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- Creators: Department of English
- Creators: School of Social and Behavioral Sciences
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
For this Creative Project, I decided to explore the elements that set novellas apart from other genres and then experiment writing in the form. In doing so, I took into account three main categories: Plot Structure, Character Development, Style/Format, and then used my findings to write 45 pages of a novella titled Emmy and Me.
ContributorsBingham, Roxanne Marie (Author) / Irish, Jennifer (Thesis director) / Danielson, Jonathan (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
The seven interconnected short stories of Miserablists spring from a reality created by its protagonist and ostensible author: Paul Marston, a persistently melancholy undergraduate who tries to exorcise the ghost of a past love by adapting the story into a screenplay for a film entitled Miserablists. What happens to our identity, Paul asks, in post-narrative selfhood—that is, when the meaningful narratives we’ve told ourselves about others and ourselves collapse?
In other stories (wherein Paul tries—and often fails—to figure himself a secondary character), the tangled lives of his immediate social circle unravel, overlap, and disintegrate amidst the decaying milieu of the Scene and the maddening sprawl of Phoenix. A brief sampling of happenings: Sophie confronts ideological qualms with capitalism by way of a summer gig selling knives to depressed housewives; Brett nearly burns a house down on the Fourth of July; hallucinogenic kombucha is foisted upon a hapless Alex; black mold overtakes Paul’s residence; etc.
The core text is followed by an afterword supposedly written by (the perhaps psychotic) Saul P. Thomas Marton, Ph.D. and acts as an academic analysis of the nonexistent film adaption of Miserablists. There, Marton places Marston’s work in conversation with many influential critical text and works of fiction that shaped the formation of Miserablists (including Roland Barthes’ Lover’s Discourse, Slavoj Žižek’s The Plague of Fantasies, and Alain Robbe-Grillet’s Last Year at Marienbad).
In other stories (wherein Paul tries—and often fails—to figure himself a secondary character), the tangled lives of his immediate social circle unravel, overlap, and disintegrate amidst the decaying milieu of the Scene and the maddening sprawl of Phoenix. A brief sampling of happenings: Sophie confronts ideological qualms with capitalism by way of a summer gig selling knives to depressed housewives; Brett nearly burns a house down on the Fourth of July; hallucinogenic kombucha is foisted upon a hapless Alex; black mold overtakes Paul’s residence; etc.
The core text is followed by an afterword supposedly written by (the perhaps psychotic) Saul P. Thomas Marton, Ph.D. and acts as an academic analysis of the nonexistent film adaption of Miserablists. There, Marton places Marston’s work in conversation with many influential critical text and works of fiction that shaped the formation of Miserablists (including Roland Barthes’ Lover’s Discourse, Slavoj Žižek’s The Plague of Fantasies, and Alain Robbe-Grillet’s Last Year at Marienbad).
ContributorsWebb, Zachariah Kaylar (Author) / Gilfillan, Daniel (Thesis director) / Garrison, Gary (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Perhaps by some ingrained sense of human preparedness, phobias are an outlier in the world of conditioning. Again and again, they are highlighted as the only thing which avoidance makes worse, rather than alleviates. My own fear of insects had reached its most severe level just as I began learning about phobias, and avoidance, in my undergraduate psychology courses. There, I learned that avoidance of the phobic stimulus \u2014 in my case, insects \u2014 seemed to be a fundamental element of maintaining a phobia, and I was more than guilty of it. Following this realization, I endeavored into what I would later come to call Stimulus Confrontation: A self-designed therapeutic course of action to overcome my fear. This thesis, then, is the record of this project. It weaves together my scholarly research on phobias with my own personal narrative concerning the employment of Stimulus Confrontation, beginning with the etymology and proposed etiologies of phobias, followed by an overview of contemporary treatment options available and a recounting of Stimulus Confrontation as applied to my own phobia. Told from her own perspective, English writer and journalist Jenny Diski's book, What I Don't Know About Animals, tells of her own arachnophobia, and includes an honest account of the fear and anxiety it caused for her, as well as her own journey to overcome it. Like my own, Diski's phobia \u2014 arachnophobia \u2014 had come to affect her everyday life. Prior to seeking treatment for her fear at the age of 58, Diski too had learned to avoid the thing which she so feared. Inspired by What I Don't Know About Animals, the personal anecdotes I have included throughout this thesis serve to elaborate upon my personal experience with my own insectophobia, and the cessation of avoidance that led to substantial progress in overcoming my fears. Throughout this thesis, I refer to this cessation of avoidance as Stimulus Confrontation, with the intention that following the same process I did may benefit others in overcoming their own specific phobias.
