This thesis has three main aims. First, I will propose and explain a genre ascription for the sayings in Prov 10:1-22:16 – the ‘didactic proverb’. Second, I will analyse ‘openness’ as a textual feature, and show its contribution to the functions of this genre. Third, I will demonstrate how reading this way may influence our understanding of some key issues in Proverbs’ scholarship. Part 1 tackles the first and second aims. In ch. 1, I suggest that the sayings in Prov 10:1-22:16 have something of a hybrid genre, displaying features akin to both ‘didactic’ texts and ‘proverbs’. This can be seen from their: generically related texts, probable social settings, media, self-presentation, and literary forms. As ‘didactic’ texts, the sayings shape the worldview, character and intellect of their students. As ‘proverbs’, they apply to specific situations with specific purposes. In ch. 2, I explain three manifestations of literary ‘openness’: polysemy can give a text multiple meanings; parallelism makes the relationship between lines unclear; imagery opens up worlds for exploration. Ch. 3 begins to show how this ‘openness’ enhances the sayings’ ‘didactic’ and ‘proverbial’ functions. Here I move beyond openness in interpretation to openness in application, and draw on the field of ‘paremiology’ (the technical study of the ‘proverb’ as a genre), which has been somewhat neglected in Proverbs’ scholarship. In Part 2, I turn to the text, drawing out the openness of key verses, and showing how they function ‘didactically’ and ‘as proverbs’. This proves to have implications for certain classic debates in Proverbs’ scholarship (my third aim). Ch. 4 considers ‘character’ terms (e.g. wise/foolish, righteous/wicked). I use cognitive linguistic theories to examine the terms as open categories with ‘prototype structure’. Viewed this way, the terms are not (as some have argued) abstract and cut off from the world, but profoundly useful for life. Ch. 5 considers the apparent ‘act-consequence connection’ in Proverbs. The connection is predictable but not inviolable, may come about through a number of agencies, and has strong motivational potential. Ch. 6 looks at proverbs about the king. These do not necessitate an actual court context, for the ‘king’ figure may encapsulate wider principles, and function as a teaching tool. Even when he appears to be glorified, his role may be subverted, requiring students to exercise their minds. In ch. 7, I consider the way wisdom is acquired in the ‘didactic proverb’ genre, and suggest a principle for gaining it: students must ‘trust and scrutinise’. They are thereby empowered in their quest for wisdom, whilst also becoming aware of their limitations. Throughout Part 2, I find ‘openness’ to be an important facilitator for didactic and proverbial goals. Prov 10:1-22:16 presents its readers with a panoply of fascinating texts. By exploring them as ‘open’, ‘didactic’, and ‘proverbial’, this thesis offers a fruitful reading strategy; new insights into functions and meanings; and some fresh perspectives on old debates.

O objeto de estudo desta Dissertação de Mestrado é o processo de composição da personagem teatral tendo imagens da pintura como estímulo para a mobilização física e emocional do ator no momento de criação. Traz alguns conceitos e definições sobre o trabalho do ator, abordados nesta pesquisa. Propõe um breve encontro com encenadores que buscam motivações diversas em suas propostas de criação cênica e que se aproximam de alguma forma do objetivo desta. Apresenta a experiência prática sobre o processo de composição das personagens do texto “A Filha do Teatro”, de Luís Augusto Reis. Tece considerações sobre os caminhos escolhidos, sobre a repercussão da proposta na criação artística do ator e sobre encaminhamentos futuros. / The object of study of this dissertation is the process of the composition of the theatrical character having paintings as a motivation for a physical and emotional mobilization of the actor that made part of this research, in their cultivation moment. The text presents some concepts about the actor process, adressed in this research. It proposes a brief encounter with theater artists that search different motivations in their scenic developing proposals that are closer to the objective of this paper. It presents a practical experience about the character developing of the play "A filha do teatro", by Luís Augusto Reis. It evolves considerations about paths chosen and about the repercutions in the artistic creation and future referrals.

O objeto de estudo desta Dissertação de Mestrado é o processo de composição da personagem teatral tendo imagens da pintura como estímulo para a mobilização física e emocional do ator no momento de criação. Traz alguns conceitos e definições sobre o trabalho do ator, abordados nesta pesquisa. Propõe um breve encontro com encenadores que buscam motivações diversas em suas propostas de criação cênica e que se aproximam de alguma forma do objetivo desta. Apresenta a experiência prática sobre o processo de composição das personagens do texto “A Filha do Teatro”, de Luís Augusto Reis. Tece considerações sobre os caminhos escolhidos, sobre a repercussão da proposta na criação artística do ator e sobre encaminhamentos futuros. / The object of study of this dissertation is the process of the composition of the theatrical character having paintings as a motivation for a physical and emotional mobilization of the actor that made part of this research, in their cultivation moment. The text presents some concepts about the actor process, adressed in this research. It proposes a brief encounter with theater artists that search different motivations in their scenic developing proposals that are closer to the objective of this paper. It presents a practical experience about the character developing of the play "A filha do teatro", by Luís Augusto Reis. It evolves considerations about paths chosen and about the repercutions in the artistic creation and future referrals.

