The human hand, in building as in art, has left its impression on all the earliest forms of architecture. Its mark has been one of imperfection, variation, and uniqueness, and with these traits the personification of something innately human. This character, instilled into any work, immortalizes the idiosyncrasies descriptive of its creator. Rather than viewed as anachronism, inculcating the human component, "manufactum", into modern design reacquaints us with our own capricious temperaments. As powerful tools of the contemporary world heighten our faculty for exactitude, the prudence remains as to whether and when it is appropriate to do so. / Master of Architecture

The problem for this study was the relationship between faculty-led small groups and the development in seminary students of the character traits biblically mandated of those who occupy spiritual leadership positions in the church (1 Timothy 3:1-7 and Titus 1:5-9). This experimental study developed and assessed a program which combined involvement in a small group of peers with a faculty mentor. The discipleship groups met weekly for two semesters for either thirty or seventy-five minutes. The research instrument used was the Biblical Leadership Qualities Inventory, a revision of the Spiritual Leadership Qualities Inventory. The longer treatment length groups were not found to differ significantly from the shorter treatment length groups for change in trait score (p = .281), although means were generally lower for the longer groups. A MANOVA showed that both treatment groups differed significantly from the control group for the traits observed (p < .001) with the general direction of change being to a lower trait score. Five post-hoc hypotheses were investigated. An education effect, as measured by number of traits studied in the group, was not found to be related to outcome. A fatigue or stress effect, as measured by academic load, work load, and marital status, was not found to be related to outcome. Instrument weakness, peer effect, and mentor effect were suggested as possible explanations for the outcome. Peer and mentor relationships may have resulted in the subjects developing higher standards and thus a decrease on the posttest. Demographic factors of marital status, Christian age, academic load, work load, and absences did not prove to be effective predictors of outcome. Neither faculty trait scores nor faculty fidelity to the topics for discussion in the treatment groups proved to be an effective predictor of student outcome. Previous research by Parker showing factors for the SLQI was not replicable and thus the factors were not found to be reliable.

The aim of this thesis is to introduce, justify, and apply a better framework for analysing Sherlock Holmes, one of the most adapted characters of all time. The project works to resituate the focus of those involved in studying adaptations of Sherlock Holmes from an examination of the discrete transition of a text from page to screen, to the evolution of the character as it changes across various intertexts and through time. The purpose is to show that it is the character specifically, and not the literary text with its narrative, genric, and aesthetic qualifications, that is being adapted, and that with this in mind, studying adaptations of Sherlock Holmes should involve a study of the various processes, pressures, and mechanisms that shape, change, and define the character throughout its hundreds of screen afterlives. This thesis then analyses many of these processes with the aim of contributing to our understanding of how a character like Holmes is moulded through remediation. It takes into account how the character’s indices shift and accumulate as they are variously performed. It also considers how the mechanisms of selection function to privilege certain incarnations of the character, and how that privileging becomes a part of future readings. Finally, it addresses how reception and perception by audiences influence how the character is read, and thus how it is understood. By considering all of these aspects of the evolutionary process, and by avoiding a chronological or even a linear organization of the texts under scrutiny, this work seeks to offer a more complete answer to the question of how a single source can support a multitude of varied, even contradictory adaptations and remain relevant and interesting through the years.

