, selon les quatre critĂšres dâĂ©valuation du CEDA mentionnĂ©s ci-dessus. Les rĂ©sultats qualitatifs, classĂ©s selon trois thĂšmes (pertinence, perception, apprentissage), rĂ©vĂšlent que les Ă©tudiants ont apprĂ©ciĂ© le cours et lâont trouvĂ© pertinent, et que celui-ci contribuait Ă accroĂźtre leur comprĂ©hension de la crĂ©ativitĂ©, de ses mĂ©canismes cognitifs et des approches disponibles pour l'amĂ©liorer. Les trois Ă©tudes ont permis dâacquĂ©rir une meilleure comprĂ©hension de la crĂ©ativitĂ© et des façons de la dĂ©velopper dans un contexte d'ingĂ©nierie. Il est raisonnable de penser que les leçons tirĂ©es de ces Ă©tudes s'appliquent Ă de nombreux domaines dans lesquels il pourrait ĂȘtre pertinent dâavoir des activitĂ©s de formation Ă la crĂ©ativitĂ©.----------ABSTRACT : Creative and innovative people are recognized for their contribution to societyâs wellbeing. Engineers are often called upon to produce innovative ideas and thus participate in the improvement of their organizationâs products, services, and processes. Research on creativity provides theories, models, tools, and empirical results which can be exploited in training programs on the subject. Educational institutions and organizations could benefit from this in order to improve the creative skills of their students and employees. However, the extent and dispersion of the literature on creativity across many disciplines, the lack of structure in theoretical frameworks, the wide range of objectives and pedagogical activities reported in the studies on the teaching of creativity and the limited number of work on impact assessment mean that teachers and curriculum developers need guidance on how to achieve good results. Following a cognitive approach, we conducted three studies that led us to design and develop a course on creativity that had the advantages of being rooted in a solid theoretical framework, fully explained, and tested on the ground with three groups of engineering students. A recent tool proposed to evaluate creativity in an engineering context is the Creative Engineering Design Assessment (CEDA) (Charyton, 2014). Considering that there are very few reports on its use in the field, our first study was designed to improve the CEDAâs evaluation process and determine its reliability using a statistical method widely used in engineering: the Reproducibility and Repeatability method (R&R). R&R is generally used on quantitative data such as length or voltage, but in this case it was applied to the CEDA which uses qualitative data. The scales make it possible to assess five aspects of creativity - divergent thinking, convergent thinking, constraint satisfaction, problem finding and problem solving - using four criteria - fluency, flexibility, originality and usefulness. Three judges assessed 22 tests completed by professionals interested in creativity. Control charts (for monitoring and controlling process variation) were used to analyze the reliability of the evaluation strategy. As a first step, the Likert scalesâ criteria for assessing originality and usefulness were decided collectively by the evaluators. Because less than 10% of the measurement systemâs total variation was due to the tool variation, we concluded that CEDA can provide an accurate and reliable measure of the creative performance in engineering, and that R&R provides an adequate assessment for the CEDAâs reliability. The second study investigated the relationship between creative performance and two cognitive abilities related to creativity: the retrieval and external representation of encoded concepts, and the management of multiples concepts at one time (potentiality). It consists of two cognitive exercises and the CEDA test. The first was inspired by mental and conceptual mapping to study the recovery and external representation (on paper) of concepts stored in memory. Three stimuli (two objects and one word) were presented one at a time to engineering students who were asked to represent what those stimuli made them think of. We calculated the number of words (concepts) reported by each participant; an average of 11 words was counted. The types of external representations they used to display the concepts stored was also studied; 89% of participants produced stars-like representations, with or without chains (more than one concept in line). Also, the originality of the words composing those maps was evaluated; 79% scored between 2 and 4 out of 10 for originality. The ultimate goal was to determine whether certain types of external representations (showing more elaborate connections between concepts) foster more creativity (measured with the CEDA) than other types of representations. There were no significant correlations between the types of external representations or their originality and the creative performance. Theoretical models of creativity often suggest that the creativity process involves a particular thinking style or as Amabile depicts âthe ability to use wide, flexible categories for synthesizing information and the ability to break out of perceptual and performance âscriptsââ (Amabile, 2012, p. 3). Therefore, the goal of the second experiment was to determine the participantsâ thinking style when resolving a problem. Participants were asked to read two short scenarios from two different fields (military strategy and medicine), to answer a question at the end of the second text which showed whether they had seen the analogy between the military problem and the medical problem. This procedure is often used in studies of analogy. No significant correlation was found between success in establishing links between different fields (principle of analogy) and creative performance as measured with the CEDA. Interestingly, however, 76% of participants used ill-defined or âhalf-bakedâ ideas, which lends support to the theory that ideas unfold through reflecting on, and thereby crystallizing, unclear and/or incomplete ideas, as opposed to generating many and choosing the best. Participants who reported âhalf-bakedâ ideas did not necessarily obtain higher CEDA scores. This is consistent with the hypothesis that the benefits of honing of ill-defined ideas come to light in creative problems or tasks that unfold over hours, days, or years, particularly those that involve breaking out of a rut. The CEDA was used to compare participantsâ creative performance on the two previous cognitive experiments to determine if there were correlations between creative performance and (1) the way information stored in memory is externally represented, and (2) the detection of analogies. No significant correlations were found. However, the results (especially map types and CEDA) provided information that was shared with students to increase their knowledge of their own processes (metacognition), giving them additional educational mechanisms to develop their creative potential. The third study consisted in the design and teaching of a three-semester, 45-hour course on creativity in an engineering context at Polytechnique Montreal. The course was anchored in a conceptual framework involving 10 pedagogical activities, including serious games, a personal observation notebook, individual (artistic) and collective (engineering) projects. One hundred and thirty-two students from undergraduate and graduate programs participated. The impact of the course on creative performance was evaluated quantitatively and qualitatively with the CEDA. The t-test paired values (pre-post) showed the course significantly improved participantsâ creative performance, according to four criteria: fluidity (t=-2.95), flexibility (t=-2.62), originality (t=-3.06), usefulness (t=-3.58). The qualitative information was categorized into three themes: relevance, perception and learning. The students reported that they enjoyed the course, and found it relevant in their curriculum, and claimed it helped to increase their understanding of creativity, its cognitive mechanisms, and techniques for improving it. Thus, the third study provides useful information on how to build a creativity course anchored on a theoretical framework, and empirical results on the impact of the course on participantsâ creative performance. We concluded that the three studies were useful to gain a better understanding of creativity and ways to develop it in an engineering environment. It is reasonable to think that the lessons learned from these studies apply to many areas in which it would appear appropriate to develop effective and efficient creativity training activities
La traduction dans la presse queÌbeÌcoise de 1764-1840 : stratageÌme d'anglicisation des Canadiens français par les autoriteÌs britanniques
En 1763, les Britanniques font la ConqueÌte de la Nouvelle-France. Pour le peuple canadien-français, qui se trouve soudain coupeÌ de sa meÌre patrie---la France, deÌcouleront de ce changement de reÌgime de nombreuses conseÌquences sociologiques, politiques et linguistiques. Les dirigeants anglais, conscients que leurs nouveaux sujets ne parlent pas la meÌme langue qu'eux, deÌsirent angliciser le peuple canadien-français dans le but, bien suÌr, de maintenir l'ordre, la supreÌmatie et le pouvoir politique anglais. Pour parvenir aÌ leurs fins, les autoriteÌs anglaises ont utiliseÌ divers moyens dont la traduction dans les journaux de l'eÌpoque. Ainsi, nous essayerons de deÌmontrer que la traduction dans la presse eÌcrite au QueÌbec a joueÌ un roÌle important pour angliciser les Canadiens français
Portrait de la médecine aztÚque dans le Libellus de Medicinalibus Indorum Herbis
La conquĂȘte espagnole du Mexique de 1521 a eu de nombreuses rĂ©percussions. Le Colegio de Santa Cruz de Tlatelolco fut construit par des franciscains dans le but dâinstruire les fils de lâĂ©lite indigĂšne. Câest dâailleurs entre les murs de ce Colegio quâun des legs de la vice-royautĂ© de Nouvelle-Espagne du XVIe siĂšcle fut crĂ©Ă©. En effet, un manuscrit sur la mĂ©decine aztĂšque, soit le Libellus de Medicinalibus Indorum Herbis, est rĂ©alisĂ© par Martin de la Cruz et Juan Badiano sous la supervision du franciscain Jacobo de Grado et Ă la demande du fils de lâancien Vice-roi, Francisco de Mendoza. Ă travers un dĂ©sir de partage et de conservation de leur culture par les deux auteurs, un dĂ©sir dâobtenir du financement pour le Colegio, de lĂ©gitimer les enseignements franciscains aux Autochtones ainsi que dâobtenir une autorisation commerciale de la part du roi Charles V pour les plantes amĂ©ricaines au profit de Francisco de Mendoza, le Codex de la Cruz-Badiano apparaĂźt pour certains comme un produit typiquement indigĂšne alors que pour dâautres il dĂ©montre une forte influence europĂ©enne. Ce mĂ©moire propose dâexplorer les divers acteurs dans la rĂ©alisation du manuscrit, la mĂ©decine nahua et les pistes dâinfluence europĂ©enne dans lâintention dâĂ©tablir le portrait de la mĂ©decine aztĂšque qui est prĂ©sentĂ© au fil des pages du Libellus de Medicinalibus Indorum Herbis
Sleep, diet and physical activity among adults living with type 1 and type 2 diabetes
Objective: To document sleep/insomnia, fruit and vegetables (FV) consumption and physical activity (PA) according to diabetes presence and type and biological sex, as these three lifestyle habits may influence glycemic control and prevention of diabetes-related complications.