ContributorsKavanaugh, Ashley Marie (Author) / Gruber, Diane (Thesis director) / Lewis, Stephen (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
Description
"The Problem of Hope: Literary Tragedy in Mid-Twentieth Century American Fiction" examines Arthur Miller's Death of a Salesman, Ralph Ellison's Invisible Man, and Sylvia Plath's The Bell Jar through the lens of tragedy. This thesis delves into how conflicts between internal and external identities can create a tragic individual, what kinds of success count toward achievement of the "American Dream," and whether the tragic "common man" is the socially normative one or the socially disenfranchised one. It raises a three-dimensional theoretical approach to American tragedy and, most importantly, considers the significance of tragic hope for American literature. This paper questions the construction of American identities across class, race, and gender according to social scripts. It seeks to uncover what forces these scripts exert on American cultural myths and rereads those myths through tragedy to explore Miller's idea of a noble common man. By moving from Miller to Ellison to Plath, this thesis traces the undercurrents of tragedy through some of the most identity-focused novels of mid-twentieth century American fiction to see how the overarching American narrative changed from 1940 to 1969 as the US underwent significant social changes domestically and image changes abroad. Ultimately, this paper concludes that tragedy in mid-twentieth century American fiction points toward a new idea of American success as a success that occurs beyond social scripts.
ContributorsMedeiros, Amy Marie (Author) / Holbo, Christine (Thesis director) / Sadowski-Smith, Claudia (Committee member) / Department of English (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
There are no words for the trauma of death when it strikes unexpectedly. What to say when a mother dies in childbirth? When a father figure contracts an unknown disease for no apparent cause? When a beloved pet, long mourned, may still be alive and hidden by estranged family? Generations may pass, and children may grow up, but the pain leaves marks that echo across time and the other borders we construct between our past and present. We may find strength on solitude, or prayer, or the words of a song written by someone else. In these four stories, spanning almost half a century, the marks of death and attempts to soothe or hide them are everywhere. Children on the cusp of adulthood grapple with the lives and the lies of their parents. Musicians examine the relationship of their music to the world. Legends and myths lurk in the shadows, tempting with false hope and rationalizing the unexplainable.
In “Playing the Changes,” we meet two men stranded in a small desert town in 1972, a time when their attraction to each other is still dangerous. Nile Walker is a jazz musician, running from a spurned lover and the law. Benji Garza is a once-devout Catholic, fixing cars and caring for his orphaned nephew, Hector. Walker and Garza’s affair will spin both lives and their heredity into sweeping tragedies that characters battle with lust and melody. Walker has a son he never meets, a drifter who finds connection with another lost soul at an airport in “La Petite Mort.” Hector is forced into early adulthood in “The Words,” when his ailing uncle’s health fails due to a mysterious disease not yet called AIDS. Later Tre—a young man struggling with the weight of his own lineage—meets him in “PHX.” These stories examine questions of death’s causes and its myriad effects, and offer this solution: Knowing that we cannot know everything, and living, loving, and singing anyway.
In “Playing the Changes,” we meet two men stranded in a small desert town in 1972, a time when their attraction to each other is still dangerous. Nile Walker is a jazz musician, running from a spurned lover and the law. Benji Garza is a once-devout Catholic, fixing cars and caring for his orphaned nephew, Hector. Walker and Garza’s affair will spin both lives and their heredity into sweeping tragedies that characters battle with lust and melody. Walker has a son he never meets, a drifter who finds connection with another lost soul at an airport in “La Petite Mort.” Hector is forced into early adulthood in “The Words,” when his ailing uncle’s health fails due to a mysterious disease not yet called AIDS. Later Tre—a young man struggling with the weight of his own lineage—meets him in “PHX.” These stories examine questions of death’s causes and its myriad effects, and offer this solution: Knowing that we cannot know everything, and living, loving, and singing anyway.
