In Company Law there are two bodies or organs of the company that have the power to make decisions regarding the management of the company. These two bodies are the shareholders in the general meeting and the board of directors. The exact nature of the relationship between the directors and the company is not easily described. While directors have been said to be agents, trustees or even managers of a company, none of these fully describe the position with total accuracy. The nature of the position of the director is best described as being sui generis, and having similarities to each of those in certain circumstances. The Companies Act 71 of 2008 gives a new expanded definition of “director” which clarifies who is considered to be a director. The Common Law initially considered the members in the general meeting, to be the company and any resolution by them was considered to be a corporate act. The constitutional documents of the company were considered to be a contract between them and the majority rule was enforced. The directors would have their power delegated to them. This position changed in 1906 after the case of Automatic Self-cleansing Filter Syndicate Co Ltd v Cunninghame [1906] 2 Ch 34 (CA). Here the court held that there was a division of power, according to the constitutional documents, between the shareholders in the general meeting and the board of directors. The general meeting could not interfere with those powers of the board, except if they changed the articles of association by special resolution. The shareholders had residual and default powers and were the ultimate organ of the company. The position of the board of directors in Companies Act 61 of 1973 was given in Article 59 of Table A. Here the board was given the power to manage the business of the company. It was found that this included the power to derive a profit and stop trading in certain circumstances but did not include the power to liquidate the company. The board’s powers, according to Article 59 of Table A, were still subject to the shareholders in the general meeting. This showed that the shareholders still remained the ultimate power in the company. The division of powers in Company Law has been drastically changed by Section 66(1) of the Companies Act 71 of 2008. The board of directors is now statutory empowered to manage not only the business of the company, but also the affairs. It was stated in the case of Ex parte Russlyn Construction (Pty) Ltd 1987 (1) SA 33 (D) that affairs had a wider meaning than business and could include the power to liquidate the company. Delport states, with reference to Canadian Law, that the word “affairs” means the internal dealings of a company as well as the existence of the company. The statutory empowerment of the board, and inclusion of the word ‘’affairs’’ in section 66(1), changes the division of powers in the company. The board of directors now has original powers and is the ultimate power in the company being able to bring an end to the very existence of the company. The full effect of this change is one which will only be revealed in years to come as case law around this matter develops. / Dissertation (LLM)--University of Pretoria, 2012. / Mercantile Law / unrestricted

Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Central to a site-specific approach to performance is the concern for the potential of unconventional spaces. Appearing in multiple mediums, there seems to be little clarity on the parameters of this approach and it appears to have become a flexible term under which a plethora of manifestations have begun to collect. The aim of this thesis is to investigate a personalised site-specific approach to performance in order to provide insight into the role of the director in this approach, as well as to identify possible characteristics that might differentiate a site-specific approach to performance from other outdoor performance genres. Selected visual arts movements of the 1960s and 1970s which contributed towards the gradual development of a site-specific approach are Dadaism, abstract expressionism, minimalism, performance art, happenings, and land art. Artists involved in these movements challenged the traditional idealisation of aesthetic art works by placing importance on the physical experience and creation of art works. Eventually involved artists abandoned the galleries all together, exploring the potential of unconventional spaces through installations and performances. Theatre practitioners such as Artaud, Grotowski, Schechner, Malina and Beck contributed, amongst other things, on the breaking down of the theatre space, removing the stage and seating in order for the performance to engulf the audience in the action. Site-based performance was influenced by the above mentioned practitioners. Possible categories collected under this umbrella term are site-sympathetic, site-adjusted, site-specific and site-generic. Practitioners currently exploring these individual approaches