Matching Items (30)
Filtering by
- Creators: Barrett, The Honors College
- Resource Type: Text
Description
This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through a close reading of the play, I hope to illustrate how the play's complicated ending and lack of complete resolution reveals why it has received relatively little attention from scholars who have previously discussed other strong, intelligent female characters in Guan Hanqing's plays. The second chapter of this thesis includes translation of the play that is comprised of a wedge preceding the four acts. Before each act of the play is a critical introduction and analysis of the act to follow. Although many of Guan Hanqing's plays have been translated into English, this play has never been translated.
ContributorsByrnes, Kelli (Author) / West, Stephen H. (Thesis advisor) / Zou, Yu (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2011
Description
Today's prison industrial complex in the United States often dehumanizes inmates simply because they are criminals. Members of the free society are generally too far removed from the inside of prisons that most people do not see the harsh and cruel conditions for and treatment of prisoners. As a Dance and Justice Studies major at Arizona State University, I was curious about how to intertwine my interests in dance and justice. This paper chronicles my exploration of adding a human rights issue to my dance practice through choreographing a solo dance performance based on Cleve Foster's unusual experience on death row. Research on theories of prison and punishment in American society combined with physical research in the dance studio enabled me to create a solo performance that shed light on the inhumane conditions for and treatment of prison inmates in today's society. Through the process, I found that some elements of my dance practice stayed the same, while others changed. This informed me of what continuously remains important to me, while allowing me to expand my personal dance practice. I ultimately discovered a bridge between my two passions, dance and justice, and learned a meaningful way to convey a contemporary social justice issue to the general public.
ContributorsKerr, Elena Marie (Author) / Schupp, Karen (Thesis director) / Vissicaro, Pegge (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Social Transformation (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
Description
Armenia is a radiant and unique country, known primarily for its vast history, delicious food, and traditional folklore dance. Although Armenia was constantly ravaged by invading armies, the nation was strong enough to retain its own identity and culture. The rich dance heritage remained a living tradition into the 20th century, when the Turks tried to destroy the dance heritage and left fragments of the dances. Even though many of these fragments were lost due to urbanization, the dance techniques are still continuously studied by scholars and people all around the world. For my creative project, I chose to perform an Armenian Folk Dance, as dance is an immense part of Armenian’s lives, and is an essential part of the Armenian cultural heritage. Dance is one of the primary ways by which one can observe and gain understanding of the Armenian people, their identity and culture. Dance is a way for Armenians to express themselves, as it is a form of art which combines elements of their rich culture, event-filled past, and their spiritual nature. The folklore dance has always sustained a leading role throughout Armenian history, as it runs through the blood of Armenians, being passed down from generation to generation. The Armenian people have survived and endured various historical challenges, but they have been able to preserve their unique dance elements and forms. To this day, Armenians continue to use dance to keep their culture and identity alive. It is a way to express freedom, and celebrate that even though we as a nation have faced many hardships, us Armenians have survived, and will always continue to survive with our faith, passion, determination, and strong will.
ContributorsKaprelian, Daniella Mary (Author) / McILwraith, Heide (Thesis director) / Alford, Eddie (Committee member) / Barrett, The Honors College (Contributor) / College of Letters and Sciences (Contributor)
Created2015-05
Description
Students not only deserve to be actively involved and engaged in learning content knowledge, but it can in fact help them learn better. Arguably too few classrooms actually utilize teaching methods that support this kind of environment. There is perhaps fear that methods like integrated curriculum may detract from student knowledge. The purpose of this intervention study was to determine how the integration of dance and social studies with an anthropological framework effects student learning of content knowledge in social studies, as well as student attitude toward the topic. Research questions that were addressed in this study are the following: (a) How does the integration of dance and social studies with an anthropological framework affect students' chapter test scores when compared to typical instruction?; (b) How does the integration of dance and social studies with an anthropological framework affect students' attitude toward social studies when compared to typical instruction?. Participants were two 6th grade classes at the same elementary school. As a supplement to a unit on Ancient Egypt, the experimental group received four intervention lessons, taught by the investigator, incorporating creative dance to encourage student exploration and increased understanding of content. An anthropological framework was also implemented to foster respectful investigation of culture. Results show that at posttest the intervention group had significantly higher content knowledge, as measured by a chapter test, compared to the control group. This suggests that this program did in fact help students to reach a better understanding of content. Though surveys showed no difference in attitude between groups or over the course of the study, qualitative student responses from the experimental group suggest extremely positive feelings towards concepts covered in the intervention lessons.
ContributorsSmith, Karli Elizabeth (Author) / Kulinna, Pamela (Thesis director) / Vissicaro, Pegge (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2015-05
Description
Psychology and dance both shed light on the question: how do our personal, life experiences affect our movement? This document introduces elements from psychology and dance through associative learning, attachment styles, muscle patterning, and partner improvisation as ways of exploring this question. It aims to briefly introduce these theories and explain how they had a role in the research of the creative project. It also documents the inception, creation, and production of Lullabye, a dance work intended to be accessible to an audience with little to no experience viewing concert dance, with the target audience specifically being the writer’s mother. It has three sections, each featuring a different element of dance, storytelling, and individuality. It starts a conversation on how emotions and thoughts related to personal experiences can affect our movement.
