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.
Displaying 1 - 10 of 29
Filtering by
- Creators: School of Art
- Creators: School of Civic & Economic Thought and Leadership
Description
Degree seeking artists require assurance that they will be able to make a difference in the art world, and make a living while impacting others with their art. The balance between a commissioned artist and an art teacher is art therapy; with either employment within medical institutions or a self-employed health-care provider. The Bachelor of Fine Art - Art Therapy Concentration (BFA-AT) degree, though currently not present at ASU, may be obtainable for students seeking a pathway to graduate school. According to the U.S. Bureau of Labor Statistics, Occupational Employment Projections Department, the specific job opportunities in the field of health-care therapists estimate 21,800 employees nationwide with projections of 33,100 in the year 2028; estimated increase of over 11,000 positions are projected to open within the next eight years. These projections were calculated prior to COVID-19 and must be revisited due to the psychopathology of our nation and the globe. A Major MAPP ( Maricopa To ASU Pathway Program) for first year and transfer students has been outlined in this research paper to assist in enrollment. The American Art Therapy Association (AATA) acknowledges and refers potential students to the universities and colleges offering the BFA-AT programs. Further, if ASU adopts the BFA-AT program, theirs will be the only program in the Western U.S., and third in the Central U.S.—out of 16 nationwide programs.
ContributorsRedding, Kimberly R. (Author) / Solis, Forrest (Thesis director) / Ortiz, Jesse (Committee member) / Department of Psychology (Contributor) / School of Art (Contributor) / Watts College of Public Service & Community Solut (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Social-emotional learning (SEL) methods are beginning to receive global attention in primary school education, yet the dominant emphasis on implementing these curricula is in high-income, urbanized areas. Consequently, the unique features of developing and integrating such methods in middle- or low-income rural areas are unclear. Past studies suggest that students exposed to SEL programs show an increase in academic performance, improved ability to cope with stress, and better attitudes about themselves, others, and school, but these curricula are designed with an urban focus. The purpose of this study was to conduct a needs-based analysis to investigate components specific to a SEL curriculum contextualized to rural primary schools. A promising organization committed to rural educational development is Barefoot College, located in Tilonia, Rajasthan, India. In partnership with Barefoot, we designed an ethnographic study to identify and describe what teachers and school leaders consider the highest needs related to their students' social and emotional education. To do so, we interviewed 14 teachers and school leaders individually or in a focus group to explore their present understanding of “social-emotional learning” and the perception of their students’ social and emotional intelligence. Analysis of this data uncovered common themes among classroom behaviors and prevalent opportunities to address social and emotional well-being among students. These themes translated into the three overarching topics and eight sub-topics explored throughout the curriculum, and these opportunities guided the creation of the 21 modules within it. Through a design-based research methodology, we developed a 40-hour curriculum by implementing its various modules within seven Barefoot classrooms alongside continuous reiteration based on teacher feedback and participant observation. Through this process, we found that student engagement increased during contextualized SEL lessons as opposed to traditional methods. In addition, we found that teachers and students preferred and performed better with an activities-based approach. These findings suggest that rural educators must employ particular teaching strategies when addressing SEL, including localized content and an experiential-learning approach. Teachers reported that as their approach to SEL shifted, they began to unlock the potential to build self-aware, globally-minded students. This study concludes that social and emotional education cannot be treated in a generalized manner, as curriculum development is central to the teaching-learning process.
ContributorsBucker, Delaney Sue (Author) / Carrese, Susan (Thesis director) / Barab, Sasha (Committee member) / School of Life Sciences (Contributor, Contributor) / School of Civic & Economic Thought and Leadership (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Migration is natural, a human right, and to some extent, it is seen, allowed, and digested but by what bodies? Whose bodies? Who is given the privilege of range of motion, and who is chained to a ground, underground, buried?
Through a questioning of migration, a mechanism of movement, and its criminalization from the states through the establishment of citizenry, I aim to declare autonomy, and seek a dissection of what it means to criminalize, to establish, render a community as other.
