Matching Items (6)
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- All Subjects: Performativity
- All Subjects: Sociology
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- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
The stories that we tell matter. Public storytelling influences how we think about ourselves and how we treat others. This project explores how Arizona's Support our Law Enforcement and Safe Neighborhoods Act (SB 1070) affected the development of social identities such as citizen, immigrant (documented and undocumented), and public administrator through public storytelling. The question of how a public policy shapes identity development is relatively under-explored in the literature. Critical aspects of feminist and political theory demonstrate that identity is affected by discourses, such as performatives and accounts of oneself. A public policy authorizes public administrators to issue or demand discourses, such as performatives and accounts of oneself, from the individuals they encounter. Moreover, the text of a public policy resembles an account of oneself, delivered on behalf of a fabricated subject. In this project, the structural elements and storytelling techniques of SB 1070 are drawn out through tools derived from the field of narratology. When applied to the text of SB 1070, narratological tools reveal four major organizing principles or plots, all of which center on the identification and punishment of four types of individuals or organizations: (a) employers of undocumented immigrants; (b) transporters/shielders of undocumented immigrants; (c) undocumented immigrants; (d) state and local government agencies or officials that do not fully implement federal immigration law. An analysis of 321 news stories published after SB 1070's passage reveals that some plots resonated more than others with storytellers. The storytelling about SB 1070 also makes visible the policy's power as a discourse to unsettle the identities of citizens, immigrants (documented and undocumented), and public administrators. It also raises concerns about who bears the responsibility for the impact of policies like SB 1070, which have been passed but not implemented, and yet have a tangible impact on the lives of citizens and other residents. These findings suggest that not only can public policy unsettle social identities, but proposes complicated questions about who is responsible for the harm inflicted on others when a public policy is passed.
ContributorsWarnicke, Margaretha (Author) / Catlaw, Thomas J (Thesis advisor) / Kitch, Sally L (Committee member) / Lucio, Joanna D. (Committee member) / Arizona State University (Publisher)
Created2014
Description
This study investigates degree perseverance among African Americans who transitioned from an undergraduate music program at a Historically Black College and University (HBCU) to a Predominantly White Institution (PWI). A framework based on Bourdieu’s cultural capital theory and Yosso’s community cultural wealth theory was employed to examine how academic, cultural, and social aspects of participants’ undergraduate and graduate school experiences influenced their perseverance. Because those aspects are intricately intertwined with race, I also employed critical race theory and double consciousness theory, and used Angela Duckworth’s Grit Scale to measure degree perseverance.
Eight African American male instrumental music educators participated in this study. Research questions included: What are the experiences of African Americans who have transitioned from undergraduate music programs at HBCUs to graduate music programs at PWIs?; How do these individuals compare academic, social, and cultural aspects of their experiences within two institutional environments?; What are their self-perceptions of their own degree perseverance?; and, What social, cultural, and academic aspects of their experiences influenced their perseverance?
After developing a portrait of each participant’s pre-college and college experiences, analysis reveled that participants were very persistent; however, academic, cultural, social, and racial experiences influenced their perseverance. Participants employed dominant cultural capital and community cultural wealth as well as their “Grittiness” to successfully transition from an HBCU to a PWI.
Recommendations for HBCUs, PWIs, and the profession are offered toward improving the experiences of African American music students in higher education. HBCUs must hold their faculty and students accountable for developing a broader musical experience beyond marching band, and address colorism on their campuses. PWIs should recognize and accept the capital that African Americans bring, acknowledge that African Americans need access to social support networks, and assess how their environments, actions, and decisions may devalue or discount African Americans. While more research is needed regarding the experiences of African Americans in music programs, African American students must also take active roles in shaping their own educational experiences by seeking assistance that will improve their experiences.
Eight African American male instrumental music educators participated in this study. Research questions included: What are the experiences of African Americans who have transitioned from undergraduate music programs at HBCUs to graduate music programs at PWIs?; How do these individuals compare academic, social, and cultural aspects of their experiences within two institutional environments?; What are their self-perceptions of their own degree perseverance?; and, What social, cultural, and academic aspects of their experiences influenced their perseverance?
After developing a portrait of each participant’s pre-college and college experiences, analysis reveled that participants were very persistent; however, academic, cultural, social, and racial experiences influenced their perseverance. Participants employed dominant cultural capital and community cultural wealth as well as their “Grittiness” to successfully transition from an HBCU to a PWI.
