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- Creators: School of International Letters and Cultures
- Creators: School of Historical, Philosophical and Religious Studies
Description
The aim of this thesis is to explore the relationship between architecture and history in Virginia from 1607 to the eve of the American Revolution to create a complete historical narrative. The interdependency of history and architecture creates culturally important pieces and projects the colonist's need to connect to the past as well as their innovations in their own cultural exploration. The thesis examines the living conditions of the colonists that formed Jamestown, and describes the architectural achievements and the historical events that were taking place at the time. After Jamestown, the paper moves on to the innovations of early Virginian architecture from Colonial architecture to Georgian architecture found in Williamsburg. Conclusively, the thesis presents a historical narrative on how architecture displays a collection of ideals from the Virginian colonists at the time. The external display of architecture parallels the events as well as the economic conditions of Virginia, creating a social dialogue between the gentry and the common class in the colony of Virginia.
ContributorsChang, Hosu (Author) / Gray, Susan (Thesis director) / O'Donnell, Catherine (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Social Transformation (Contributor)
Created2015-05
Description
The prospect of anti-aging or life extension technology is controversial in biogerentology but deemed even by skeptical experts to warrant discussion. I discuss the justifications that the probability of life extension technology being developed in the near future is reasonably high and that this research justifies the time and money it receives. I investigate potential ethical and societal issues anti-aging technology might create. This paper addresses inequality of access, economic cost, changes in quality of life, the role of death in human life, if and how the technology should be regulated and how parties who choose not to undergo treatment can be fairly treated, even when they are a minority.
ContributorsGlesener, Julia Hannah (Author) / McGregor, Joan (Thesis director) / DeSerpa, Allan (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Department of Chemistry and Biochemistry (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
A longing to revisit the people, places, and moments of my past has followed me for years, sometimes affecting me to the extent that the past seems to intrude on my present. In this piece, I wish to turn a critical eye on these feelings of nostalgia and examine how strong emotion can emerge from nothing more than fractured, faded memories. Using footage of moments I had recorded over six months of living in Europe, I seek to sculpt these images from my past into a form that rejects the daze of nostalgia for the fragmented truth of memory. My background is in more traditional narrative filmmaking, and so I was excited to work in this experimental three-screen format, in which I could explore the concept of memory in a manner that felt truer to how I actually experience it. I tested various combinations of imagery in my videos to build the progression of the piece, which I hoped would play out in an associational style that mimicked the process of my own memory. I hope that this will cause people to walk away from the piece thinking about how memory can fuel emotion and even to investigate their own relationship to the past.
ContributorsPowell, Matthew Rhys (Author) / Bradley, Christopher (Thesis director) / Brye, Anne (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
Description
Memory Wipe is a 22 minute, video art piece that utilizes home movie footage filmed on VHS and 8mm, as well as television and cartoon ephemera, to explore the way in which personal memory is constructed and altered through the process of recording and viewing. Three recent events in my life inspired work: the discovery of a box containing my favorite childhood media, the revelation that I am the last male of my family, and the impending sale of my family's farmland. My mother never used a video camera, insisting that her childhood was lost in footage filmed but never watched. It should also be noted that not once do I appear in this piece; therefore, I decided to extract myself from the narrative. Rather than simply guide the audience along with anecdotes from my life, I instead invite viewers to draw their own meanings and create their own nostalgias from the piece. Originally, Memory Wipe was to be accompanied by live narration, but all things considered, I thought I would let it speak for itself. Video link: https://www.youtube.com/watch?v=-E42a6Koma4
ContributorsMcDougall, Clayton Ross (Author) / Magenta, Muriel (Thesis director) / Brye, Anne (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
Since Dylan Roof, a white supremacist, shot and killed nine members of a black church in Charleston on June 17, 2015, Confederate symbols have stood at the center of much controversy across the United States. Although the Confederate battle flag remains the most obvious example, the debate took a particular form in Tennessee, centering on the image of General Nathan Bedford Forrest. Born in 1822 to a poor family, he left school early to work. Although his work in the slave trade made him a millionaire, his later participation in the massacre of over 300 black soldiers at Fort Pillow in 1864 during the Civil War and association with the Ku Klux Klan cemented his reputation as a violent racist. Yet, many white Tennesseans praised him as a hero and memorialized him. This thesis examines Nathan Bedford Forrest State Park in Benton County and Forrest Park, now Health Sciences Park, in Memphis to examine what characteristics denote a controversial memorial. Specifically, I focus on the physical form, the location, and the demographics of the area, investigating how these components work together to give rise to controversy or acceptance of the memorial's image. Physical representations greatly impact the ideas associated with the memorial while racial demographics affect whether or not Forrest's representation as a hero speaks true to modern interpretations and opinions.