Hasta mañana is a prayer to my parents’ bodies,
to bodies crossing the border,
to bodies displaced,
to bodies that never made it,
to bodies dug up,
buried,
Chained,
Hurting,
Aging,
to bodies I feel and see.
Through a questioning of migration, a mechanism of movement, and its criminalization from the states through the establishment of citizenry, I aim to declare autonomy, and seek a dissection of what it means to criminalize, to establish, render a community as other.
Hasta mañana is a prayer to my parents’ bodies,
to bodies crossing the border,
to bodies displaced,
to bodies that never made it,
to bodies dug up,
buried,
Chained,
Hurting,
Aging,
to bodies I feel and see.
ContributorsFlores Bustos, Yaritza Dayana (Author) / Danielson, Marivel (Thesis director) / Aranibar - Fernandez, Carolina (Committee member) / Chung, Samuel (Committee member) / School of Transborder Studies (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Buildings and monuments serve as a communal declaration of identity and as the physical landscape upon which memories are inscribed. Through its ability to concrete identity and capacity to reconstruct the narratives of the past, public spaces and places have the structure of memory and serve as a fundamental aspect of cultural memory from which groups derive their identities. Beyond the social function of communal spaces, as a spatial claim architecture is a political expression of the territorial imperatives of the state. Consequently, both the political and social significance of physical spaces/places lead to the direct targeting of buildings, landscapes, and recognizable monuments in the processes of war.
As evidenced by the 1991-5 War in Bosnia, Croatia, and Serbia, culturally-relevant and internationally recognizable symbols of culture, like Stari Most in Bosnia and the Old Town of Dubrovnik, were destroyed with the purpose of manipulating the physical memories of the communities, thereby directly affecting the cultural identities of the communities residing there. As it stands, scholarship on the subject of memory in post-war areas has failed to consider the effects of space/place on memory, consequently failing to provide a viable theoretical framework to explain the interplay of space/place, memory, and identity. This paper is an effort to connect the current scholarship on memory, its function and effects on identity, with the realities of the physical environment in Bosnia, Croatia, and Serbia and their function of imposed confrontation, and thus recollection, of the War. The purpose of my thesis is to put city landscapes (private, uncrated memories) and museum narratives (public, curated memories) in communication to demonstrate how influential a factor space/place is in determining collective memory in a Balkan context. Cultural memory is at once incredibly vulnerable to reconstruction and massively determinate of group identity, thereby necessitating a deeper understanding of its determinant factors and the present uses of such factors.
As evidenced by the 1991-5 War in Bosnia, Croatia, and Serbia, culturally-relevant and internationally recognizable symbols of culture, like Stari Most in Bosnia and the Old Town of Dubrovnik, were destroyed with the purpose of manipulating the physical memories of the communities, thereby directly affecting the cultural identities of the communities residing there. As it stands, scholarship on the subject of memory in post-war areas has failed to consider the effects of space/place on memory, consequently failing to provide a viable theoretical framework to explain the interplay of space/place, memory, and identity. This paper is an effort to connect the current scholarship on memory, its function and effects on identity, with the realities of the physical environment in Bosnia, Croatia, and Serbia and their function of imposed confrontation, and thus recollection, of the War. The purpose of my thesis is to put city landscapes (private, uncrated memories) and museum narratives (public, curated memories) in communication to demonstrate how influential a factor space/place is in determining collective memory in a Balkan context. Cultural memory is at once incredibly vulnerable to reconstruction and massively determinate of group identity, thereby necessitating a deeper understanding of its determinant factors and the present uses of such factors.
