Matching Items (27)
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- Genre: Masters Thesis
- Creators: Arizona State University
- Member of: ASU Electronic Theses and Dissertations
Description
Efficiency of components is an ever increasing area of importance to portable applications, where a finite battery means finite operating time. Higher efficiency devices need to be designed that don't compromise on the performance that the consumer has come to expect. Class D amplifiers deliver on the goal of increased efficiency, but at the cost of distortion. Class AB amplifiers have low efficiency, but high linearity. By modulating the supply voltage of a Class AB amplifier to make a Class H amplifier, the efficiency can increase while still maintaining the Class AB level of linearity. A 92dB Power Supply Rejection Ratio (PSRR) Class AB amplifier and a Class H amplifier were designed in a 0.24um process for portable audio applications. Using a multiphase buck converter increased the efficiency of the Class H amplifier while still maintaining a fast response time to respond to audio frequencies. The Class H amplifier had an efficiency above the Class AB amplifier by 5-7% from 5-30mW of output power without affecting the total harmonic distortion (THD) at the design specifications. The Class H amplifier design met all design specifications and showed performance comparable to the designed Class AB amplifier across 1kHz-20kHz and 0.01mW-30mW. The Class H design was able to output 30mW into 16Ohms without any increase in THD. This design shows that Class H amplifiers merit more research into their potential for increasing efficiency of audio amplifiers and that even simple designs can give significant increases in efficiency without compromising linearity.
ContributorsPeterson, Cory (Author) / Bakkaloglu, Bertan (Thesis advisor) / Barnaby, Hugh (Committee member) / Kiaei, Sayfe (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT (English)
Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.
The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.
ABSTRACT (German)
Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.
Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.
Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.
The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.
ABSTRACT (German)
Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.
Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.
ContributorsGerber, Michelle (Author) / Alexander, John (Thesis advisor) / Ghanem, Carla (Committee member) / Gilfillan, Daniel (Committee member) / Arizona State University (Publisher)
Created2015
Description
Many alternative schools for at-risk students do not offer art classes to their students. Phoenix Job Corps is one of those schools. I conducted a qualitative study about a voluntary summer art course at Phoenix Job Corps, a vocational school for at-risk students. I had thirteen student volunteers, eight of them refugees from other countries. All the participants created a narrative painting about something in their lives. The purpose of this study was to examine this voluntary summer art course and to determine its usefulness as a beneficial tool to the lives of the students. This included looking at participants' narrative paintings to determine common themes or subjects, finding out their opinions on whether or not their school should offer an art course, their willingness to share their stories, determining whether they think it's important for others to see their work, and lastly concluding what artwork they like best and why. I found that the majority of students do want an art class offered at their schools, and all but one participant was more than willing to share their story about their narrative painting. Common themes amongst their paintings were family, a specific memory or event, or their present and future lives. I found similar subject matter in their paintings such as animals, houses or huts, and people. My research also unveiled a large difference in the refugee students' paintings as opposed to the other United States participants. The findings also suggest that participants judged other work based on meaning more so than aesthetics. This study explores, in detail, the narrative art and experiences of a very diverse group of students.
ContributorsSchaller, Kimberly (Author) / Young, Bernard (Thesis advisor) / Erickson, Mary (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2012
Description
This case study explores similarities and differences between the instructors' beliefs about oral corrective feedback and their actual practices in a summer Chinese program. This kind of feedback is beneficial for beginning college-level learners of Chinese to improve their speaking accuracy. The researcher conducted face-to-face interviews with two teachers of Chinese, focusing on their beliefs about oral corrective feedback in their language classrooms. In addition, the researcher recorded teacher-student interactions through class observation in order to analyze the teachers' actual practices of oral corrective feedback. The main findings show that the teachers hold similar beliefs on oral corrective feedback and its beneficial role in helping improve learners speaking accuracy. The fact is that they frequently provide oral corrective feedback in classroom, mostly using recasts. Implications are discussed in view of the necessity of using explicit feedback and recasts appropriately. In addition, this study demonstrates the need for specific professional development and teacher training about how to provide efficient corrective feedback.
