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- All Subjects: Fiction
- All Subjects: feminism
- Creators: Department of English
- Creators: Soares, Rebecca
Description
For this Creative Project, I decided to explore the elements that set novellas apart from other genres and then experiment writing in the form. In doing so, I took into account three main categories: Plot Structure, Character Development, Style/Format, and then used my findings to write 45 pages of a novella titled Emmy and Me.
ContributorsBingham, Roxanne Marie (Author) / Irish, Jennifer (Thesis director) / Danielson, Jonathan (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
This thesis examines contemporary cinematic adaptations of the Ovidian Pygmalion story. The films Blade Runner (1981), Lars and the Real Girl (2007), Ruby Sparks (2012), and Her (2013) are analyzed. This thesis seeks to understand why this particular myth is so resonant in today's popular culture and what this relevance reveals about modern society. The roles of female subjugation, sexualization, and relationship with technology will be major areas of concern. Research includes film criticism, Ovidian scholarship, and new advances in computer technology.
ContributorsStory, Sara Katherine (Author) / Corse, Taylor (Thesis director) / Ellis, Lawrence (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2015-05
Description
The Undoing Project is an ongoing educational feminist YouTube channel that serves as an introduction to feminism and feminist theory. The objective for this project is to present feminist theory and feminist ideology in an accessible and entertaining way. Through this project I sought to accomplish three goals: to challenge the negative image of feminism, bridge the gap between the language of academia and the public, and to acknowledge and unlearn ingrained prejudices. The videos focus on theory, history, legislation, current events, and pop culture. The initial project consists of ten videos addressing the feminist wave models, a brief history of the feminist movement, and discussions of concepts like hegemony, intersectionality, masculinity, femininity, and race.
ContributorsBuchholtz, Kaylee Marie (Author) / Brian, Jennifer (Thesis director) / Grzanka, Patrick (Committee member) / Brouwer, Dan (Committee member) / Barrett, The Honors College (Contributor) / College of Public Service and Community Solutions (Contributor) / School of Social Transformation (Contributor) / Department of English (Contributor)
Created2015-05
Description
The seven interconnected short stories of Miserablists spring from a reality created by its protagonist and ostensible author: Paul Marston, a persistently melancholy undergraduate who tries to exorcise the ghost of a past love by adapting the story into a screenplay for a film entitled Miserablists. What happens to our identity, Paul asks, in post-narrative selfhood—that is, when the meaningful narratives we’ve told ourselves about others and ourselves collapse?
In other stories (wherein Paul tries—and often fails—to figure himself a secondary character), the tangled lives of his immediate social circle unravel, overlap, and disintegrate amidst the decaying milieu of the Scene and the maddening sprawl of Phoenix. A brief sampling of happenings: Sophie confronts ideological qualms with capitalism by way of a summer gig selling knives to depressed housewives; Brett nearly burns a house down on the Fourth of July; hallucinogenic kombucha is foisted upon a hapless Alex; black mold overtakes Paul’s residence; etc.
The core text is followed by an afterword supposedly written by (the perhaps psychotic) Saul P. Thomas Marton, Ph.D. and acts as an academic analysis of the nonexistent film adaption of Miserablists. There, Marton places Marston’s work in conversation with many influential critical text and works of fiction that shaped the formation of Miserablists (including Roland Barthes’ Lover’s Discourse, Slavoj Žižek’s The Plague of Fantasies, and Alain Robbe-Grillet’s Last Year at Marienbad).
In other stories (wherein Paul tries—and often fails—to figure himself a secondary character), the tangled lives of his immediate social circle unravel, overlap, and disintegrate amidst the decaying milieu of the Scene and the maddening sprawl of Phoenix. A brief sampling of happenings: Sophie confronts ideological qualms with capitalism by way of a summer gig selling knives to depressed housewives; Brett nearly burns a house down on the Fourth of July; hallucinogenic kombucha is foisted upon a hapless Alex; black mold overtakes Paul’s residence; etc.