I detta kandidatarbete har vi undersökt hur ett spels narrativa återspelbarhet påverkas av en karaktärs reflektion av spelvärlden genom att skapa en gestaltning som fokuserar på relationen mellan världen, karaktären och spelaren.  Genom att bygga ett narrativ med hjälp av existerande narrativa strukturer, har vi försett oss själva med en testmark där vi kan utföra vår undersökning och implementera olika metoder för att studera dess resultat.  Utifrån Donna J. Haraways teori om situerad kunskap har vi undersökt narrativets återspelbarhet från världen, karaktären samt spelarens perspektiv. Detta har sedan lett till en förståelse om narrativ återspelbarhet inom spel, och hur perspektiv och kontext påverkar berättelsen och dess situering. I vår gestaltning skapar vi återspelbarhet genom att driva ett falskt narrativ som sedan tillåter spelaren ett eget perspektiv och narrativ utifrån hens egna tolkning. / In this bachelor thesis, we’ve researched how a game’s narrative replayability is affected by a character’s reflection of the gameworld through the creation of a design - which focuses on the relationship between the world, the characters, and the player. By building a narrative with the help of existing narrative structures, we’ve provided ourselves with a testing ground where we can research our implementation of different methods to study the results. Through Donna J. Haraway’s theory about situated knowledge we’ve examined the narrative replayability from the perspective of the game world, the characters and the player. This has resulted in an understanding of a narrative’s replayability within games, and how perspective and context affect the story and how it’s situated. In our demo we create replayability by driving a false narrative that allows the player their own perspective depending on their own interpretation.

Thesis (PhD (Public Management and Planning ))—University of Stellenbosch, 2009. / ENGLISH ABSTRACT: The result of this research is an alternative model for leadership character development in the South African National Defence Force (SANDF). The SANDF reflects the racial and cultural diversity of South Africa as a nation. The need for a unifying leadership-related mechanism for the military milieu in which humane leadership development will flourish, is evident. This statement is based on the premise that no evidence is found that any previous efforts by the SANDF to instil a leadership philosophy or policy as a way of military life was successful. Further shortcomings in the current SANDF leadership development model, apart from the reality that its selection process of officer candidates needs improvement, are the absence of political guidance and participation in the development of its military leaders, as well as emaciated attention to the development of the character side of leaders during officer formative training. The SANDF, unlike the international tendency, has no military leadership institution to ensure that its leadership development policies and practices are based on sound academic research. Such an institution will also ensure that the SANDF stays contemporary in the global field of military leadership development. The shortcomings of the current SANDF Model were identified by progressing through the academic theories on leadership and leadership development to a comparative analysis of leadership development practices in the militaries of Germany, the United Kingdom, Canada and the SANDF. This supplied the information needed to propose the Five Point Star Model (FPS Model) for leadership character development in the SANDF. The five components of the FPS Model, which address the shortcomings of the current SANDF Model, are Convergent Leadership, Political Participation, Superior Selection, Interventions for Leadership Character Development, and a Military Leadership Institution. / AFRIKAANSE OPSOMMING: Die uitkoms van hierdie navorsing is ’n alternatiewe model wat die tekortkominge in die ontwikkeling van leierskapkarakter in die Suid Afrikaanse Nasionale Weermag (SANW) aanspreek. Die SANW weerspieël die rasse- en kulturele diversiteit van die Suid Afrikaanse nasie, wat die behoefte aan ‘n samebindende leierskapsverwante meganisme na vore bring. Hierdie stelling is gegrond daarop dat geen bewys, waar die SANW daarin geslaag het om ’n samebindende leierskapsfilosofie of –beleid as ‘n militêre leefwyse te vestig, gevind is om sodoende die militêre milieu te skep waarin mensgerigte leierskap sal floreer nie. Verdere tekortkominge in die huidige Leierskapsontwikkelingsmodel van die SANW, bo en behalwe dat die keuringsproses van kandidaat-offisiere uitgebrei en verbeter moet word, is die afwesigheid van politieke deelname en rigtinggewing waar die ontwikkeling van die land se jong militêre leiers ter sprake is. Te min aandag word ook gewy aan die ontwikkeling van kandidaat-offisiere se karakter of inbors tydens offisiersvorming kursusse. Die internasionale tendens is vir weermagte om ‘n militêre leierskapsinstelling te hê. Die SANW het nie so ‘n instelling om te verseker dat militêre leierskapsontwikkelingsbeleid en -praktyke op behoorlike akademiese navorsing gefundeer is nie. Dit maak dit moeilik om ’n kontemporêre bydrae in die internasionale veld van militêre leierskap te maak. Die wyse waarop die tekortkominge van die huidige SANW Leierskapsontwikkelingsmodel geïdentifiseer is, was om voort te bou op die akademiese teorieë oor leierskap en leierskapsontwikkeling en om ’n vergelykende studie tussen leierskapsontwikkelingspraktyke in die weermagte van Duitsland, Brittanje, Kanada en die SANW te doen. Die vergelykende studie het inligting verskaf om die Vyfpuntster Model vir die ontwikkeling van leierskapkarakter in die SANW voor te stel. Die vyf komponente van die nuwe model spreek die tekortkominge van die huidige SANW Model aan, en die komponente is Konvergerende Leierskap, Politieke Deelhebberskap, Voortreflike Keuring, Intervensies vir Leierskapkarakterontwikkeling, en ‘n Instansie vir Militêre Leierskap.