ContributorsStull, Madeline Helene (Author) / Niebuhr, Robert (Thesis director) / Carrese, Susan (Committee member) / Historical, Philosophical & Religious Studies (Contributor, Contributor) / School of Civic & Economic Thought and Leadership (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This thesis explores the introduction of Virgil Ortiz’s traditional Cochiti pueblo ceramic techniques and iconic imagery into the world of contemporary atmospheric high fired ceramics. Virgil is a multidimensional artist who has been working in ceramics since the age of 12, practicing the traditional hand building and decoration methods of his ancestral pueblo (1 traditional work) . In recent years, Virgil has begun to explore the use of modern materials and firing techniques in order to further his work and break into the contemporary ceramics community (2 modern materials). Virgil’s style is very figurative, sculpting human and human-like figures, and illustrating large vessels in the Cochiti traditional style, while incorporating his own characters, story lines and social commentaries.
Virgil and I met in 2019 while Virgil was performing a ceramics demo at the ASU Ceramics facilities. We collaborated on Virgil’s first line of completely handmade functional wares for his collaborative show at the ReVOlt gallery for Indian Market, Santa Fe 2019. In 2020, Virgil came to ASU as a visiting artist faculty and began work on larger pieces using more sculptural clays and exploring internal support structures under the guidance of myself and artist Ben Jackel. Seeing this large work and the opportunity to build on this, renowned art critic and appraiser Peter Held brought myself and Virgil to Reitz Ranch Center for Ceramic Arts, the former studio and home of Don Reitz. Don was an American master, building huge vessels and sculptures and firing them in salt, soda and wood kilns built on his property. He built a particularly larger Anagama style kiln, deemed the Reitz-agama, which measures 60in tall and 30 feet deep, specifically to be able to wood fire his massive wares. Don’s work is visceral and emotional, made with a heavy hand and minimally glazed, allowing for the buildup of wood ash and salt from the atmospheric firings to complete their surfaces. The ranch still holds all of his kilns, and hundreds of his pieces from years of success and failures. The owner of the ranch Sheryl Leigh-Devault, and Don’s former assistant Ben Roti, invited Virgil and I up to work at the ranch any time we wanted during this visit, and due to the closures of ASU studios and a desire to push our work together further than we ever had before, we orchestrated a week visit. This week visit developed into two weeks, and had since developed further into a one and a half month short term quarantine residency.
Virgil and I met in 2019 while Virgil was performing a ceramics demo at the ASU Ceramics facilities. We collaborated on Virgil’s first line of completely handmade functional wares for his collaborative show at the ReVOlt gallery for Indian Market, Santa Fe 2019. In 2020, Virgil came to ASU as a visiting artist faculty and began work on larger pieces using more sculptural clays and exploring internal support structures under the guidance of myself and artist Ben Jackel. Seeing this large work and the opportunity to build on this, renowned art critic and appraiser Peter Held brought myself and Virgil to Reitz Ranch Center for Ceramic Arts, the former studio and home of Don Reitz. Don was an American master, building huge vessels and sculptures and firing them in salt, soda and wood kilns built on his property. He built a particularly larger Anagama style kiln, deemed the Reitz-agama, which measures 60in tall and 30 feet deep, specifically to be able to wood fire his massive wares. Don’s work is visceral and emotional, made with a heavy hand and minimally glazed, allowing for the buildup of wood ash and salt from the atmospheric firings to complete their surfaces. The ranch still holds all of his kilns, and hundreds of his pieces from years of success and failures. The owner of the ranch Sheryl Leigh-Devault, and Don’s former assistant Ben Roti, invited Virgil and I up to work at the ranch any time we wanted during this visit, and due to the closures of ASU studios and a desire to push our work together further than we ever had before, we orchestrated a week visit. This week visit developed into two weeks, and had since developed further into a one and a half month short term quarantine residency.
ContributorsSmith, Andrew Walton Lee (Author) / Chung, Samuel (Thesis director) / Ortiz, Virgil (Committee member) / Harrington Bioengineering Program (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Given the importance of free speech and free expression for the learning and development of American citizens, it is important to analyze how our universities promote these principles within the classroom. In particular, it is crucial we understand how comfortable students feel sharing their views on the toughest and most controversial issues. The rise in free speech incidents over the past 20 years on college campuses has led us to question the state of free speech and free expression on university campuses and, more importantly, within the classroom. Research on this topic has taken a broad approach in attempting to understand student attitudes towards free speech, but there has been little research done on the state of campus expression within the ASU classroom.