The core text is followed by an afterword supposedly written by (the perhaps psychotic) Saul P. Thomas Marton, Ph.D. and acts as an academic analysis of the nonexistent film adaption of Miserablists. There, Marton places Marston’s work in conversation with many influential critical text and works of fiction that shaped the formation of Miserablists (including Roland Barthes’ Lover’s Discourse, Slavoj Žižek’s The Plague of Fantasies, and Alain Robbe-Grillet’s Last Year at Marienbad).
ContributorsWebb, Zachariah Kaylar (Author) / Gilfillan, Daniel (Thesis director) / Garrison, Gary (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
"The Problem of Hope: Literary Tragedy in Mid-Twentieth Century American Fiction" examines Arthur Miller's Death of a Salesman, Ralph Ellison's Invisible Man, and Sylvia Plath's The Bell Jar through the lens of tragedy. This thesis delves into how conflicts between internal and external identities can create a tragic individual, what kinds of success count toward achievement of the "American Dream," and whether the tragic "common man" is the socially normative one or the socially disenfranchised one. It raises a three-dimensional theoretical approach to American tragedy and, most importantly, considers the significance of tragic hope for American literature. This paper questions the construction of American identities across class, race, and gender according to social scripts. It seeks to uncover what forces these scripts exert on American cultural myths and rereads those myths through tragedy to explore Miller's idea of a noble common man. By moving from Miller to Ellison to Plath, this thesis traces the undercurrents of tragedy through some of the most identity-focused novels of mid-twentieth century American fiction to see how the overarching American narrative changed from 1940 to 1969 as the US underwent significant social changes domestically and image changes abroad. Ultimately, this paper concludes that tragedy in mid-twentieth century American fiction points toward a new idea of American success as a success that occurs beyond social scripts.
ContributorsMedeiros, Amy Marie (Author) / Holbo, Christine (Thesis director) / Sadowski-Smith, Claudia (Committee member) / Department of English (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This project explores the promise and peril of networked self-portraits, focusing on comparisons between artists Andy Warhol and Cindy Sherman, celebrity and reality star Kim Kardashian, Democratic presidential candidate and former first lady Hillary Clinton, and artists Rafia Santana and Alexandra Marzella. I defined selfies as networked self-portraits using a front-facing camera. My introduction is more or less a literature review of photographic theory and art history texts, but all the significant themes brought up in that are relevant to the rest of my arguments. The arguments draw from feminist visual theory including Laura Mulvey, art history texts, as well as critical race theorists like Franz Fanon. While I chose four artists in my examination, I used them as a jumping off point to talk about how identity can be networked and what it means for small slices of life to be photographed and spread via social media. I decided to include feminist visual theory to inform my exploration of female bodies, especially how mediation sets up normative behaviors and representations. I used race theory to talk about visibility of people of color, especially in contrast to the white artists I talked about in my thesis. By way of Kardashian and Clinton, I explored the idea of celebrity and visual culture, as well as motherhood and what femininity could look like in the 21st century. I tend not to make any sweeping conclusions about the best way to network femininity using selfies, but rather explore the different challenges that women face when they place historically-policed bodies into what could be a digital utopia online.
ContributorsNorthfelt, Peter (Author) / Dove-Viebahn, Aviva (Thesis director) / Thornton, Leslie (Committee member) / Department of English (Contributor) / School of Public Affairs (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
There are no words for the trauma of death when it strikes unexpectedly. What to say when a mother dies in childbirth? When a father figure contracts an unknown disease for no apparent cause? When a beloved pet, long mourned, may still be alive and hidden by estranged family? Generations may pass, and children may grow up, but the pain leaves marks that echo across time and the other borders we construct between our past and present. We may find strength on solitude, or prayer, or the words of a song written by someone else. In these four stories, spanning almost half a century, the marks of death and attempts to soothe or hide them are everywhere. Children on the cusp of adulthood grapple with the lives and the lies of their parents. Musicians examine the relationship of their music to the world. Legends and myths lurk in the shadows, tempting with false hope and rationalizing the unexplainable.