ContributorsTello Solano, Carlos (Co-author, Co-author) / Kaplan, Robert (Thesis director) / Montoya, Yvonne (Committee member) / Schupp, Karen (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This project explores the relationship between modern dance and Chinese individual identity from a personal perspective. Modern dance emerged from the West, carrying Western philosophies of individual identity and importance, where the composition of persons defines the group. The Chinese philosophy of the individual, however, has developed in a different context where the group defines the persons that constitute it. There is an interesting negotiation of meaning in the convergence of these two perceptions within the art of modern dance in China. A review of literature was conducted on modern dance in China, as well as the formation and development of individual identity in Chinese philosophy and culture. Over the summer of 2013, the author then conducted ethnographic research while attending the Beijing Dance Festival in Beijing, China. Reflections on the research and experiences were further explored through the creation of a dance piece and then compiled in this paper. Primary findings include that there are differences in understandings of time, space, and the use of technology that influence the practice of modern dance in China. Also, though the concept of self-expression is closely tied to Chinese ideas of modern dance, what is seen onstage raises the question of whose self is being expressed. The interaction of Eastern and Western understandings creates a dissonance of meaning.
ContributorsNunn, Jasmine Charis (Author) / Fitzgerald, Mary (Thesis director) / Zou, Yu (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12
Description
The goal of this study was to look at touch and dance from different views to gain a better perspective on the benefits of touch, mainly when used in dance and also perhaps in broader contexts. Part of this investigation also looked at the stigmatized view of touch in the American culture and in turn the lack of knowledge about, and comfort with touch in our society. A personal research component involved the creation of a solo reflecting about the question of why I connect with touch so intensely. The bulk of the study involved facilitating touch experiences in two introductory level dance classes for high school students. Daily journal entries were collected from each of the eighty students that focused on their personal experiences with touch in a series of six movement sessions. The study shows that bringing touch to the dance classroom has multiple benefits, including promoting a greater understanding and acceptance of the sense of touch, a positive impact on students' views about dance, and a break down of preconceived notions about the mind and the body.
ContributorsSteinken, Brigitte Rose (Author) / Fitzgerald, Mary (Thesis director) / Amazeen, Eric (Committee member) / Dyer, Becky (Committee member) / Barrett, The Honors College (Contributor) / School of Dance (Contributor) / Department of Psychology (Contributor)
Created2013-05
Description
Computer Science and Dance are choice driven disciplines. The output of their processes are compositions of experience. Dancers are not computers and computers are not people but there are comparable traces of humanity in the way each interpret and interact with their respective inputs, outputs, and environments. These overlaps are perhaps not obvious, but in an increasingly specialized world it is important to discuss them. Dynamic Programming and improvisational movement exist within exclusive corners of their respective fields and are characterized by their inherent adaption to change. Inspired by the work of Ivar Hagendoorn, John Cage and other interdisciplinary artists, complexMovement is motivated by the need to create space for intersections between these two powerful groups and find overlaps in the questions they ask to achieve their goals. Dance and Computer Science are just one example of hidden partnerships between their respective fields. Their respective sides allow for ample side by side comparisons but for the purpose of this work, we will focus upon two smaller sectors of their studies: improvisational movement and the design of Dynamic Programming algorithms.
ContributorsOhlsen, Lai Yi Ni (Author) / Britt, Melissa (Thesis director) / Crissman, Angel (Committee member) / Standley, Eileen (Committee member) / Computer Science and Engineering Program (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
In recent education trends, an emphasis has been placed on teaching students in STEM (Science, Technology, Engineering, and Mathematics) disciplines. Many researchers have advocated for integrating Arts education as well, changing STEM education to STEAM (STEM + Arts) education. This paper describes an original 8th Grade physics curriculum integrating Science, Technology, Engineering, Arts, and Mathematics (STEAM). The curriculum was designed to teach core science concepts through inquiry and dance activities. The curriculum uses the 5E inquiry format, specifically using dance and movement activities to elaborate on the learned science content. The unit curriculum is designed to be implemented in an 8th Grade science classroom based on best practices in Science Instruction and Dance Education. The curriculum was not implemented as a research study this year, but is designed to support research in the future. The curriculum was however presented to Term 6 Pre-service Teachers in Mary Lou Fulton Teacher's College at ASU, whom evaluated the effectiveness of the lessons and offered feedback. This paper includes a review of current literature on STEAM education and dance integration, rationale for the curriculum's 5E Format and dance integration, the entire physics unit curriculum in 5E format, Pre-service Teacher feedback, and implications for a future research study with the unit curriculum.
ContributorsHarris, Carson Donald (Author) / Chen, Ying-Chih (Thesis director) / Atkinson, Laura (Committee member) / Division of Teacher Preparation (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This thesis takes four modern dance genre films — Footloose (1984), Save the Last Dance, Take the Lead, and Step Up 2: The Streets — and analyzes them through the psychological concepts of trust, self-esteem, and prejudice. This thesis begins by identifying the cinematic elements of the dance film genre. It then explores and explains the underlying psychological elements and the impact they have on the film viewers. This thesis contains three chapters that will explore the significance of this new genre. Chapter One will describe how documentary dance films differ from fictional dance films. This will be followed by a history of the fictional dance films beginning with foundational films Saturday Night Fever (1977) and Dirty Dancing (1987) as a gateway to the modern dance film storylines. Chapter Two identifies the genre elements of modern dance films in regards to the typical characters, settings, and filmic devices. Chapter Three provides an in-depth view of the psychological concepts of trust, self-esteem, and prejudice, showing how they are integrated in the lessons the characters and audience learn throughout the films. The purpose of the thesis is to educate readers that dance films not only have an entertaining element, but also the ability to offer a deeper psychological understanding through the audience identification with the characters.
ContributorsFlack, Desirae Adele (Author) / Ramsey, Ramsey Eric (Thesis director) / Gruber, Diane (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12