in the Western Cape are amongst others Samantha Prigge- Pienaar, Louise Coetzer and Nicola Hanekom. A practical investigation of a personalised site-specific approach to performance, led to the following conclusions. Firstly, a site-specific approach to creating a performance requires the director to step into the role of facilitator, making decisions in response to the site rather than controlling the site. Secondly, the term site-specific is not fixed, as it expands and develops with the unique needs of every site. Thirdly, it is restrictive to say that elements like music and/or props cannot be brought into the site; however this depends on the nature of the site. Fourthly, while a complete set of characteristics cannot be made absolute for a sitespecific approach to performance two key features of this approach are the centrality of the site and the interactive relationships. Lastly, a site-specific approach to performance asks for a paradigm shift, whereby everything that is considered part of the traditional theatre should be reviewed. / AFRIKAANSE OPSOMMING: Die potensiaal van onkonvensionele ruimtes is sentraal tot ’n plek-spesifieke benadering tot performance. Daar blyk egter nie duidelikheid te wees oor die begrensing van hierdie benadering nie en dit lyk asof dit ’n buigsame term is waaronder ’n hele aantal moontlikehede kan voorkom. Hierdie tesis stel dit ten doel om ’n persoonlike plek-spesifieke benadering tot performance te ondersoek ten einde groter insig te verkry ten opsigte van die rol van die regisseur binne hierdie benadering, sowel as moontlike eienskappe te identifiseer wat hierdie benadering tot performance van ander buitelug performance genres onderskei. Gekose visuele kunste bewegings van die 1960s en 1970s wat bygedra het tot die geleidelike ontwikkeling van ’n plek-spesifieke benadering was Dadaïsme, abstrakte ekspressionisme, minimalisme, performance art, happenings en landskap kuns. Kunstenaars wat by hierdie bewegings betrokke was, het die tradisionele idealisering van estetiese kunswerke uitgedaag deur eerder klem te plaas op die skep van en die fisieke belewenis van kunswerke. Op die ou einde is daar wegbeweeg van gallerye en is die potensiaal van onkonvensionele ruimtes deur middel van instellasies en performances ondersoek. Teaterpraktisyns soos Artuad, Grotowski, Schechner, Malina en Beck het onder andere bygedra tot die herkonstruering van die teaterruimte, deur die skeidslyn tussen die verhoog en ouditorium weg te neem en die gehoor in die aksie te dompel. Plek-gebaseerde performance is onder deur bogenoemde praktisyns be nvloed. Moontlike kategorieë wat by hierdie sambreelterm ingesluit word, is plek-simpatiek, plek-aangepas, plek-spesifiek en plek-generies. Praksityns wat tans van hierdie benaderings in die Wes-Kaap ondersoek sluit onder ander in Samantha Prigge-Pienaar, Louise Coetzer en Nicola Hanekom. ’n Praktiese ondersoek van ’n persoonlike plek-spesifieke benadering tot performance het tot die volgende gevolgtrekkings gelei. Eerstens vereis ’n plek-spesifieke benadering tot die skep van ’n performance dat die regisseur die rol van fasiliteerder moet vervul, wat besluite neem in antwoord en reaksie op die ruimte, eerder as iemand wat die ruimte probeer beheer. Die term plek-spesifiek is tweedens buigsaam deurdat dit na aanleiding van die unieke behoeftes van elke ruimte ontwikkel of uitgebrei word. Derdens is dit beperkend om van die veronderstelling uit te gaan dat elemente soos musiek en/of rekwisiete nie in die ruimte ingebring kan word nie, die aard van die ruimte sal dit bepaal. Vierdens, alhoewel daar nie ’n volledige stel eienskappe vasgestel kan word vir ’n plek-spesifieke benadering tot performance nie, is twee hoof kenmerke van hierdie benadering die sentraliteit van die ruimte en die interaktiewe verhoudings. Laastens vereis ’n plek-spesifieke benadering tot performance ’n paradigmaskuif, wat alle elemente wat deel uitmaak van die tradisionele teater in heroorweging neem.

This text is partial record and narrative of the process and productions of Orphans by Lyle Kessler that opened on March 29th 2007 for a four day run ending on April 1st, The Pillowman by Martin McDonagh that opened October 28th 2007 for a three day run ending on October 30th, and Terra Nova by Ted Tally that opened on February 21st 2008 for a four day run ending on February 24th. The majority of the text follows the three shows from Spring 2007, Fall 2007, to Spring 2008, focusing on the process of direction of each production. Incorporated in the writing are the experiences, lessons, and complications that arose while directing the three shows. The text contains several notes on directing, acting, collaboration, choreography, casting, rehearsal and different perspectives on the creative process of the productions: all combined create an aesthetic inherent in the author's three years of study at the Virginia Commonwealth University Theatre Pedagogy Program with an emphasis in Acting and Directing.

