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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For my creative project/thesis, I gave a fully rehearsed, fully performed hour long recital using rare baseball music I researched, hunted down, studied, practiced, and then performed in a recital setting. I used my long history with and personal knowledge of Baseball, as well as my newly studied knowledge of and newly acquired skills with Musical Theater, Opera, and Voice to make a project that celebrated both my past achievements and what I learned with my performance degree these last 4 years. I, in total, learned 16 new songs and performed each of them back to back to back, with breaks in between each set and an intermission, as well as brief histories and summaries of each song or each song set. I then performed the recital on February 25th in the ASU School of Music Recital Hall, and invited as many friends, peers, colleagues, and family members as I could to attend, while also sharing the streaming and subsequent recording online as well. I was accompanied by pianist Stephen Kuebelbeck on piano, and the two of us spent hours upon hours rehearsing in addition to performing the recital itself. My thesis director, Carole FitzPatrick, helped me with all the vocal technique, song selection, memorization, recital approach, and planning out the logistics of my recital, while Dr. Kay Norton helped me with research such as song selection, history of the pieces, history of the composers, and historical context of the pieces. While this is an unconventional project, I feel like it best reflects my unconventional major. It gives me both advanced knowledge on a niche in my field of performance, provides me with rehearsed music that I love and can use and carry forward into most any concert or performance setting, and provides me with personal artistic satisfaction by combining together two worlds I dearly love and am a part of, in a creative way. It also gives me the irreplaceable experience of putting together my own recital (completely outside of class and on my own time), as recital performances will hopefully become a regular part of my life as a singing performer.
This paper explores the ways in which diasporic Chinese fans find spaces for reconnection with queer and diasporic identities in fandoms of Chinese slash fiction webnovels, otherwise known as danmei. Specifically, I examine the influence of participation in Western-based, English-speaking danmei fandom on queer and transnational home identies among queer Chinese diaspora. Given existing literature regarding the substantial influence of ethnic media in construction of diasporic identity (Shi 2005, Oh 2013) alongside literature regarding the importance of ethnic queer spaces in negotiating queer diasporic identity (Atay 2015, Tam 2017, Huang 2016), it follows that participation in danmei fandom influences transnational identity for diasporic Chinese fans. Additionally, danmei fandom has already been observed to create queer spaces for fans (Yang & Xu 2016, Martin 2012, Feng 2013). Such existing literature, however, focuses on Chinese fans based in China; I aim to examine how danmei fandom may do the same for diasporic Chinese fans outside of China. Using a grounded theory approach, this paper examines collected survey responses from queer diasporic Chinese danmei fans to reveal that danmei fandom creates a unique space that allows queer diasporic Chinese individuals to reconnect with transnational home identities, reaffirm Chinese identities alongside queer identities, and negotiate the points of conflict between the two -- impacts largely resultant from visibility of queer Chinese diaspora within danmei fandom (following the conclusions drawn from Atay 2015). In addition, I examine the underlying tensions in danmei fandom and limitations of danmei fandom as a space for consolidation of identity, as expressed by a substantial portion of survey participants. For queer diasporic Chinese danmei fans, participation in Western danmei fandom ultimately does allow for reconnection with Chinese identity and reaffirmation of Chinese and queer identities, though such experiences are not necessarily exempt from internal tensions or fandom politics.
A study and fanzine of fandom culture, as it pertains to Korean pop (also known as K-pop music), focusing primarily on fan interactions between idols (celebrities) and fans via online messaging platforms (such as Universe and Bubble) and how it shapes parasocial relationships, which lead to positives of connection and communication intimacy and negatives of safety and monetary concerns.
A study and fanzine of fandom culture, as it pertains to Korean pop (also known as K-pop music), focusing primarily on fan interactions between idols (celebrities) and fans via online messaging platforms (such as Universe and Bubble) and how it shapes parasocial relationships, which lead to positives of connection and communication intimacy and negatives of safety and monetary concerns.