ContributorsDong, Zhixin (Author) / Spring, Madeline K. (Thesis advisor) / West, Stephen (Committee member) / Oh, Young (Committee member) / Arizona State University (Publisher)
Created2012
Description
Class D Amplifiers are widely used in portable systems such as mobile phones to achieve high efficiency. The demands of portable electronics for low power consumption to extend battery life and reduce heat dissipation mandate efficient, high-performance audio amplifiers. The high efficiency of Class D amplifiers (CDAs) makes them particularly attractive for portable applications. The Digital class D amplifier is an interesting solution to increase the efficiency of embedded systems. However, this solution is not good enough in terms of PWM stage linearity and power supply rejection. An efficient control is needed to correct the error sources in order to get a high fidelity sound quality in the whole audio range of frequencies. A fundamental analysis on various error sources due to non idealities in the power stage have been discussed here with key focus on Power supply perturbations driving the Power stage of a Class D Audio Amplifier. Two types of closed loop Digital Class D architecture for PSRR improvement have been proposed and modeled. Double sided uniform sampling modulation has been used. One of the architecture uses feedback around the power stage and the second architecture uses feedback into digital domain. Simulation & experimental results confirm that the closed loop PSRR & PS-IMD improve by around 30-40 dB and 25 dB respectively.
ContributorsChakraborty, Bijeta (Author) / Bakkaloglu, Bertan (Thesis advisor) / Garrity, Douglas (Committee member) / Ozev, Sule (Committee member) / Arizona State University (Publisher)
Created2012
Description
The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy, and historical scripts based upon real relations and conditions. Of the genre of Neo-Expressionism without a disciplined schooling in art, Jean-Michel is categorized as 'primitive' in style and form, labeled the "first black artist." Beyond the art world's possessive confines and according to post-colonial aesthetics, Jean-Michel articulates the existence of a learning self. With a pedagogical lens, a process of becoming an "artist" deepened Basquiat's expressions of self in relation to a “white” art world, which typically restricted the artist to specific categories and definitional parameters.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self.
ContributorsDiffie, Dillon (Author) / Lauderdale, Pat (Thesis advisor) / Vicenti Carpio, Myla (Committee member) / Swadener, Beth Blue (Committee member) / Arizona State University (Publisher)
Created2017
Description
In 2005 the Navajo Nation Tribal Council passed the Navajo Sovereignty in Education Act (NSEA). The NSEA has been herald as a decisive new direction in Diné education with implications for Diné language and cultural revitalization. However, research has assumed the NSEA will lead to decolonizing efforts such as language revitalization and has yet to critically analyze how the NSEA is decolonizing or maintains settler colonial educational structures. In order to critically investigate the NSEA this thesis develops a framework of educational elimination through a literature review on the history of United States settler colonial elimination of Indigeneity through schooling and a framework of decolonizing education through a review of literature on promising practices in Indigenous education and culturally responsive schooling. The NSEA is analyzed through the decolonizing education framework and educational elimination framework. I argue the NSEA provides potential leverage for both decolonizing educational practices and the continuation of educational elimination.
ContributorsPreston, Waquin (Author) / Vicenti Carpio, Myla (Thesis advisor) / Sumida Huaman, Elizabeth (Committee member) / Tippeconnic III, John (Committee member) / Arizona State University (Publisher)
Created2015
Description
In this thesis, a digital input class D audio amplifier system which has the ability
to reject the power supply noise and nonlinearly of the output stage is presented. The main digital class D feed-forward path is using the fully-digital sigma-delta PWM open loop topology. Feedback loop is used to suppress the power supply noise and harmonic distortions. The design is using global foundry 0.18um technology.
Based on simulation, the power supply rejection at 200Hz is about -49dB with
81dB dynamic range and -70dB THD+N. The full scale output power can reach as high as 27mW and still keep minimum -68dB THD+N. The system efficiency at full scale is about 82%.
to reject the power supply noise and nonlinearly of the output stage is presented. The main digital class D feed-forward path is using the fully-digital sigma-delta PWM open loop topology. Feedback loop is used to suppress the power supply noise and harmonic distortions. The design is using global foundry 0.18um technology.
Based on simulation, the power supply rejection at 200Hz is about -49dB with
81dB dynamic range and -70dB THD+N. The full scale output power can reach as high as 27mW and still keep minimum -68dB THD+N. The system efficiency at full scale is about 82%.
ContributorsBai, Jing (Author) / Bakkaloglu, Bertan (Thesis advisor) / Arizona State University (Publisher)
Created2015
Description
Paseo is a postmodern dance performance that reveals the migrational passage of bodies through space and time. Paseo included five dance participants, and the choreographer/pedagogue. Paseo members participated in rehearsal and performance events that completed the investigational study. The creative process focused on integrating somatic and improvisational movement practices to design an environment where dancers could build body-mind awareness and sensitivity to their surroundings, participate democratically, and build agency in their performative decision-making. Paseo investigated the performance as an informal site for learning and understanding of migration, identity, and community. Another objective of Paseo was to explore the performance as an informal site of learning and its transformative effects on lived experiences that occur from the act of doing, the act of becoming, and experiential sensations.
