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.
People have known about mass biodiversity loss and the human actions that drive it for decades now, and yet we have largely failed levels to change our behavior to protect the environment. What’s failing to motivate people to change? Some conservation psychologists have partially blamed the negative way we communicate about environmental issues for paralyzing audiences into doing nothing because they feel helpless to change such a big problem. Instead, many psychologists have called for using positive emotions in communication to motivate an audience, but there’s still little research showing whether that’s a more effective approach or not. To study whether positive or negative emotions are really more motivational for inspiring change, I looked at how different emotions were used in the discourse about an emerging conservation technology called de-extinction as a case study. De-extinction claims to be both a tool for fighting biodiversity loss and for inspiring more positive and inspiring narratives in conservation. In this thesis, I examine those claims by exploring five emotions that the discourse around de-extinction elicits: fear, guilt, grief, awe and hope. I examined the motivating power of those emotions and what kind of actions de-extinction discourse motivates or fails to motivate through the way it uses those emotions. I found that de-extinction discourse erases negative emotions and boosts positive ones as many conservation psychologists recommend. However, de-extinction discourse accomplishes this in misleading ways: it minimizes the sense of importance of ongoing extinctions by framing extinction as a reversible phenomenon, and it overstates the ability of technology alone to combat the extinction crisis without requiring societal change. As a result, de-extinction discourse could risk making the public less motivated to take personal action to forward conservation goals. I conclude that positivity or negativity should not be the central concerns for motivating action, but rather efficacy and honesty.
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.
500 Days of Summer, released in 2009 and written by Scott Neustadter and Michael H. Weber, is an American film told through the perspective of Tom Hansen, the male lead. It is a story that begins with a third-person narrator, explaining that “This is a story of boy meets girl.” The narration then finishes with a warning that “you should know up front, this is not a love story” (Neustadter & Weber, 2009). As the movie continues, however, it becomes increasingly challenging to believe this warning. Tom sees Summer Finn, falls in love, and their relationship ends with him broken-hearted. It is only natural for the audience to view it as a story of Tom’s failed love, and without a deeper analysis, to perceive Summer as the antagonist. <br/> This tendency to view the movie as a love story motivated me to question why the discrepancy between the beginning narration and the common audience perception occurs. My thesis addresses this discrepancy by focusing on the idea that the natural gravitation towards the belief that 500 Days of Summer is a love story exists due to the unreliable narration given by Tom Hansen throughout the movie. I wrote three songs, an interlude, a duet, and a solo, based on the themes and lead characters of the movie to help validate the warning provided in the beginning and provide a deeper insight into Summer’s version of the story.