Method: Adults between 18-64 years of age were invited to complete validated Web-based self-reported questionnaires assessing sleep, insomnia, FV consumption and PA. Pregnant women and shift workers were excluded from the study.
Results: A total of 151 adults (80.1% women), of which 54 had diabetes (type 1 [T1D]: 30 and type 2 [T2D]: 24), completed the questionnaires. Sleep quality scores were significantly higher, indicating poorer sleep quality, according to diabetes presence (diabetes: 7.2±3.5 vs. no diabetes: 5.4±3.5, p=0.0024) and type (T1D: 6.1±2.9 vs. T2D: 8.7±3.8, p=0.0072). Sleep duration was significantly shorter among adults living with diabetes (diabetes: 7.0±1.7 hours/night vs. no diabetes: 7.8±1.3 hours/night, p=0.0019), regardless of type. More adults living with diabetes had moderate to severe clinical insomnia (diabetes: 25.9% vs. no diabetes: 10.4%, p=0.0129), especially those with T2D (T1D: 13.3% vs. T2D: 41.7%, p = 0.0182). FV consumption and PA did not significantly vary according to diabetes presence and type. Only PA differed by biological sex with lower PA among women.
Discussion: The results suggest that adults living with diabetes, especially those with T2D, are at higher risk for short and poor sleep quality, and clinical insomnia.
Conclusions: Adults living with diabetes, especially those with T2D, should have access to effective sleep interventions to prevent complications associated with elevated glucose levels.Objectifs
Lâobjectif de nos travaux Ă©tait de documenter le sommeil et lâinsomnie, la consommation de fruits et de lĂ©gumes (FL) et lâactivitĂ© physique (AP) en fonction de la prĂ©sence et du type de diabĂšte, et du sexe biologique, puisque ces 3 habitudes de vie peuvent influencer la rĂ©gulation de la glycĂ©mie et la prĂ©vention des complications liĂ©es au diabĂšte.
MĂ©thodes
Nous avons invitĂ© des adultes ĂągĂ©s de 18 Ă 64 ans Ă remplir des questionnaires valides dâautoĂ©valuation en ligne qui portaient sur le sommeil, lâinsomnie, la consommation de FL et lâAP. Nous avons exclu de lâĂ©tude les femmes enceintes et les travailleurs de quart.
RĂ©sultats
Un total de 151 adultes (80,1 % de femmes), parmi lesquels 54 avaient le diabĂšte (type 1 [DT1], n = 30; type 2 [DT2], n = 24), ont rempli les questionnaires. Les scores sur la qualitĂ© du sommeil Ă©taient significativement plus Ă©levĂ©s, câest-Ă -dire quâils indiquaient une moins bonne qualitĂ© de sommeil, en fonction de la prĂ©sence de diabĂšte (diabĂšte, 7,2 ± 3,5; aucun diabĂšte, 5,4 ± 3,5; p = 0,0024) et du type de diabĂšte (DT1, 6,1 ± 2,9; DT2, 8,7 ± 3,8; p = 0,0072). La durĂ©e du sommeil Ă©tait significativement plus courte chez les adultes qui vivaient avec le diabĂšte (diabĂšte, 7,0 ± 1,7 heures/nuit; aucun diabĂšte, 7,8 ± 1,3 heures/nuit; p = 0,0019), indĂ©pendamment du type. Davantage dâadultes qui vivaient avec le diabĂšte avaient une insomnie clinique modĂ©rĂ©e Ă importante (diabĂšte, 25,9 %; aucun diabĂšte, 10,4 %; p = 0,0129), particuliĂšrement ceux atteints du DT2 (DT1, 13,3 %; DT2, 41,7 %; p = 0,0182). La consommation de FL et lâAP ne variaient pas de façon significative en fonction de la prĂ©sence et du type de diabĂšte. Seule lâAP diffĂ©rait selon le sexe biologique, câest-Ă -dire une AP moindre chez les femmes.
Conclusions
Les rĂ©sultats montrent que les adultes qui vivent avec le diabĂšte, particuliĂšrement le DT2, sont exposĂ©s Ă un risque plus Ă©levĂ© de courte durĂ©e de sommeil et de mauvaise qualitĂ© de sommeil, et dâinsomnie clinique. Les adultes qui vivent avec le diabĂšte, particuliĂšrement ceux qui vivent avec le DT2, devraient avoir accĂšs Ă des interventions efficaces sur le sommeil pour prĂ©venir les complications associĂ©es Ă une glycĂ©mie Ă©levĂ©e
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