Recommendations for HBCUs, PWIs, and the profession are offered toward improving the experiences of African American music students in higher education. HBCUs must hold their faculty and students accountable for developing a broader musical experience beyond marching band, and address colorism on their campuses. PWIs should recognize and accept the capital that African Americans bring, acknowledge that African Americans need access to social support networks, and assess how their environments, actions, and decisions may devalue or discount African Americans. While more research is needed regarding the experiences of African Americans in music programs, African American students must also take active roles in shaping their own educational experiences by seeking assistance that will improve their experiences.
ContributorsMcCall, Joyce Marie (Author) / Schmidt, Margaret E (Thesis advisor) / Oldani, Robert (Committee member) / Tobias, Evan (Committee member) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of their male counterparts, this concern has yet to be addressed in the field of music education.
Participants, selected to show maximum variation in personal and professional characteristics, were women who had previously taught in K-12 settings and who were enrolled in or recently graduated from a doctoral program in music education in the United States. Data were collected primarily through in-depth interviews and photo elicitation, and were analyzed through both individual case and cross-case analyses.
All of the women initially stated gender was not an issue that influenced their doctoral studies, but analysis showed that they had clearly internalized the socially constructed roles and expectations reflected in society, and that those roles and expectation did, indeed, impact their choices and behaviors prior to and during their doctoral studies. Three facets of gender were important, specifically socially constructed roles and expectations for women in both their families and in their doctoral studies, gender performativity related to the male-centered expectations in academia, and the importance of intersectionality. The participants’ doctoral experiences were contextualized not just by their gender, but also by their race/ethnicity, class, sexuality, religion, and age. Analysis supports other researchers’ findings that women doctoral students may have different experiences in their doctoral studies than their male counterparts.
Recommendations for doctoral programs in music education and music teacher educators are provided. This study’s findings suggest further research is needed to investigate the impact of gender balance in doctoral cohort and faculty, amount of teaching experience prior to studies, and educational background or prior research experience on women’s doctoral experiences, as well as the roles of intersectionality and performativity for women in an academic context.
This study examines the experiences of five women doctoral students in music education. The goal was to gain insight into the important experiences and concerns they encountered during their studies. While the literature on women in other fields indicates that socialization of women to the academy differs from that of their male counterparts, this concern has yet to be addressed in the field of music education.
Participants, selected to show maximum variation in personal and professional characteristics, were women who had previously taught in K-12 settings and who were enrolled in or recently graduated from a doctoral program in music education in the United States. Data were collected primarily through in-depth interviews and photo elicitation, and were analyzed through both individual case and cross-case analyses.
All of the women initially stated gender was not an issue that influenced their doctoral studies, but analysis showed that they had clearly internalized the socially constructed roles and expectations reflected in society, and that those roles and expectation did, indeed, impact their choices and behaviors prior to and during their doctoral studies. Three facets of gender were important, specifically socially constructed roles and expectations for women in both their families and in their doctoral studies, gender performativity related to the male-centered expectations in academia, and the importance of intersectionality. The participants’ doctoral experiences were contextualized not just by their gender, but also by their race/ethnicity, class, sexuality, religion, and age. Analysis supports other researchers’ findings that women doctoral students may have different experiences in their doctoral studies than their male counterparts.
Recommendations for doctoral programs in music education and music teacher educators are provided. This study’s findings suggest further research is needed to investigate the impact of gender balance in doctoral cohort and faculty, amount of teaching experience prior to studies, and educational background or prior research experience on women’s doctoral experiences, as well as the roles of intersectionality and performativity for women in an academic context.
ContributorsMeyers, Liza (Author) / Schmidt, Marg (Thesis advisor) / Holbrook, Amy (Committee member) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2017
Description
When discussing gay literature in the French, contemporary sphere, one of the most up
and coming and prominent authors is Édouard Louis. His works’ focus on the realism and
violence of the working class offers a critical and necessary perspective of the gay experience in
modern-day France. While recent in their creation, Louis’ works follow a connecting thread that
is inseparable from other autofiction novels that have a narrator with same sex attractions such as
Annie Ernaux’s Ce qu’ils disent or rien and Didier Eribon’s Retour à Reims. Often commonly
discussed as French LGBT literature, these autofictional works that extend from Gide to Eribon
to now Louis demonstrate how the proposed societal dualities, limitations, and hierarchies
described by philosophers like Michel Foucault and Judith Butler affect homosexual
performativity. Louis’ first novel En finir avec Eddy Bellegueule, published on January 2, 2014,
offers another illustration of this analysis. It specifically describes the metaphysical
(metaphysical being the relationship between the outer stimuli and internal perspective) effects
and constraints of current poverty on homosexual performativity. By analyzing En finir avec
Eddy Bellegueule through this theoretical framework of power and poverty, this thesis adds a
theoretical and intersectional nuance to the narrative voice that current literature focusing on the
novel’s landscape mentions but does not reflect on. I argue that it is important to attach an
autofictional timeline that is necessary to promote and apply future ontological doctrines to this
genre.