Au début du XIXe siècle, l’introduction du peuple sur la scène sociale et artistique marque la fin de "l’époque de l’individu". C’est désormais la question de la totalité qui s’affirme dans tous les domaines et qui impose dans le champ dramatique une relation nouvelle entre personnages individuels et personnages collectifs. Ces derniers sont pour Goethe, Baudelaire et Wagner l’occasion d’une tension dialectique susceptible de générer de nouvelles formes théâtrales. Il reviendra à l’école naturaliste (de Zola à Hauptmann) de favoriser plus ouvertement cette articulation en faisant du milieu un acteur à part entière. L ‘antithèse de premier mouvement est fomentée par le Symbolisme qui revendique une même volonté de dépassement des conventions mais par l’invention de personnages-mythes et de choralités polymorphes exilés de toute réalité historico-sociale. Si Maeterlinck et Claudel montrent les limites de ce modèle, d’autres obédiences (Mallarmé) conçoivent l’essence du théâtre comme celle d’un dialogue entre le héros et la foule sur fond d’une ritualité sociale en voie de transformation. Avec le Futurisme Italien et Apollinaire cette ritualité atteint son point d’incandescence et revendique une fusion de l’individuel et du collectif pleinement assumée. Loin de ces synthèses provocantes, Pirandello comme Ibsen et les expressionnistes, s’attacheront pourtant à éclairer le rôle désormais oppressif du collectif sur le personnage individuel. Prenant acte de ce renversement des rapports hiérarchiques et dialectiques du drame, le théâtre de Brecht n’offre-t-il pas alors l’alternative d’une collusion plus dynamique et moins mortifère entre personnage individuel et personnage collectif ? / Collective Character, Individual Character: Scenes of a Dialectical Journey (1830-1930) At the beginning of the nineteenth century, the introduction of the people into the social and artistic scene marks the end of the "era of the individual". Henceforth, it is the question of totality that is affirmed in all fields and that imposes in the dramatic field a new relation between individual and collective characters. The latter are for Goethe, Baudelaire and Wagner the occasion for a dialectic tension susceptible to generate new theatrical forms. It will be the Naturalist School (from Zola to Hauptmann) which favours more openly this articulation in making the milieu itself an actor. The antithesis of the first movement is instigated by symbolism, which claims the same desire to go past conventions, but through the invention of character-myths and of polymorphous choralités exiled from any socio-historical reality. While Maeterlinck and Claudel show the limits of this model, other persuasions (Mallarmé) conceive the essence of theatre as one of a dialogue between the hero and the crowd against the backdrop of a social ritual in the process of transformation. With Italian futurism and Apollinaire this ritualism reaches its point of incandescence and claims a fully assumed fusion of the individual and the collective. Far from the these provocative syntheses, Pirandello, Ibsen and the expressionists will devote themselves to throwing light on the now opressive role of the collective on the individual character. Taking note of this reversal of hierarchical and dialectical relations in drama, does not Brecht’s theatre offer the alternative of a more dynamique and less deadly collusion between individual and collective characters?

The goals of higher education often entail the development of students' character. Rarely, however, are these character development goals connected to the unique design and delivery of distance education programs. Additionally, the research literature that explores the character development aspects of distance education is sparse. Thus the purpose of this study is to contribute to the understanding of how character development may occur in a distance context. Taking a hermeneutic phenomenological approach, I examined instructor and student perceptions of character development in a fantasy literature independent study course. Findings indicate that students perceived development of traits and strengths in the following areas: moral character (moral desires, moral discernment, and moral courage); relational character (improved relationships, open-mindedness, the sharing of learning with others, and improved communication); spiritual character (humility, faith, hope, and charity); and performance character (self-discipline and self-directedness in learning, analytical and deep approach to learning, imagination and creativity, appreciation of literature, motivation to continue education, and self-confidence). Participants also perceived a variety of corresponding approaches, methods, factors, and influences for bringing about such character development, such as (a) the applicability of literary themes and character attributes and experiences to their lives; (b) the conversational nature of the instruction (an invitational and deep learning approach, preparation for reading and analyzing the literature, offering choices to enhance engagement and relevance, asking questions that promote analysis and personal connections with the literature, affording multiple opportunities to write, and providing timely, encouraging, and helpful feedback); (c) a trusting, respectful, and friendly relationship between the student and instructor (obtained through the instructional conversation and the instructor's personal and engaging writing style, personalizing contacts, being helpful and showing concern, and being sincere and honest); (d) the independent study context (flexibility in time and location and a more independent learning experience); and (e) the students' readiness and agency (choices, initiative, and effort). Students also perceived interrelationships among these elements. The study offers possible implications for character development in the context of distance education, as well as directions for future research.

Vollst. zugl.: Göttingen, Univ., Diss., 2005

Thesis--Columbia University, 1931. / Includes bibliographical references (p. 92-95).

Thesis (Ph. D.)--Columbia University, 1903.

Thesis--Columbia University, 1931. / Includes bibliographical references (p. 92-95).

Thesis (Ph. D.)--Columbia University, 1903.