This study utilized a modified survey instrument known as the Campus Expression Survey, a tool created by Heterodox Academy to gauge student perceptions of free speech and free expression within classroom environments. With a sample size of 366 ASU students across all four metropolitan campuses, students were asked a series of questions that included how comfortable they would be sharing their views on a controversial political issue as well as what consequences one might expect from other students and faculty members as a result of sharing one's views. Students were also asked about their ideological perceptions of their peers, faculty, and administrators.
Analysis of the responses found four primary conclusions. First, politically-oriented majors are significantly more comfortable expressing their views on both controversial and non-controversial issues. Furthermore, students are found to be significantly more comfortable when they believe other students and faculty members share their political beliefs. Third, students are more hesitant to speak up because of the perceived repercussions from their classmates rather than their professors. Lastly, students that identify as Republican, Independent, conservative, or moderate are far more likely to feel uncomfortable sharing their views than students that identify as Democrat or liberal.
This study utilized a modified survey instrument known as the Campus Expression Survey, a tool created by Heterodox Academy to gauge student perceptions of free speech and free expression within classroom environments. With a sample size of 366 ASU students across all four metropolitan campuses, students were asked a series of questions that included how comfortable they would be sharing their views on a controversial political issue as well as what consequences one might expect from other students and faculty members as a result of sharing one's views. Students were also asked about their ideological perceptions of their peers, faculty, and administrators.
Analysis of the responses found four primary conclusions. First, politically-oriented majors are significantly more comfortable expressing their views on both controversial and non-controversial issues. Furthermore, students are found to be significantly more comfortable when they believe other students and faculty members share their political beliefs. Third, students are more hesitant to speak up because of the perceived repercussions from their classmates rather than their professors. Lastly, students that identify as Republican, Independent, conservative, or moderate are far more likely to feel uncomfortable sharing their views than students that identify as Democrat or liberal.
ContributorsHeywood, Justin Richard (Co-author, Co-author) / German, Zachary (Thesis director) / Voboril, Jakub (Committee member) / School of Politics and Global Studies (Contributor) / School of Civic & Economic Thought and Leadership (Contributor) / Thunderbird School of Global Management (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Shifting gender roles and deviations from societal norms are exemplified in portraits created by queer women artists active during the early twentieth century. A transformative period for women, the beginning of the twentieth century brought the concept of the New Woman to the fore and provided opportunities for independence and self-expression for women. The New Woman is a term from the late nineteenth century, referring to women who were less interested in marriage and raising families and more interested in access to jobs and education. Through self-portraits and portraits of women in their circles, artists represented gender expression including androgyny and performative cross-dressing as declarations of queer women’s identity. This thesis focuses on works by the painters Romaine Brooks, Gluck, Florine Stettheimer, and photographers Berenice Abbott, Alice Austen, Marie Høeg and Bolette Berg. The artists socialized in queer circles and fostered new styles and forms of gender representation. In my study I explore how each artist approached her portraits, what each was trying to convey, and how their work aligns or diverges from the queer New Woman ideal. Their identities and shared experiences, both as queer women and artists, shaped their practice.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
ContributorsAnderson, Ruby (Author) / Fahlman, Betsy (Thesis director) / Codell, Julie (Committee member) / School of Art (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
****Project Disclaimer: Unfortunately due to the COVID-19 outbreak during Spring 2020, ASU shut down in-person classes and campus facilities as means to prevent the spread of the virus. This meant though that a polished final podcast recording was unable to be made. Instead, a first-run, practice podcast recording that was recorded before the shut down is uploaded in its stead as a reference as to how the final was intended to sound and be produced. ****
Cellular hypertrophy is an anaerobically-based, adaptive process that mammalian skeletal muscle undergoes in response to damage resulting from unaccustomed force generation by the muscle. Hypertrophy allows for the muscle tissue to recover from the immediate injury and also to be rebuilt more capable of withstanding producing the same amount of force without injury, should it happen again. This means the end result of an adapted muscle is an overall more efficient tissue. The ability to regenerate after damage to the structure and function of the muscle tissue is a highly orchestrated event involving multiple steps and key events to occur. Most briefly, a mechanical load is attempted to be lifted but due to demanding a high amount of contractile force to lift, it causes microdamage to the structural and contractile elements of muscle fiber’s sarcomeres. In addition to an inflammatory response, satellite cells, as a part of a myogenic response, are activated to invade the fiber and then permanently reside inside to produce new proteins that will replace the damaged and necrotized proteins. This addition of cellular content, repeated over multiple times, results in the increased diameter of the fibers and manifests in the visual appearance of skeletal muscle hypertrophy. These steps have been listed off devoid of the contexts in which it takes for these to occur and will be addressed within this thesis.
