ABSTRACT THE RELATIONSHIP BETWEEN PHYSICAL FACTORS TO AGILITY PERFORMANCE IN COLLEGIATE TENNIS PLAYERS Ian McKinley and Dr. Kimitake Sato, Department of Exercise and Sport Sciences, College of Education, East Tennessee State University, Johnson City, Tennessee Tennis players change direction numerous times within a tennis match and game making agility an important skill for them to possess. The purpose of this study was to investigate at the significance of physical factors as they relate to agility performance in collegiate tennis players. The physical factors looked at were anthropomorphic measurements; isometric peak force, rate of force development, and force scale; countermovement jump performance, and squat jump performance. The participants were seventeen (Male: N = 8, Female: N=9) NCAA Division I collegiate level tennis players. Anthropomorphic measurements included height, body mass, and body fat percentages were also considered. Strength was measured by an isometric mid-thigh pull, and lastly power was measured by vertical jumps. Significance was set at 0.05 for statistical analysis. Correlation analysis showed that isometric rate of force development from isometric mid-thigh pull was significant (p = 0.033). In conclusion both anthropomorphic measurements and vertical jumps have little effect on agility performance but the rate of force development in the isometric mid-thigh pull test has statistically significant relationship to agility performance in tennis players, indicating agility movement is influenced by how fast you can develop force against ground.

Diss.--Hamburg, 2001. / Liste des concerts donnés par G. Mahler en tant que chef d'orchestre, par compositeur joué et par saisons p. 292-350. Bibliogr. p. 262-291.

Proefschrift--Faculteit der theologie--Nijmegen--Katolieke Universiteit, 1999. / Bibliogr. p.

Reproduction de : Thèse de doctorat : Musicologie : Lille 3 : 2007. / Résumés en français et en anglais. Titre provenant de l'écran-titre. Bibliographie f. 299-302. Notes bibliographiques. Index des noms propres.

Thesis (M.A.)--Briercrest Biblical Seminary, 2000. / Abstract. Includes bibliographical references (leaves 104-112).

Thesis (M.A.)--Denver Seminary, 2001. / Includes bibliographical references (leaves 127-137).

M.Tech. Drama. Tshwane University of Technology / The aim and purpose of this study was to determine how a director might approach the topic of intimacy on stage, using David Hare's The Blue Room, as a case study. In order to determine how intimacy might play out on stage, an understanding of intimacy was important. The literature review of intimacy posed a problem in the form of a lust/romantic love continuum. The question was then, what is intimacy and how does it play out in these two opposites of the continuum, namely a relationship as opposed to lust. This also needed a description of what love and lust might be. The literature review shows that there are three basic principles involved when establishing a relationship: nearness, similarity, and reward. It also became apparent that the characters in the play often used these principles to set up the idea of a relationship in order to fulfil a lustful desire or to gain a personal reward The sociopetal and sociofugal forces as explained by the study of proxemics became an ideal way of explaining how the characters use/abuse these principles of relationship to steer a situation towards their own personal goal. It also created a tool for establishing the actor system relationships as well as the character system relationships and the actor/character duality. The use of space in production became central to this study in various domains, such as the space between actor and actor, the space between the character system and audience, and the actual performance space. Fundamentally the way in which space is used in everyday life to convey meaning became a useful directing and analytical tool. To understand the generation of meaning, the study of semiotics was used. Semiotics is concerned with the generation and understanding of meaning. This was an integral part of the study as it allowed one to understand how meaning is generated so that this process could be used to recreate the desired meaning on stage. It can be argued that the setting up of signifiers that could potentially convey certain meanings, such as that of intimacy through actions, speech, voice, décor and essentially the use of space was a very useful tool for the director in the pursuit of both the generation of intimacy meaning systems and in the process of understanding the acting and directing process more effectively.

Children between the ages of 4 - 16 years were tested for a sense of direction using the 'chair experiment'. Results revealed that a sense of direction was present in older children. However. the relationship between the development of a sense of direction and age appeared more complex than originally thought. Children under 11 years of age were unable to judge direction significantly in the chair experiment. It was suggested that this inability could be related to anatomical andlor perceptual constraints. Sex differences in ability were analysed. Although both males and females could significantly judge direction, female orientation was significantlY better than that exhibited by males. Analysis of the patterns of performance during the test revealed that male success was apparently due to an ability to follow the turning of the chair. with only the first estimate exhibiting significant ability. Females. although they probably followed the turning of the chair initially, showed a second peak of significant ability in the latter estimates. Whilst wearing a magnet. this second peak was not observed. Magnetic manipulations carried out on females aged between 11 - 18 years revealed that their ability to judge direction was based on an ability to use the earth's magnetic field to judge direction. However. this relationship was not straightforward. Both the polarity of the magnet and the bed orientation of the subject had an affect on ability to judge direction. Bus experiments were also used to test for a sense of direction. Subjects were aged between 16 - 20 years. Half the subjects were blindfolded and half were sighted. Results revealed that feBBles, whether blindfolded or sighted, relied on the earth's magnetic field when judging direction and exhibited disruption of ability whilst wearing a magnet. Kales apparently required sight and an unaltered magnetic field to judge direction. Thus, if sighted and wearing a magnet, or if blindfolded and in an unaltered magnetic field, males were unable to judge direction. Although male ability in the chair experiment did not seem to be based on an ability to use the earth's magnetic field to judge direction, the bus experiments suggested that magnetism was involved in their ability and this required further investigation.

Previous learning experiences, that transformed my understandings of learning as a student learning to use digital video at Gulf Islands Film and Television School (GIFTS), resulted in an interest to learn more about the experiences of others while working with digital video and film, hence this study. This study involves the use of digital video to gather information and digital video as a form of representation for the study. The purpose of this study is to explore the nature of one's experiences while working with digital video and film, with a focus on what matters and what makes a difference for students and mentors while learning and teaching about digital video and film during a one-week session offered to youth and adults at GIFTS. Data were gathered through on-site observations, field notes, questionnaires, and digital video recordings of participant interviews, conversations and activities. The video recordings provide visual, auditory and contextual detail about the film school and the participants and their learning experiences for both the thesis and video components of this study. / Graduate

Thesis (D. Min.)--Nazarene Theological Seminary, 1989. / Includes bibliographical references (leaves 73-74).