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ABSTRACT Caregiving studies generally do not focus on the post-caregiving phase of care, or African Americans post-caregivers (AAPCGs). This mixed-methods study guided by the Transitions Theory, explored the experiences of 40 AAPCGs residing in Los Angeles, California and Phoenix, Arizona, whose loved ones died within the last 10 years. Data collection tools included individual interviews, demographic questionnaire, CES-D, Brief Cope, and Social Support. Findings present the specific aims of the study. Aim 1 dealt with the types, patterns and properties of post-caregiving transitions (PCT). Many AAPCGs experienced multiple, simultaneous transitions that continued to impact their lives many years after caregiving ends. Aim 2 dealt with factors that facilitate or inhibit healthy PCT. Facilitators include: Being satisfied with care provided; fulfilling death-bed promises; living out the legacy of the deceased; deep spiritual beliefs in God and support of family, friends and church. Inhibitors include: Experiencing a deep sense of loss, confusion, depression, loneliness, and guilt; physical challenges such as fatigue and exhaustion, breathing problems, dizziness, fainting, cognitive difficulties, pain, headaches, hypertension and insomnia; family conflicts, job or home loss that linger long after PCT. Aim 3 involves process indicators including: connectedness with family, friends, co-workers, church and God; returning to work or school. Coping strategies that helped AAPCGs include: productive ventures, family mementoes, reminiscing, new baby, or visiting cemetery. Appropriate coping led to outcome indicators of mastery such as new environment; making decisions; taking actions; readying oneself for another caregiving role; preparing for one's own life and death; or caring for self. Fluid integrative identities include: Sense of balance, peacefulness and joy, fulfillment, compassion; remembering without pain; or new identity. Implications for practice, policy, education and research include: Care providers and policy makers must ensure that AA caregivers receive adequate EOL and hospice information and support for adequate preparation of loved one's death. Geriatric educators must design and implement curricular programming that includes the post-caregiving phase as a very important phase of caregiving. Researchers should design culturally-congruent assessment tools or improve the checklist developed in this study to appropriately measure PCT; and also develop culturally-relevant interventions to facilitate healthy PCT.
ContributorsUme, Ebere Peace (Author) / Evans, Bronwynne C. (Thesis advisor) / Coon, David W. (Thesis advisor) / Keller, Colleen S (Committee member) / Arizona State University (Publisher)
Created2013
Description
Purpose: This study examines the role of social support on adjustment to widowhood. Past research has indicated that the role of social support on adjustment to widowhood remains inconclusive, and needs further examination. This study examines the varying coping trajectories of middle-aged and retired bereaved spouses. Additionally, this study examines how bereavement stage may also influence one's adaptation to widowhood. Methods: This study used in-depth and semi-structured interviews as a means of understanding the role of social support on adjustment to widowhood. Participants were recruited through two hospice services available in a major metropolitan area in the United States. Convenient and purposive samplings are used in this study; this study will execute a grounded theory approach in order to determine the inconclusive role of social support on adjustment to widowhood. This study is contrasting between two stages- life course stages (middle aged versus retirement aged people) and bereavement stages (a year or less time following the death of a spouse versus three or more years following the death of a spouse). As a means of reducing bias and subjectivity, all data collected during the interview will be transcribed immediately. Results: Middle-aged bereaved spouses reported higher levels of motivation for adjusting positively and quickly towards widowhood due to their concern for protecting the well-being of their surviving young children compared to retired bereaved spouses. Differences between middle-aged widows and widowers have been found in this study; middle-aged widowers have a higher linkage to negative health behaviors. Retired bereaved spouses may fare better depending upon their housing location. Living in a retirement center may lower negative effects of bereavement on retired spouses' health. Conclusions: Types of social support received and expected varied between middle-aged widows and widowers. Gender norms may influence the type of social support widows and widowers receive. Middle-aged widowers are less likely to receive emotional support which may explain their higher linkage to negative health behaviors. Bereavement stage and housing location may be the key factors that influence widowhood trajectories of retired bereaved spouses. Living in a retirement center may lower the negative effects of bereavement on overall health.