本研究採用民族誌取向之質性研究方法，探討一個園長的領導。目的在瞭解利園長（化名）從入園開始是如何領導園所、型塑園所的樣貌及其過程中所使用的策略。在將近一年半的時間裡，研究者以訪談、參與觀察、文件檔案和研究日誌等方法收集資料，並以紮根理論研究方法作分析，主要發現為：利園長用「家」的圖像隱喻幼兒園，將自己定位為「母雞」，並用分享、關懷和照顧等行動來營造幼兒園的社會環境。於物理環境方面，則是從實體環境和教職員工的行為著手改變並注意持續。人事行政上則從福利制度、會議、活動及象徵名詞利用..等著手，來達到穩定人事和凝聚人心的目標。關於課程與教學的領導，「評鑑」成為明顯的分界，評鑑後藉由「教授在園輔導」之外力，幫助園所繼續朝向目標前進。整體課程與教學的領導來看，園長乃在協助教師實踐教學；提供教師接受訓練、專業發展的機會並對於園所的課程活動有所影響。於領導策略部分：比較利園長於環境、人事行政、課程與教學之領導策略，可以發現部分策略於不同目標下的重複出現，如：以身作則、個人學習、賦權、適時增讚與鼓勵、對錢慷慨等。將本研究所提煉之領導策略與過去文獻相較，亦見極高之相似度。 　　整體而言，評鑑前利園長偏向於人事行政和環境的領導，評鑑後則以課程與教學為焦點。內外因素如：「評鑑、園長經驗與能力以及個人人格特質」均交互影響著利園長的領導。賦權、近程戰果的出現和願景以及教職員工對園長信任度的交錯，使得至園願意繼續改革的長征。園長的領導是藉由強化他人（教職員工）來強化自己（園所），運用關懷和傾聽平衡效率和人性的協調。最後，研究者並發現長期的領導歷程及成果來自中期和短期歷程的完成及堆疊。 　　根據上述之研究發現，提出「隱喻、願景和目標的思索；再思例行性工作；揭開自己園所文化；重思領導與學術研究的關係；積極掌握園長在課程/教學的影響及角色；檢視自我領導歷程及目標的串連關係」等六項建議。其他建議有：翻譯或編寫有助於園長領導、管理之用的作品；建立園長見習、實習制度；以及未來仍可開發更多關於「園長領導、園長與教師互動」議題之研究。 / This research used ethnology approach to explore a director's leadership in the kindergarten. The aim is to understand how director Mrs. Lee (faint name) led the kindergarten from the date she went in. Also how she sculptures the image of the kindergarten and the strategies that she used in the process. Within one and half year the researcher interviewed, observed, filed and took note to collect all the data. Then used ground theory to analysis and find that Miss Lee described the kindergarten as a home, she sees herself as the hen. Sharing, caring and loving were used to promote the kindergarten's social environment. Other environments were from the actual environment and staff's behavior to start to charge or continue. As for personnel administration were from welfare system, meeting and activities to gather the will of the staffs and stable the personnel. About leadership in curriculum and teaching, she clearly used "assessment" as the dividing line. Before the assessment on the kindergarten. Miss Lee was leading toward the areas in personnel and environment. But after the assessment, she moved to the areas of curriculum and teaching as her main focus. Internal and external inferences were likes: "assessment, director's experiences and abilities, also individual personality" will cross interferences with Miss Lee's leadership. Overall the director's leadership was to strengthen others (staffs) to strengthen self (the kindergarten), using caring and listening to balance up efficiency and human nature. At the end the researcher also found that the processes of long-term success were pilling up of the results from many short term or middle term to achieved it. According to findings that mention above the researcher had six advises: "raised deep thoughts in metaphor, vision and aims; rethinking about routine works; uncover your kindergarten's culture; self assessment in the connection between process of the leadership and aim." Other advises had translated or compose can help director's leadership, products of administer, build up on directors to learn on the job, trainee system and have more researches in director's leadership and interaction between director and staff in the future.

