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- Creators: Arizona State University
- Creators: Cavanaugh Toft, Carolyn
- Status: Published
Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth.
By examining specific variables such as length of relationship, I wonder how length of relationship between an IPV offender and victim impact recidivism rates? This thesis will discuss IPV history and theoretical perspectives, history of educational programs, length of relationship, and the dataset conducted by Davis et al. (2000).
This thesis examines how the likelihood of IPV recidivism is effected by length of relationship, the different length of treatment programs (overall, eight-week, or twenty-six-weeks), and the interaction between length of relationship and the different treatment programs. The results show overall that length of relationship slightly decreases the rate of recidivism for IPV. When length of relationship is ran in the models with the separate treatment programs, it is found that the overall treatment and twenty-six-week programs have drastic and significant reduction results on recidivism, but that the eight-week program actually increases recidivism rates slightly. The results also indicate that when examining the interaction between length of relationship and the different treatment programs, length of relationship slightly moderates the reduction of the recidivism rates for the individuals enrolled in the overall treatment and eight-week programs, but slightly increases the rates for those in the twenty-six-week program.
Secondary qualitative and quantitative data collected as part of Dr. Alesha Durfee’s National Institute of Justice Researcher-Practitioner Partnerships Grant “Investigating the Impacts of Institutional and Contextual Factors on Protection Order Decision-Making” (Dr. Alesha Durfee, PI; Mesa Municipal Court and National Center for State Courts, co-PIs) (2015-IJ-CX-0013) are analyzed in this thesis.
The following creative project defends that, whether intentionally or not, mental illness and substance abuse are inevitably romanticized in young adult media and discusses the dangers of this romanticization. This project is divided into three parts. The first part consists of psychological evaluations of the main characters of two popular, contemporary forms of young adult media, Catcher in the Rye by J.D Salinger and Euphoria by Sam Levinson. These evaluations use textual evidence and the Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition (DSM-5) to determine what symptoms of psychopathology the characters appear to display. The second part consists of a self-written short story that is meant to accurately depict the life of a young adult struggling with mental illness and substance abuse. This story contains various aesthetic techniques borrowed from the two young adult media forms. The final part consists of an aesthetic statement which discusses in depth the aesthetic techniques employed within the short story, Quicksand by Anisha Mehra.