In “Playing the Changes,” we meet two men stranded in a small desert town in 1972, a time when their attraction to each other is still dangerous. Nile Walker is a jazz musician, running from a spurned lover and the law. Benji Garza is a once-devout Catholic, fixing cars and caring for his orphaned nephew, Hector. Walker and Garza’s affair will spin both lives and their heredity into sweeping tragedies that characters battle with lust and melody. Walker has a son he never meets, a drifter who finds connection with another lost soul at an airport in “La Petite Mort.” Hector is forced into early adulthood in “The Words,” when his ailing uncle’s health fails due to a mysterious disease not yet called AIDS. Later Tre—a young man struggling with the weight of his own lineage—meets him in “PHX.” These stories examine questions of death’s causes and its myriad effects, and offer this solution: Knowing that we cannot know everything, and living, loving, and singing anyway.
In “Playing the Changes,” we meet two men stranded in a small desert town in 1972, a time when their attraction to each other is still dangerous. Nile Walker is a jazz musician, running from a spurned lover and the law. Benji Garza is a once-devout Catholic, fixing cars and caring for his orphaned nephew, Hector. Walker and Garza’s affair will spin both lives and their heredity into sweeping tragedies that characters battle with lust and melody. Walker has a son he never meets, a drifter who finds connection with another lost soul at an airport in “La Petite Mort.” Hector is forced into early adulthood in “The Words,” when his ailing uncle’s health fails due to a mysterious disease not yet called AIDS. Later Tre—a young man struggling with the weight of his own lineage—meets him in “PHX.” These stories examine questions of death’s causes and its myriad effects, and offer this solution: Knowing that we cannot know everything, and living, loving, and singing anyway.
ContributorsCohen, Michael Lawrence (Author) / Bell, Matt (Thesis director) / Pearson, Dustin (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The Walt Disney Company has been a worldwide phenomenon for over half a century. Disney's animated films in particular impact a large number of individuals around the world. The fact that they rerelease popular films every few years lends to the lasting influence these movies will hold in the lives of children to come. It is important to examine the messages Disney animated films can teach children in regards to women's roles, United States history, and racial difference. This essay examines these topics as they appear in Disney's Snow White and the Seven Dwarves, The Little Mermaid, Pocahontas, and The Lion King. Lastly, it examines the potential impact these films can leave on children and suggests ways in which adults can help children analyze what they see in the media.
ContributorsMonnig, Elizabeth Ann (Author) / Baker, Aaron (Thesis director) / Sandlin, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-12
DescriptionThis collection of original short fiction follows the lives of three men, Jess, Charlie, and Anthony, who are linked together by the space of the Arizona Borderlands. Through the three stories, the themes of longing and powerlessness are explored within the context of the unforgiving structure of the Arizona landscape.
ContributorsGuy, Hannah Elise (Author) / McNally, T. M. (Thesis director) / Ball, Sally (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor)
Created2014-05
Description
Both "After Annie" and "When It All Happens, The End, And She's in Her Forties" focus on evolving familial relationships characterized by both love and loss. Though told in different styles, different voices, different tenses, both stories triumph the power of memory in relation to love while simultaneously emphasizing the trauma and long-lasting effects of loss. With one, through the relationship between grandfather and granddaughter and the other, through a daughter's loss of her mother, both stories converge at the intersection of duty and the need for flight (and perhaps self preservation). "After Annie" and "When It All Happens, The End, And She's in Her Forties" speak to the careful ghosts of memory, which are sometimes, thankfully, even stronger than the pull of what's been left in their absence.
ContributorsArregoces, Christina Marie (Author) / McNally, T. M. (Thesis director) / Ellis, Lawrence (Committee member) / Barrett, The Honors College (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Department of English (Contributor)
Created2014-05