in English Duty to act with due managerial care in the course of management of a joint stock company in the Czech Republic with regard to the regulation in Great Britain. This thesis deals with duties of members of board of directors, especially with the duty of care, skill and diligence. The aim of the thesis is to analyze in detail the duty of care, skill and diligence owed by the members of board of directors to the company. Another aim of the thesis is to compare a legal framework of duty of care, skill and diligence according to the commercial code (‚obchodní zákoník') with the legal framework of duty of care, skill and diligence according to the (new) civil code (‚občanský zákoník') and to predict whether the existing cases could still be applicable in the future. The last and perhaps the most significant aim of the thesis is to compare the Czech legal framework of the duty of care, skill and diligence with the English legal framework of the above mentioned duty. The english corporate law has been developing for centuries, thanks to which the comparative part of the thesis is not only a theoretical treatise, but also a stimulative inspiration for the Czech legal system de lege ferenda.

Max Ophuls reste un cinéaste méconnu. Plusieurs de ses films (Liebelei, Lettre d’une inconnue, La Ronde) l’ont associé à la Vienne fin de siècle et à la littérature autrichienne, faisant oublier sa relation avec l’Allemagne, son pays natal, et avec Goethe. Cette thèse propose une nouvelle approche auctoriale fondée sur l’étude de sa relation avec l’écrivain. Il s’agit d’examiner la façon dont le matériau goethéen travaille les œuvres inspirées de Goethe et nourrit les conceptions esthétiques du cinéaste. La première partie s’attache à Goethe en tant que source d’inspiration créatrice. Elle repose essentiellement sur l’analyse du Roman de Werther, film français de 1938, et de la Nouvelle, pièce radiophonique allemande de 1954. Cette nouvelle lecture d’œuvres considérées comme mineures montre l’évolution de la relation à Goethe et met en évidence le rapport d’Ophuls à la culture allemande et à l’Allemagne dans le contexte mouvementé du XXème siècle. La seconde partie établit sur un plan plus théorique les liens entre la conception de l’art d’Ophuls et l’esthétique goethéenne. L’analyse des Réflexions sur le cinéma (pièce radiophonique allemande de 1956) montre l’importance de Goethe comme référent théorique. L’examen d’écrits de natures diverses d’Ophuls met au jour une poétique implicite du cinéma, fondée sur l’esthétique organique goethéenne. / Max Ophuls remains a neglected film maker. Several movies he directed (such as Liebelei, Lettre d'une inconnue, La Ronde) have linked his name with fin de siècle Vienna and Austrian literature, overshadowing his relationship with Goethe and with Germany, his native country. Our thesis proposes a new approach to Ophuls, based on a study of his relationship with the German writer : we examine the way in which the Goethean sources both operate in the works directly inspired by Goethe and influence the aesthetic tenets of the director. The first part of our work deals with Goethe as a source of inspiration. It is mostly based on the analysis of the 1938 movie Le Roman de Werther, and of the 1954 radio drama Novelle. This new approach to works considered of lesser importance reveals the development of Ophuls's relationship with Goethe and highlights his connection with Germany and German culture in the turbulent context of twentieth century. The second part, on a more theoretical level, traces the paths linking Ophuls's conception of art and Goethean aesthetics. Our analysis of Thoughts on Film (Gedanken über den Film), a 1956 radio drama, highlights the importance of Goethe as a theoretical frame of reference: other texts of different nature allow us to describe an implicit poetics of cinema, based on Goethean organic aesthetics.

This thesis examines life stories of three chosen preschool directresses. Based on life story interviews it brings and partially compares their life stories, picks out the critical incidents and characteristic features of their lives, gives insight into individual phases of their director's role and document their reflection of the role itself. The in - depth interviews focus on complex understanding of individual's life. The directresses are examined based on both their professional development and personal experiences. This thesis documents own interpretations of life stories; it is a source of self-reflection for the examined directresses. It also serves as an inspiration source for directors newly in the office. It is formally divided into two parts: the theoretical one gives an overview of life-story interview as a methodological approach applied. Furthermore, it is also devoted to the director as an individual being defined mainly in the Czech School Law. It also represents the existing results of both teachers' and directors' life stories research. The research part represents an analysis of life story interviews with three chosen preschool directresses in connection to the research questions.