Theses and Dissertations
This collection includes both ASU Theses and Dissertations, submitted by graduate students, and the Barrett, Honors College theses submitted by undergraduate students.
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Description
Computational thinking, the fundamental way of thinking in computer science, including information sourcing and problem solving behind programming, is considered vital to children who live in a digital era. Most of current educational games designed to teach children about coding either rely on external curricular materials or are too complicated to work well with young children. In this thesis project, Guardy, an iOS tower defense game, was developed to help children over 8 years old learn about and practice using basic concepts in programming. The game is built with the SpriteKit, a graphics rendering and animation infrastructure in Apple’s integrated development environment Xcode. It simplifies switching among different game scenes and animating game sprites in the development. In a typical game, a sequence of operations is arranged by players to destroy incoming enemy minions. Basic coding concepts like looping, sequencing, conditionals, and classification are integrated in different levels. In later levels, players are required to type in commands and put them in an order to keep playing the game. To reduce the difficulty of the usability testing, a method combining questionnaires and observation was conducted with two groups of college students who either have no programming experience or are familiar with coding. The results show that Guardy has the potential to help children learn programming and practice computational thinking.
ContributorsWang, Xiaoxiao (Author) / Nelson, Brian C. (Thesis advisor) / Turaga, Pavan (Committee member) / Walker, Erin (Committee member) / Arizona State University (Publisher)
Created2017
Description
While opera often portrays young heroes and heroines in love, only recently have children taken center stage as principal characters in opera. This paper outlines the evolution of child characters in the standard opera repertoire, beginning with the famous trouser roles of Cherubino from Le nozze di Figaro, Siébel from Faust, Stéphano from Roméo et Juliette, Octavian from Der Rosenkavalier, and Hänsel from Hänsel und Gretel, and ending with principal child roles written for boys (Amahl from Amahl and the Night Visitors and Miles from The Turn of the Screw). Examination of the history of childhood and the casting of children in opera reveals that the two are closely related; as children gained more legislative protection against child abuse and labor, children also appeared more frequently in opera. The evolution of children in opera culminates in the mid-twentieth century, when children perform principal roles in operas like Amahl and the Night Visitors (1951) and The Turn of the Screw (1954).
The study of trouser roles and roles for children in opera also reveals the heteronormativity and misogyny that is deeply engrained in the art form. While trouser roles might have reached popularity because of the vocal aesthetic created earlier by castrati, it is possible that heterosexual composers, librettists and audience members may have wanted to objectify the women playing those roles. Although trouser roles may have also been conceived as a way to create vocal or comedic variety, the strength of these roles has been their openness to multiple interpretations. The primary advancements for children in opera are entwined with this ambiguous history of trouser roles, as this paper will show. These milestones only seem to occur for boys instead of girls; for the most part, if a girl character appears in opera, she is portrayed by an adult woman. This paper will also discuss heteronormativity and misogyny in opera while following the evolution of child roles and child actors in the art form.
The study of trouser roles and roles for children in opera also reveals the heteronormativity and misogyny that is deeply engrained in the art form. While trouser roles might have reached popularity because of the vocal aesthetic created earlier by castrati, it is possible that heterosexual composers, librettists and audience members may have wanted to objectify the women playing those roles. Although trouser roles may have also been conceived as a way to create vocal or comedic variety, the strength of these roles has been their openness to multiple interpretations. The primary advancements for children in opera are entwined with this ambiguous history of trouser roles, as this paper will show. These milestones only seem to occur for boys instead of girls; for the most part, if a girl character appears in opera, she is portrayed by an adult woman. This paper will also discuss heteronormativity and misogyny in opera while following the evolution of child roles and child actors in the art form.
ContributorsSchildkret, Miriam R. (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2017