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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The process of producing enormous amounts of ephemeral clothing at accelerated rates, known as fast fashion, creates significant environmental and societal issues. The phenomenon of fast fashion rose due to globalization, economic factors, lack of legislation, and the advancement of technology. Governments, companies, and consumers must work together to create more sustainable retail supply chains. I have gathered information from interviews with individuals in the sustainable fashion industry, books, case studies, online reports, and newspaper articles. Based on my research, I recommend that companies should target wealthier consumers, develop a common language concerning sustainability, invest in sustainable fibers, and listen to factory employees for solutions to improve their working conditions. I also advise that the U.S governments should revise fashion copyright laws and international governments should emphasize regulations concerning the fashion industry. Lastly, consumers should adopt a price-per-wear mindset and utilize resale options. Overall, while perfect sustainability is improbable, consumers, governments, and companies should not use this as an excuse to avoid responsibility.
For my project, I delve into the relationships of Victor and the Monster as well as the relationships Victor shares with other characters that were underdeveloped within the original novel by Mary Shelley in the novel Franeknstein. I examine their relationships in two components. The first through my own interpretation of Victor and the Monster’s relationship within a creative writing piece that extends the novel as if Victor had lived rather than died in the arctic in order to explore the possibilities of a more complex set of relationships between Victor and the Monster than simply creator-creation. My writing focuses on the development of their relationship once all they have left is each other. The second part of my project focuses on an analytical component. I analyze and cite the reasoning for my creative take on Victor and the Monster as well as their relationship within the novel and Mary Shelley’s intentions.
Before the COVID-19 pandemic, there was a great need for United States’ restaurants to “go green” due to consumers’ habits of frequently eating out. Unfortunately, COVID-19 has caused this initiative to lose traction. While the amount of customers ordering takeout has increased, there is less emphasis on sustainability.<br/>Plastic is known for its harmful effects on the environment and the extreme length of time it takes to decompose. According to the International Union for Conservation of Nature (IUCN), almost 8 million tons of plastic end up in the oceans at an annual rate, threatening not only the safety of marine species, but also human health. Modern food packaging materials have included a blend of synthetic ingredients, trickling into our daily lives and polluting the air, water, and land. Single-use plastic items slowly degrade into microplastics and can take up to hundreds of years to biodegrade.<br/>Due to COVID-19, restaurants have switched to takeout and delivery options to adapt to the new business environment and guidelines enforced by the Center of Disease Control (CDC) mandated guidelines.<br/>Some of these guidelines include: notices encouraging social distancing and mask-wearing, mandated masks for employees, and easy access to sanitary supplies.<br/>This cultural shift is motivating restaurants to search for a quick, cheap, and easy fix to adapt to the increased demand of take-out and delivery methods. This increases their plastic consumption of items such as plastic bags/paper bags, styrofoam containers, and beverage cups. Plastic is the most popular takeout material because of its price and durability as well as allowing for limited contamination and easy disposability.<br/>Almost all food products come in packaging and this, more often than not, is single use. Food is the largest market out of all the packaging industry, maintaining roughly two thirds of material going to food. The US Environmental Protection Agency reports that almost half of all municipal solid waste is made up of food and food packaging materials. In 2014, over 162 million tons of packaging material waste were generated in the states. This typically contains toxic inks and dyes that leach into groundwater and soil. When degrading, pieces of plastic absorb toxins like PCBs and pesticides, and then each piece will in turn release toxic chemicals like Bisphenol A. Even before being thrown away, it causes negative effects for the environment. The creation of packaging materials uses many resources such as petroleum and chemicals and then releases toxic byproducts. Such byproducts include sludge containing contaminants, greenhouse gases, and heavy metal and particulate matter emissions. Unlike many other industries, plastic manufacturing has actually increased production. Demand has increased and especially in the food industry to keep things sanitary. This increase in production is reflective of the increase in waste. <br/>Although restaurants have implemented their own sustainable initiatives to combat their carbon footprint, the pandemic has unfortunately forced restaurants to digress. For example, Just Salad, a fast-food restaurant chain, incentivized customers with discounted meals to use reusable bowls which saved over 75,000 pounds of plastic per year. However, when the pandemic hit, the company halted the program to pivot towards takeout and delivery. This effect is apparent on an international scale. Singapore was in lock-down for eight weeks and during that time, 1,470 tons of takeout and food delivery plastic waste was thrown out. In addition, the Hong Kong environmental group Greeners Action surveyed 2,000 people in April and the results showed that people are ordering out twice as much as last year, doubling the use of plastic.<br/>However, is this surge of plastic usage necessary in the food industry, or are there methods that can be used to reduce the amount of waste production? The COVID-19 pandemic caused a fracture in the food system’s supply chain, involving food, factory, and farm. This thesis will strive to tackle such topics by analyzing the supply chains of the food industry and identify areas for sustainable opportunities. These recommendations will help to identify areas for green improvement.
In this essay, I set out to explore and analyze how Shirley Jackson’s The Haunting of Hill House, and the character of Eleanor Vance in particular, disrupts and redefines the traditional conventions of the Female Gothic within the context of the 20th century. I utilize Tania Modleski's gendering of Freud's theory of psychoanalysis in her exploration of the ‘Female Uncanny,’ arguing that the source of the Uncanny in the Female Gothic can be found in the "fear of being lost in the mother." I argue that Jackson's complex personal life, including her fraught relationship with her mother and her difficult marriage with literary critic Edgar Hyman, color her fiction and the primary motivations of her protagonist, Eleanor Vance. I also outline the traditional structure of the Gothic novel and the heroine's journey. With the necessary context provided, I then explain how Eleanor Vance’s character rejects these Gothic traditions and ushers in a new era of Female Gothic fiction.
My thesis, titled Female Agency in the Canterbury Tales and Telling Tales, compares Geoffrey Chaucer’s fourteenth century work and Patience Agbabi’s modern adaptation in regards to their portrayal of female agency. While each work contained a whole selection of tales, I focus on four tales, which were The Miller’s Tale, The Clerk’s Tale, The Physician’s Tale, and The Wife of Bath’s Tale. I also include relevant historical information to support and assist in the analysis of the literary texts, and secondary sources were also used supplementarily to enhance the analysis. I argue that female agency is irrationally believed to be dangerous, and the consequent attempts at protection manifest as limitations, which are themselves damaging. The paper is divided into two main sections, which are themselves separated into three smaller categories. The first of the two main sections concerns what actions and options are available to women influenced by a distinction of gender; this section is divided into female gender ideals, marriage, and occupation. The second of the two main sections addresses the entities or individuals enacting the limitations upon female agency, and its three subsections are society, men, and women. I ultimately conclude that not only is it irrational to believe that female agency is dangerous, but also that making gender-based judgment on the capacity of a group of people or an individual is inherently flawed.
In “Playing the Changes,” we meet two men stranded in a small desert town in 1972, a time when their attraction to each other is still dangerous. Nile Walker is a jazz musician, running from a spurned lover and the law. Benji Garza is a once-devout Catholic, fixing cars and caring for his orphaned nephew, Hector. Walker and Garza’s affair will spin both lives and their heredity into sweeping tragedies that characters battle with lust and melody. Walker has a son he never meets, a drifter who finds connection with another lost soul at an airport in “La Petite Mort.” Hector is forced into early adulthood in “The Words,” when his ailing uncle’s health fails due to a mysterious disease not yet called AIDS. Later Tre—a young man struggling with the weight of his own lineage—meets him in “PHX.” These stories examine questions of death’s causes and its myriad effects, and offer this solution: Knowing that we cannot know everything, and living, loving, and singing anyway.