ContributorsFish, Caroline Rose (Author) / Longley, Rodney (Thesis director) / Suk, Mina (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Politics and Global Studies (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Human subject research is a sensitive ethical topic in today's society, and with good cause. The history of human subject research is full of tragedy and wrongdoing, which is what has led to the firm restrictions we presently have. At the same time, we also acknowledge the value behind human subject research and the information science can obtain from such endeavors. This project analyzes this conundrum through a narrative describing a group of scientists who choose to ignore some of the laws and regulations concerning human subject research in order to pursue neurological based research for a "greater good." In the novella, the scientists end up harming several people while performing their illegal research, but are able to obtain successful results. However, the group is eventually caught, and end up having to face the consequences of their actions. The situations and interactions the story presents are meant to juxtapose both sides of the human subject research ethical argument in a unique way in order to allow the reader to critically think through the argument themselves and form their own opinions on the matter.
ContributorsPirotte, Benjamin Daniel (Author) / Finn, Edward (Thesis director) / Cook, Paul (Committee member) / McGregor, Joan (Committee member) / Barrett, The Honors College (Contributor) / School of Life Sciences (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
This paper aims to assess potential similarities and differences in the way that public relations professionals approach ethics in Spain and The United States. The approach taken for this study was first a thematic analysis of industry-accepted codes of ethics. These were the PRSA Code of Ethics from the United States and the ADECEC and Dircom codes of ethics from Spain. Although the codes provide a basis for a basic analysis, it is hard to say how public relations professionals implement ethical practices in their work solely based on codes of ethics. To further study the ethics in practice, interviews with public relations professionals from a 2012 trip to Madrid were transcribed and analyzed for key themes. To assess ethics in practice in the United States, public relations blog posts related to ethics were analyzed for key themes. The history of public relations in Spain is much shorter than in the United States The histories of the and cultural differences may be the cause of some of the differences in ethics.
ContributorsLurie, Hannah Jessica (Author) / Gilpin, Dawn (Thesis director) / Matera, Fran (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2014-05
Description
While Italian and American news may look similar from a surface observation, the history and the development of news practices in each respective country is very different. The intent of this research is to dissect the breaking news cycle and point out differences and offer an explanation as to why these differences exist. The research for this will be collected using a variety of methods including first-hand observation, interviews and photographs. It will require travel to the four Italian media locations that are being compared as well as historic research to be conducted in order to provide context for the study. What is collected at the various Italian media organizations will be compared with the American news outlets The Arizona Republic and Arizona NBC affiliate, 12 News. The study goals are focused around three main research questions that aim to uncover differences in breaking news practices regarding ethics, the reporting process and promotion using social media. Cultural, historic and physical barriers separate the two countries. Because of this, directly comparing breaking news between the locations will be difficult, thus it is crucial to be able to analyze what data are being gathered in order to uncover patterns and draw conclusions.
ContributorsNicosia, Domenico Giuseppe (Author) / Silcock, B. William (Thesis director) / Dell'Anna, Antonella (Committee member) / Johnson, Aric (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Social and Behavioral Sciences (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05