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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- All Subjects: community
- Creators: Division of Teacher Preparation
- Creators: Britt, Melissa
Description
This research looks at a group of students from Tumaini Children's Home in Nyeri, Kenya. The purpose of this paper is to explore why this particular group of students is so academically successful. Quantitative research was taken from the average 2013 test scores of Tumaini students who took the Kenyan Certificate of Primary Education (KCPE) exam in comparison to the scores of students who are not residing in the orphanage. Qualitative research involves interviews from those students who live in Tumaini and interviews from adults who are closely connected to the orphanage. The purpose is to understand why the students are performing so well academically and what support they have created for themselves that allows them to do so.
ContributorsTooker, Amy Elizabeth (Author) / Puckett, Kathleen (Thesis director) / Cocchiarella, Martha (Committee member) / Barrett, The Honors College (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-12
Description
Did He Kill the Mockingbird? is a play I wrote, which explores the effects of being on the Autism Spectrum plays in Arthur Radley’s life. Arthur Radley is a very misunderstood member of Maycomb County, who is constantly seen as a lesser member of society in Maycomb County.
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.
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.
ContributorsTravieso, Alejandra (Author) / Fette, Donald (Thesis director) / Hoyt, Heather (Committee member) / Division of Teacher Preparation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared among my family, my friends, and my fellow peers in the dance community. We had been struggling since childhood. I began to realize that these behaviors and thought patterns were manifestations of apology, an apology that women have been learning, living, and spreading since our beginnings. Why do women apologize? How does this apology affect how we view, treat, and navigate our bodies in space? In what ways can dance be the mechanism by which we remove apology and individually and collectively find joy, freedom, and liberation? Not only was I interested in understanding the ‘why’, but I was deeply interested in finding a solution. Research for this thesis came from written materials, stories that the dancers and I shared, and choreographic research in the body. The final goal was to create a community-based performance of dance, spoken word, and storytelling that demonstrated the findings from each of those questions and catalyzed a conversation about how we can liberate ourselves. We used rehearsals to explore our own experiences within apology and shame, while also exploring how the ways in which we practice being unapologetic in the dance space can translate to how we move through the world on a daily basis.
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.
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.
ContributorsWaller, Marguerite Lilith (Author) / Fitzgerald, Mary (Thesis director) / Britt, Melissa (Committee member) / Lerman, Liz (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor, Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The Crystals in All of Us is a children's book creative project that is meant to reflect the impact a community has on a child, and vice versa. Made specifically for the special needs students I work with, it is a generalizable lesson. It incorporates various art principles, as well as child and human development theories, such as Vygotsky's Zone of Proximal Development.
ContributorsRoodettes, Nicolas (Author) / Fonseca-Chavez, Vanessa (Thesis director) / Williams, Wendy (Committee member) / Barrett, The Honors College (Contributor) / Sanford School of Social and Family Dynamics (Contributor) / Division of Teacher Preparation (Contributor)
Created2023-12