ContributorsRafieei, Noshin (Author) / Kronenfeld, Jennie (Thesis advisor) / Haas, Steven (Committee member) / Damgaard, Anni (Committee member) / Arizona State University (Publisher)
Created2013
Description
Using an integrated perspective of the Grief Work Hypothesis and Posttraumatic Growth Theory, this study was designed to contribute to the sparse existing cross-cultural research by examining and comparing individuals' emotional adjustment and posttraumatic growth in the United States (US) and China. Another main goal was to unfold the predictive effects of different dimensions of locus of control, coping strategies and social support on the outcomes and further, to explore cultural differences in the underlying mechanisms. Web-based survey was disseminated and administered in the US and China. One thousand and seventy-eight participants completed the survey and met the criteria such that they were eighteen years old or older and experienced death of a loved one six to thirty-six months ago. As expected, US participants experienced higher levels of subjective well-being, lower levels of complicated grief and posttraumatic growth than Chinese participants. They also reported higher external yet lower internal locus of control, less frequent use of active and avoidance coping, and less informational support and negative social interactions than their Chinese counterparts. No difference in emotional support was evidenced between the two cultures. After controlling for demographic, loss-related information and the impact of post-bereavement life events, hierarchical regression analyses revealed that culture, external locus of control, avoidance coping and negative social interactions were unique predictors of complicated grief. Furthermore, the relation between external locus of control and complicated grief was weaker for US participants compared to that for Chinese participants. Culture, external and internal locus of control, active and avoidance coping, and negative social interactions significantly predicted individuals' subjective well-being after the loss. Additionally, culture, internal locus of control, active and avoidance coping, informational support, and negative social interactions were identified as unique predictors of posttraumatic growth. Specifically, an interaction effect of avoidance coping x culture emerged such that avoidance coping significantly predicted posttraumatic growth only for US participants. This study extracted the underlying mechanisms of predicting individuals' emotional adjustment and personal growth following bereavement. The influence of culture was also highlighted. Application of existing theories to the Chinese culture and clinical implications of the current study were discussed.
ContributorsTao, Chun, M.S (Author) / Miller, Paul A. (Thesis advisor) / Vargas, Perla A (Committee member) / Hall, Deborah L. (Committee member) / Arizona State University (Publisher)
Created2014
Description
The effects of preventive interventions are found to be related to participants' responsiveness to the program, or the degree to which participants attend sessions, engage in the material, and use the program skills. The current study proposes a multi-dimensional method for measuring responsiveness to the Family Bereavement Program (FBP), a parenting-focused program to prevent mental health problems for children who experienced the death of a parent. It examines the relations between individual-level risk-factors and responsiveness to the program, as well as the relations between responsiveness and program outcomes. The sample consists of 90 caregivers and 135 children assigned to the intervention condition of an efficacy trial of the FBP. Caregivers' responsiveness to the 12-week program was measured using a number of indicators, including attendance, completion of weekly "homework" assignments, overall program skill use, perceived helpfulness of the program and program skills, and perceived group environment. Three underlying dimensions of responsiveness were identified: Skill Use, Program Liking, and Perceived Group Environment. Positive parenting and child externalizing problems at baseline were found to predict caregiver Skill Use. Skill Use and Perceived Group Environment predicted changes in caregiver grief and reports of child behavior problems at posttest and 11-month follow-up. Caregivers with better Skill Use had better positive parenting outcomes. Skill use mediated the relation between baseline positive parenting and improvements in positive parenting at 11-month follow-up.