The National Collegiate Athletic Association (NCAA) recently passed new legislation highlighting the critical role coaches play in student-athlete success called the Head Coach’s Academic Progress Rate (APR). The APR measure does not calculate the actions of the head coach and is therefore an inadequate measure of coaches’ influence. There are numerous verbal accounts of the influence of the coach on student-athlete success, but there is little quantitative data to support this claim. As a result, this correlational study explored the relationship between head coaches’ influence and student engagement among a sample of 135 women basketball players at National Collegiate Athletic Association (NCAA) Division I (DI) institutions. The Student-Athlete Perception of Coaches’ Influence, Student Engagement and Student Athlete Success Survey (SAPCISESASS), an instrument developed by the researcher, was used to measure coaches’ influence and engagement. Results revealed that overall student-athletes perceived an overall positive relationship with their head coach, were satisfied with their relationship, and would choose to return to attend the same institution if the same coach were employed with the institution. Student-athletes reported being heavily engaged in community service and engaged in 16 or more hours per week in athletic-related activities. Student-athletes perceived the overall campus climate to be supportive and relationships with various campus constituencies were positive. Student-athletes reported a strong belief in their head coaches’ influence on their personal and social development. A strong relationship was found between coaches’ influence and personal and social development (adjusted R2 = .62, p

The purpose of this study was to examine the prevalence of character strengths that high school students reported to develop while participating in choir. I created the Character Strengths in Choir Scale (CSCS) to explore the degree to which students believed they exercised 18 character strengths. Local choir students in the pilot study (n = 44) and the main study (n = 114) completed the CSCS and revealed that gratitude, teamwork, and honesty were among the most prevalent strengths while bravery, creativity, and spirituality were among the least prevalent strengths. Student responses were also investigated by subgroups according to gender and years of experience. Results indicated that there were statistically significant differences for the ranking of various character strengths in each subgroup. Aggregately, high school choir students viewed themselves as above average on all assessed strengths.

To step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen’s novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th – March 17th, 2013, in the Orlando Shakespeare Theater’s Margeson Theater. Lucy is a female character from England in a period often referred to as the Regency era. As a woman from today’s United States of America, first I explored how Lucy’s words and actions fit into the society of her time, and second I explored how I, a contemporary actor, could organically step into her shoes. One of the greatest tools I had to help me address these questions was the playwright himself, Jon Jory. He was at the Orlando Shakespeare Theater for the 2012 Harriett Lake Festival of New Plays, during which he gave a keynote address and taught a master class in acting, in which I participated. Furthermore, I had the unique opportunity to personally interview him regarding Sense and Sensibility and his connection to the world of Austen and her characters. Along with applying this insight, I applied tools from his acting master class to my work on his Sense and Sensibility text. This special access to the playwright greatly influenced the work and served as a key into Lucy’s world. In addition to working with the playwright, I further researched Austen and her work, because Lucy and her world originate there. I explored various resources about England’s Regency era society and the role of women in this society. By comparing the world and people of the play to the current cultural and political landscape with which I am most familiar, I found iii fundamental links between people living in different times and places, breaking down walls between Lucy’s world and my own. Finally, this performance thesis project utilized the practical acting, voice, and movement skills, which I cultivated in my studio work as an MFA acting candidate at the University of Central Florida. It was a wonderful opportunity as an aspiring young actor to participate in an equity production and work with professional actors. I exercised my stage dialects training by using a standard British dialect, and I applied what I learned in my theatre styles acting class and in various movement classes to develop the behavior and physicality of my character. In order to preserve the new information gained from this study, I chronicled my explorations and discoveries throughout the rehearsal and production process. Through my work with the playwright Jon Jory, my research on Jane Austen and the Regency era, and my application of what I learned in the studio, I strove to create a model process for an actor to utilize when stepping into a role and a world of the past.

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