Cellular hypertrophy is an anaerobically-based, adaptive process that mammalian skeletal muscle undergoes in response to damage resulting from unaccustomed force generation by the muscle. Hypertrophy allows for the muscle tissue to recover from the immediate injury and also to be rebuilt more capable of withstanding producing the same amount of force without injury, should it happen again. This means the end result of an adapted muscle is an overall more efficient tissue. The ability to regenerate after damage to the structure and function of the muscle tissue is a highly orchestrated event involving multiple steps and key events to occur. Most briefly, a mechanical load is attempted to be lifted but due to demanding a high amount of contractile force to lift, it causes microdamage to the structural and contractile elements of muscle fiber’s sarcomeres. In addition to an inflammatory response, satellite cells, as a part of a myogenic response, are activated to invade the fiber and then permanently reside inside to produce new proteins that will replace the damaged and necrotized proteins. This addition of cellular content, repeated over multiple times, results in the increased diameter of the fibers and manifests in the visual appearance of skeletal muscle hypertrophy. These steps have been listed off devoid of the contexts in which it takes for these to occur and will be addressed within this thesis.
ContributorsDwyer, Lauren Mingna Carol (Author) / Hyatt, JP (Thesis director) / Kingsbury, Jeffery (Committee member) / School of Life Sciences (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This thesis has two goals. The first is to explore and report on the state of the fashion and fashion business industry today. And the second is to propose a degree program plan, informed by the first goal, that will adequately prepare an Arizona State University student for a career in the fashion business industry. Keeping these two goals in mind, the thesis that follows looks at the industry through an academic and innovative lens. Primary and secondary research enforces these lenses and reveals the importance of a four-year university that provides students with a comprehensive experience, one that provides students with academic and experience-based opportunities. In order to best prepare students for a career in the intended industry. In order to best prepare students for a career in the intended industry, this thesis proposes that a combination of hands-on experiences, networking/mentoring programs, and project-based courses be implemented. This can be achieved by a final degree plan that offers key courses related to business such as fashion branding and an elective portfolio focused on fashion from the Herberger Institute for Design and the Arts and the W.P. Carey School of Business.
ContributorsSearight, Caroline Frances (Author) / Ostrom, Amy (Thesis director) / Sewell, Dennita (Committee member) / School of Art (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Sustainability disclosures have existed and been in use for over 20 years. Over the last century, corporate social responsibility ideals changed drastically from both the perspectives of consumers, investors, and corporations. Shifting from a start as an innovative initiative to now a crucial instrument in maintaining a public image and keeping up with competitors, sustainability can now be used to an economic benefit. The benefits of sustainability disclosure exist now as major factors of key performance indicators and major impactors of the bottom line.
ContributorsLe, Sarah Nguyen (Author) / Cheng, Chingwen (Thesis director) / Dalrymple, Michael (Committee member) / School of Earth and Space Exploration (Contributor) / Department of Finance (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05