ContributorsYanez, Mariano (Author) / Canovas, Frédéric (Thesis director) / Agruss, David (Committee member) / School of International Letters and Cultures (Contributor, Contributor, Contributor, Contributor) / Dean, The College of Liberal Arts and Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
The purpose of this sequential explanatory mixed-methods study was to explore Chinese music teachers' concerns that arise from classroom practice in their first six years of teaching using the three-stage model of teacher concerns development proposed by Fuller and Bown (1975). Research questions focused on teachers' concerns, concerns patterns, the shift of concerns patterns, and influences associated with concerns shifts. This study started with quantitative data collection using a survey based on Campbell and Thompson's (2007) Teacher Concerns Checklist to collect data from Chinese beginning music teachers working in Zhejiang Province (N = 316). The qualitative data were generated from semi-structured individual interviews with 12 participants purposefully selected from survey participants. The quantitative and qualitative results revealed that Chinese beginning music teachers' self, task, and student impact concerns exist and progress simultaneously. Their self and task concerns decreased as their teaching experience increased. These beginning music teachers' student impact concerns remained relatively unchanged at a high level in their first six years of teaching. Qualitative data revealed a new potential category of concerns: work environment concerns, including supportive school policies and interpersonal relationships in the workplace. Qualitative data also suggested that teachers' self concerns and student impact concerns may consist of two levels. Self concerns included self-survival concerns and self-improvement concerns, and student impact concerns included awareness of student impact concerns and having ideas for dealing with these concerns. The results of this study showed that some of the teachers' concerns were context-specific. These kinds of concerns may have been influenced by factors other than years of teaching experience, such as teaching circumstances, cultural context, and the teacher evaluation system, which also seemed to influence teachers' particular concerns. Based on these findings, a new model of the progression of teacher concerns was proposed. The findings of this study provide information for teacher educators, mentors, and school administrators to develop professional development programs and school policies that may help beginning music teachers relieve their anxieties and prepare them to be successful in the early years of teaching.
ContributorsLe, Xinyue (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra (Thesis advisor) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2021
Description
The purpose of this study was to explore Chinese preservice music teachers’music teacher role-identity. McCall and Simmons’ (1978) theory of identities and interactions served as the theoretical framework. Three research questions guided this study: How do Chinese preservice music teachers describe their music teacher role- identity, specifically, their imagined character and role as an occupant of a music teacher position? How do Chinese preservice music teachers construct their music teacher role- identity through secondary socialization? Where do Chinese preservice music teachers place their music teacher role-identity in their prominence and salience hierarchies? Twenty-five preservice music teachers from two conservatories in China participated; all had more than six months of teaching experience. Data were collected through focus groups and semi-structured individual interviews. Data were analyzed using qualitative content analysis. Findings revealed that each of the 25 Chinese preservice teachers constructed a music teacher role-identity as the occupant of an either group or private music teacher position. These preservice teachers’ imaginative views of self-as-teacher contained shared characters, including being respectful, responsible, and fair, and also shared roles, including acting professionally in music and in teaching. Each preservice teacher appeared to be an active agent, bringing their own idiosyncratic understandings to the characters and roles of specific music teacher positions, making them unique teachers. These preservice teachers constructed their music teacher role-identities through cognitive role-taking and role improvisation, and expressive role enactment and negotiations with important audiences. They consistently balanced the content of their music teacher role-identity, negotiating which characters and roles were and were not negotiable, to balance their own and others’ needs. While each preservice teacher constructed their own music teacher role-identity, not all considered it prominent. Only those who obtained desired rewards, particularly self-support and intrinsic rewards, from enacting their music teacher role-identity placed it higher in the prominence hierarchy of their identity-set. Findings suggested preservice teachers’ salient role-identities were not fixed, but changed, depending on their own interpretations of the situation, of themselves within the situation, and of the opportunities to obtain desired rewards from the situation. Implications for music teacher education policy and practice in China are discussed.
ContributorsLong, Chengcheng (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2021