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
- All Subjects: Leadership
- Creators: Dean, Herberger Institute for Design and the Arts
Description
Dysfunctional organizations and toxic leader behavior has been increasingly examined over the past few years. Scholars, consultants and the media have analyzed and considered a variety of causes underlying destructive company practices and the bad behavior of bosses. Much is at stake as both individual and company is at risk along with shareholders. In this study I identify some dysfunctions in organizations, dimensions of destructive leaders and the impact in the workplace and the community. Moreover, I provide ideas for preventative measures and how dysfunctional practices can be identified and dealt with. I begin with a brief background introduction to the subject matter and proceed with an examination of some signs and behaviors displayed in the dysfunctional workplace. How does departmental, divisional and companywide dysfunction impact employee levels of trust, emotional intelligence and performance? What is the cost of company dysfunction on leaders? Following an exhaustive examination of relevant research, I have decided to focus on two specific sources due to their impact on corporate, consulting and academic communities. I utilize Babiak and Hare's, Snakes in Suits and Stanford Professor Robert Sutton's book, The No Asshole Rule. Building upon these works and the composite of research reviewed by these key scholars I move forward to a real- world case of a dysfunctional organizational and toxic CEO via an examination of Uber Technologies Inc. I will be revealing dimensions of both Uber's wide-reaching dysfunction and the workings of a CEO who has been identified as a psychopath. I provide ideas for identifying the dysfunctional organization (with Uber as a prototype) and look at possible means of generating solutions and actions for combatting excessively negative and destructive organizational and leader behavior. Finally, I am concerned with takeaways and pragmatic implications offered by my research.
ContributorsMolina, Alissa Ruth (Author) / Goldman, Alan (Thesis director) / Trujillo, Rhett (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
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