Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
Displaying 1 - 8 of 8
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- All Subjects: psychology
- Creators: School of Art
Description
Full Disclosure, an honors thesis painting exhibition presented by Bachelor of Fine Arts candidate, Natalie Saez, strives to visually document the mental progression of people undergoing the transformative process of art therapy. Although often times a term that brings people on edge under certain circumstances, full disclosure brings to light information that otherwise would not have been expressed. In this same way, the process of art making - specifically referring to art therapy - presents a form of full disclosure. Varying stylistic approaches ranging from naturalistic to more abstracted portraits within the exhibition serve as a way to depict the uninhibited expression that results from the creative process.
ContributorsSaez, Natalie Marie (Author) / Schoebel, Henry (Thesis director) / Doane, Leah (Committee member) / Obuck, John (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2014-05
Description
Every color that you see in film is purposely chosen by the filmmakers. The majority of film viewers do not consciously realize the role that color plays in their movie experience. Subconsciously, viewers are deeply affected by the color choices in the film as it changes moods, tones, characters, and more. By examining color in film, filmmakers are able to create better stories, therefore having a greater effect on the audience. By becoming aware of the role of color in film, audience members become better, more involved viewers.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
ContributorsMcholland, Megan (Author) / Nascimento, Eliciana (Thesis director) / Klucsarits, Philip (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Art (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
In this study I hope to begin evaluating contemporary young adult literature that focuses on the bereavement of adolescents to see if the novels portray psychologically proven productive coping methods. I hope to initiate a conversation around how complicated bereavement is depicted within young adult literature that will establish a body of research that can be expanded into a further exploration into the young adult literature market. Within my study, I will conduct a psychological literature review on young adult complicated grief and coping mechanisms. Then I will create an instrument of analysis, a rubric/model to evaluate the fidelity of novels based on the research within the literature review. Finally, I will evaluate the depiction of productive adolescent grief coping mechanisms in the recently published novel All My Rage by Saaba Tahir based upon my literary model. Finally, I will write my own short story based upon my research and findings in analyzing the model, seeking to represent methods not seen in the literature or not discussed within research.
ContributorsBeadle, Ruth (Author) / Blasingame, James (Thesis director) / Irish, Jenny (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Art (Contributor) / School of International Letters and Cultures (Contributor)
Created2023-05
Description
The Constructivists were a prominent group of Avant Garde artists that began to work in the years preceding the Bolshevik revolution and continued to work prominently until Stalin came to power. As other Avant Garde movements became prevalent throughout Europe, Constructivism became the Modernist movement that encapsulated Russia’s Socialist future. Constructivist artist-workers embraced the idea that objects of art must be useful in the daily life of a Soviet worker as well as representative of the future for which communists were working. As such, they aligned with the new national ideals aesthetically by illustrating national and political goals in a functional way. Constructivists wanted to create objects that would signify and enable future Soviet life through their usefulness and their ideological intensity. This thesis argues that Constructivist objects served a third purpose as productive agents of community.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
ContributorsBrown, Theodora Circe (Author) / Hoogenboom, Hilde (Thesis director) / Hedberg Olenina, Ana (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Pediatric chronic pain is surprisingly common and impactful, prospectively predicting poorer mental and physical health outcomes. Internalizing symptoms represents one such outcome. It is the most common cluster of symptoms in children, it is related to poorer child functioning, and it has been linked to future functioning/psychopathology. The psychosocial mechanisms through which child pain may impact internalizing have yet to be fully elaborated, but withdrawal from social engagement with peers has been proposed as one possible mechanism. Additionally, sibling relationships may play a role in enhancing or diminishing a child’s social engagement while they are in pain. The current study aimed to examine whether child social engagement at age 8 mediates the relation between child chronic pain at age 8 and internalizing symptoms at age 9. Further, the study tested whether sibling warmth and sibling conflict act as moderators between child chronic pain and child social engagement. The physical and emotional health, quality of sibling relations, and extracurricular social engagement of 491 twin children from 247 families were assessed at age 8 and age 9 via surveys completed by the children’s primary caregivers. Findings showed that child pain at age 8 did not predict lower levels of social engagement, and social engagement did not predict child internalizing at age 9. Sibling warmth, but not conflict, significantly moderated the pain—social engagement relation. Together, these findings indicate that the relation between chronic pain and internalizing functions differently in children than in adults through a variety of cognitive, environmental, and social factors. More longitudinal research in this area will help establish changes in the relation between pain and internalizing from childhood into adulthood.
ContributorsRichards, Nicole Eve (Co-author) / Richards, Nicole (Co-author) / Davis, Mary (Thesis director) / Presson, Clark (Committee member) / Lemery-Chalfant, Kathryn (Committee member) / Sanford School of Social and Family Dynamics (Contributor) / School of Art (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
ContributorsSands, Irina (Author) / Lawson, Shawn (Thesis director) / Kim, Sujin (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / Department of Psychology (Contributor)
Created2024-05
ContributorsSands, Irina (Author) / Lawson, Shawn (Thesis director) / Kim, Sujin (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / Department of Psychology (Contributor)
Created2024-05
Description
What does self love look like when visualized? What does self hate look like when visualized? What is the frustration one experiences when introspecting, and how can that be represented in art? Complex matters of identity such as this often involve an ambiguous, non-linear approach to self understanding, making the medium of animation particularly apt for this exploration. This film aims to observe feelings of self-dysphoria and the surges of discomfort and acceptance that come with them.
ContributorsSands, Irina (Author) / Lawson, Shawn (Thesis director) / Kim, Sujin (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / Department of Psychology (Contributor)
Created2024-05