Paseo was part of the Arizona State University’s (ASU) School of Film, Dance, and Theatre Emerging Artists I series, one of two performances that shared the stage with fellow graduate cohort member, Grace Gallagher. Paseo took place at ASU’s Margaret Gisolo Theatre, located at the Physical Education Building East. Performance dates were the following; fix punctuation Friday, November 6th, Saturday, November 7th, and Sunday, November 8th. Paseo had a fourth presentation on Saturday, December 5th, 2015, at Margaret Gisolo Theatre as part of the post-conference performance and dialogue event, “By The People.” The conference was hosted by the Participatory Government Initiative on the ASU Campus from December 3rd-5th, 2015.
Paseo was part of the Arizona State University’s (ASU) School of Film, Dance, and Theatre Emerging Artists I series, one of two performances that shared the stage with fellow graduate cohort member, Grace Gallagher. Paseo took place at ASU’s Margaret Gisolo Theatre, located at the Physical Education Building East. Performance dates were the following; fix punctuation Friday, November 6th, Saturday, November 7th, and Sunday, November 8th. Paseo had a fourth presentation on Saturday, December 5th, 2015, at Margaret Gisolo Theatre as part of the post-conference performance and dialogue event, “By The People.” The conference was hosted by the Participatory Government Initiative on the ASU Campus from December 3rd-5th, 2015.
ContributorsOlarte, David (Author) / Vissicaro, Pegge (Thesis advisor) / Fonow, Mary (Committee member) / Landborn, Adair (Committee member) / Britt, Melissa (Committee member) / Arizona State University (Publisher)
Created2016
Description
Since the early 1980s spoken word has been on the rise as a highly influential performance art form. Concurrently, there has been an increase in literature on spoken word, which tends to focus on the critical performative and transformative potential of spoken word. These on-going discussions surrounding youth spoken word often fail to take into account the dynamic, relational, and transitional nature of power that constructs space and subjectivity in spoken word. This ethnographic study of one youth spoken word organization – Poetic Shift – in a southwestern urban area makes a conscious attempt to provide a nuanced, contradictory and partial analysis of space, place, and power in relation to youth spoken word and aspires to generate an understanding of how spaces designated for spoken word are dialectically (re)produced and maintain or subvert dominant relations of power through a constant stream of negotiations. This study aims to more explicitly examine the relationship between place and spoken word in effort to understand how one’s positionality impacts, and is impacted by, their involvement in youth spoken word.
Over the course of a 6-month period participant observation was conducted at two high school spoken word workshops and four interviews were completed with both teaching artists and young adult spoken word poets. Using spatial and critical pedagogy frameworks, this study found that Poetic Shift serves as a platform for youth to engage in the performative process of narratively constructing and reconfiguring their identities. Poetic Shift’s ideological position that attributes value and validation to the voices and lived experiences of each youth is an explicit rejection of the dominant paradigm of knowing that relegates some voices to a culture of silence. The point at which the present study deviated from most other literature on spoken word is where it offers a critique of Poetic Shift as a site of critical literacy and of the unreflexive rhetoric of student empowerment. The problematic presuppositions within the call for youth voice and in the linear, overly simplistic curriculum of Poetic Shift tend to reinforce the dominant relations of power.
Over the course of a 6-month period participant observation was conducted at two high school spoken word workshops and four interviews were completed with both teaching artists and young adult spoken word poets. Using spatial and critical pedagogy frameworks, this study found that Poetic Shift serves as a platform for youth to engage in the performative process of narratively constructing and reconfiguring their identities. Poetic Shift’s ideological position that attributes value and validation to the voices and lived experiences of each youth is an explicit rejection of the dominant paradigm of knowing that relegates some voices to a culture of silence. The point at which the present study deviated from most other literature on spoken word is where it offers a critique of Poetic Shift as a site of critical literacy and of the unreflexive rhetoric of student empowerment. The problematic presuppositions within the call for youth voice and in the linear, overly simplistic curriculum of Poetic Shift tend to reinforce the dominant relations of power.
ContributorsKesselring, Jenna (Author) / Nakagawa, Kathryn (Thesis advisor) / Cheng, Wendy (Thesis advisor) / Lee, Charles (Committee member) / Arizona State University (Publisher)
Created2016