Barrett, The Honors College Thesis/Creative Project Collection

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.

This research endeavor explores the 1964 reasoning of Irish physicist John Bell and how it pertains to the provoking Einstein-Podolsky-Rosen Paradox. It is necessary to establish the machinations of formalisms ranging from conservation laws to quantum mechanical principles. The notion that locality is unable to be reconciled with the quantum paradigm is upheld through analysis and the subsequent Aspect experiments in the years 1980-1982. No matter the complexity, any local hidden variable theory is incompatible with the formulation of standard quantum mechanics. A number of strikingly ambiguous and abstract concepts are addressed in this pursuit to deduce quantum's validity, including separability and reality. `Elements of reality' characteristic of unique spaces are defined using basis terminology and logic from EPR. The discussion draws directly from Bell's succinct 1964 Physics 1 paper as well as numerous other useful sources. The fundamental principle and insight gleaned is that quantum physics is indeed nonlocal; the door into its metaphysical and philosophical implications has long since been opened. Yet the nexus of information pertaining to Bell's inequality and EPR logic does nothing but assert the impeccable success of quantum physics' ability to describe nature.

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.