ContributorsSchoenfelder, Erin (Author) / Sandler, Irwin N. (Thesis advisor) / Wolchik, Sharlene (Committee member) / Millsap, Roger (Committee member) / Barrera, Manuel (Committee member) / Arizona State University (Publisher)
Created2012
Description
The current study was a benefit cost analysis that examined mental and behavioral health and prescription drug service use data of 347 participants (212 youth and 135 caregivers) from a bereavement intervention, the Family Bereavement Program (FBP).The preliminary goals of the current study were to compare the FBP intervention and the Literature Control (LC) groups at the six year follow-up on: (a) number of participants using mental/behavioral health services and prescription drugs, (b) the frequency of use of mental/behavioral health services and prescription drugs, and (c) the costs of mental/behavioral health services and prescription drugs. The final, and primary goal, was to (d) calculate the benefits of the FBP by analyzing the monetary difference between the LC and FBP groups in terms of cost of services used and then by applying those benefits to the cost of the intervention. Data representing participating youths' and caregivers' mental health service use and prescription drug use at the sixth year post-intervention were collected, as were the costs of those services. Results indicated that fewer FBP participants used services and prescription drugs than the Literature Control (LC) participants, but FBP participants, particularly the youth, used some low intensity services more frequently whereas the LC youth used more intensive and costly services more frequently. Consequently, service costs were greater for participants in the LC group than for participants in the FBP group. The benefit cost ratio revealed that the FBP, as delivered, saved society between $.15 and $.27 in mental and behavioral health costs for every dollar spent on the intervention. Implications of these findings and directions for future research are discussed.
ContributorsPorter, Michèle M (Author) / Hanish, Laura D. (Thesis advisor) / Sandler, Irwin N. (Committee member) / Wolchik, Sharlene A (Committee member) / Johnson, William G. (Committee member) / Arizona State University (Publisher)
Created2011
Description
Here I explore three varieties of theatrical responses to the cultural amnesia brought about by what scholars have termed “post-AIDS” rhetoric. Specifically, I examine how AIDS history plays, AIDS comedies, and solo plays provide opportunities for theatregoers to participate in, or reflect on the absence of, what I call “AIDS mourning publics.” I understand these publics to be both the groupings of people that gather around a text, film screening, play performance, or event that was created in response to loss due to AIDS, and the text, screenplay, or play text itself when circulated. In these publics participants work through their grief, make political interventions, and negotiate the meanings of AIDS history for gay men whose sexual awakening occurred before and after the development of protease inhibitors. I join theories of grieving, affect in performance, and the public sphere to study these communal events. I use films, plays, and critical reviews to identify how mourning through performance can be therapeutic for cultural and social actors despite activists' and scholars' sole attention to the counterpublicity of these events. Still, counterpublicity remains an important concern because many in the dominant US public sphere consider AIDS to be a benign “manageable condition” in affluent countries like the US. As such, I also present a dramaturgy of mourning and counterpublicity in twenty-first century US AIDS drama and solo performance with attention focused upon how dramatists and solo performers are inviting spectators to engage with, and find new meaning within, this epidemic. For example, I investigate how pairing mourning with genres like comedy produces political interventions within the space between laughing and astonishment. My dramaturgy of mourning also examines recurring themes such as ghosts, the past, intergenerationalism, and AIDS amnesia to interpret how performers have framed individual and collective loss to challenge spectators' understanding of AIDS history. To support my claims I use sources from the New York Public Library Manuscripts and Archives Division, gay and lesbian community newspapers, personal interviews, and my own experiences as a spectator viewing productions of The Normal Heart, thirtynothing, and The VOID.
ContributorsMorrison, Jayson Abraham (Author) / Underiner, Tamara L. (Thesis advisor) / Brouwer, Daniel C (Committee member) / McMahon, Jeff D (Committee member) / Arizona State University (Publisher)
Created2015
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Pandora is a play exploring our relationship with gendered technology through the lens of artificial intelligence. Can women be subjective under patriarchy? Do robots who look like women have subjectivity? Hoping to create a better version of ourselves, The Engineer must navigate the loss of her creation, and Pandora must navigate their new world. The original premiere run was March 27-28, 2018, original cast: Caitlin Andelora, Rikki Tremblay, and Michael Tristano Jr.
ContributorsToye, Abigail Elizabeth (Author) / Linde, Jennifer (Thesis director) / Abele, Kelsey (Committee member) / Department of Information Systems (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05