ContributorsCohen, Michael Lawrence (Author) / Bell, Matt (Thesis director) / Pearson, Dustin (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The purpose of this thesis is to examine the relationship between mental illness and capitalist consumer society. Many Americans are suffering from mental illness and there has to be something causing it besides a chemical imbalance in the brain. A capitalist society creates a set of expectations that conflict with human desires. The thesis takes a historical, economical, and psychological approach to answering the following question: Does a capitalist society make its citizens mentally sick? A brief history of capitalism over the past century is discussed, as well as a more in depth look at capitalism and the creation of neoliberalism during the 1980s. The psychological effects capitalism has on human beings is discussed for the majority of the thesis and focuses on ideas from the 1950s as well as the early 2000s. To show the effect capitalism has on modern day society, an analysis of a psychopharmaceutical drug commercial is given. The concluding thoughts attempt to offer solutions to the problems of human unhappiness in a consumer culture.
ContributorsSerki, Aisling Erin (Author) / Gruber, Diane (Thesis director) / Ramsey, Ramsey Eric (Committee member) / Barrett, The Honors College (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2014-05
Description
The Hunger Games is one of the best representations of trauma and PTSD within a fictional work. While none of the characters are specifically diagnosed with PTSD, all of those who undergo the games put in place by the Capitol experience various forms of trauma and find various methods of coping. We see characters such as Haymitch or the morphling victors turn to drugs and alcohol for their survival. Further, we see characters such as Wiress and Annie who have incoherent speech and who struggle to put their thoughts into words. Finally, there are characters such as Peeta and Katniss who fight to hold onto the slightest bit of hope to try and remain in the present and avoid flashbacks and nightmares that return them to the horrors of the past. However, despite all of these symptoms of PTSD and trauma that are present through all three books of the series, one of the most important aspects of recovery from trauma that is demonstrated is the power of the ability to reconnect, to yourself, to family and friends and to others who have also experienced trauma. This social aspect of reconnecting relationships is the focus I would like to take for my thesis because I believe that it is one of the most powerful and the most healing aspect of trauma and PTSD. It is the most beneficial when those around you understand your experiences with PTSD and trauma and they are the ones who are able to help you the most in remaining in the present and wanting to continue living.
ContributorsWadhwa, Lipika (Author) / Hunter, Joel (Thesis director) / Matoka, Kimberly (Committee member) / Nelson, Peggy (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / Department of English (Contributor)
Created2014-05
Description
This correlational study investigated how adolescent's artistic style changed depending on their level of interest in art. The participants were 28 students from the 7th and 8th grade of Zuni Hills Elementary School. A survey was administered which measured, in regards to their artwork, the categories of interest, experimentation in subject, experimentation in material, abstract style, literal style, imagination, identity, emotion and storytelling. It was predicted that interest would have a significant positive relationship with abstract style and experimentation with subject. It was also predicted that interest would have a significant negative relationship with literal style and experimentation with material. Scores for all categories were compared and significant positive relations were found in regards to emotion, identity and storytelling. There was also a significant positive realtionship between interest and imagination as well as interest and emotion. These findings add to research about motivation in adolescent art through the means of expression of the self.
ContributorsAbeyta, Jennifer Lee (Author) / Miller, Paul (Thesis director) / Lewis, Stephen K. (Committee member) / Barrett, The Honors College (Contributor) / School of Social and Behavioral Sciences (Contributor)
Created2014-05
DescriptionThis collection of original short fiction follows the lives of three men, Jess, Charlie, and Anthony, who are linked together by the space of the Arizona Borderlands. Through the three stories, the themes of longing and powerlessness are explored within the context of the unforgiving structure of the Arizona landscape.
ContributorsGuy, Hannah Elise (Author) / McNally, T. M. (Thesis director) / Ball, Sally (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor)
Created2014-05
Description
Both "After Annie" and "When It All Happens, The End, And She's in Her Forties" focus on evolving familial relationships characterized by both love and loss. Though told in different styles, different voices, different tenses, both stories triumph the power of memory in relation to love while simultaneously emphasizing the trauma and long-lasting effects of loss. With one, through the relationship between grandfather and granddaughter and the other, through a daughter's loss of her mother, both stories converge at the intersection of duty and the need for flight (and perhaps self preservation). "After Annie" and "When It All Happens, The End, And She's in Her Forties" speak to the careful ghosts of memory, which are sometimes, thankfully, even stronger than the pull of what's been left in their absence.
ContributorsArregoces, Christina Marie (Author) / McNally, T. M. (Thesis director) / Ellis, Lawrence (Committee member) / Barrett, The Honors College (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Department of English (Contributor)
Created2014-05