Barrett, The Honors College Thesis/Creative Project Collection

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.

Animal shelters are stressful environments for dogs and a plethora of research has been conducted on interventions aimed at improving the welfare of these animals. One type of intervention is social interaction, either between dogs and people or dogs and conspecifics. To investigate the types of social interaction dogs engage in and the impact of that contact on their welfare, 12 dogs were enrolled to participate in group sessions with other dogs, supervised by staff, in a shelter setting. There were three, 15-minute sessions per day across three days in which groups of two to four dogs were observed and recorded on video. These videos were then analyzed per dog for three types of interactions: dog-dog, dog-human, and dog-environment. It was found that the dogs spent significantly more time engaging with the staff members in the room than with conspecifics or the environment. Physiological measurements, including cortisol and S-IgA levels, were taken using urinary and fecal samples obtained both in the morning prior to these interaction sessions and after the final interaction of the day. No significant correlations were found between the amount of time that the dogs spent in each type of interaction and dogs’ cortisol or S-IgA levels. However, smaller statistical effects suggest that human interaction may correspond with decreased stress the day after interaction while conspecific interaction may be related to increases in stress the following day. Overall, these findings suggest that social interaction, particularly with people, may be beneficial, and should be further explored as a method to enhance the well-being of shelter dogs.

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.