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.
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Did He Kill the Mockingbird? provides an alternate ending to To Kill a Mockingbird. In the original play, the townspeople never discovered that Arthur Radley killed Bob Ewell. In Did He Kill the Mockingbird? a townsperson overhears Atticus Finch and Heck Tate discussing Bob Ewell's death. This leads the townsperson to tell others in Maycomb County of the events that had unfolded the night Bob Ewell died.
As the play progresses, we explore how ignorance, willful and not, change the daily lives and actions of individuals who have mental illnesses and disabilities such as Autism. The townspeople may not see a problem with the way they treat Arthur Radley, as he is just a man who they believe stabbed his mother. However, in reality, they are causing more harm by encouraging and perpetuating rumors about Arthur Radley. In turn, the rumors enhance the stigma that plagues Arthur Radley.
Jean Louise Finch is the main character in Did he Kill the Mockingbird? Jean supports Arthur Radley, and is able to see the good in him although the rest of the townspeople continue to believe he is a bad person.
I hope that my version of this alternative ending to original play brings to light the changes that we need to make as a society to encourage the acceptance of all people. As a society, we need to treat all people, whether disabled or not, as equals. Rather than perpetuating stereotypes, we need to encourage everyone to work hard and reach for their goals whatever they may be.
Squeakie is a positive influence on the way the other characters perceive themselves. The shadow turns each character’s self-doubt and negative feelings into fuel, which he stores in a paintbrush. When he takes the fuel from the character, it fades their body color. Phan has anxiety and uses the 4-7-8 breathing technique to overcome her panic attacks. Her range of color is blue to light blue. Ovid feels guilty and exercises to take his mind off his guilty thoughts. Ovid is either red or light pink. Amelia is depressed and reframes her way of thinking to overcome her inability to fly. Visually she is green or light green. The shadow is later revealed as a misguided character who was just looking to escape the dream world and find friends.
The story is resolved by the stuffed animals joining forces with the perceived antagonist, the shadow, to operate a plane. They each use their strength of color to fuel the plane, which takes them back to the real world. When Sophia’s mom pulls the stuffed animals out of the washer, the shadow comes with them. The shadow, now a cat with rainbow patches, is instantly loved by Sophia. The story ends with the stuffed animals drying on the porch bench while Sophia plays with the shadow in the new backyard.
The Association Between Acne and Social Appearance Anxiety and Other Correlates Among Undergraduates
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
The motivation for this project came from a place of reflection for what it means to be a feminist and Latina and how to navigate the values of both without compromising one over the other. After personally contemplating the meanings and process without coming to a concrete understanding, we were prompted to branch out and engage other Latina college students in a conversation about what it means for them, what unique challenges they may be facing, and how they may be seeking to answer questions surrounding their identity.