Matching Items (6)
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- All Subjects: Drama
- All Subjects: Identity
- Genre: Academic theses
- Genre: Masters Thesis
- Creators: Underiner, Tamara
Description
The Holocaust and the effects it has had upon witnesses has been a topic of study for nearly six decades; however, few angles of research have been conducted relating to the long-term effects of the Holocaust upon the children and grandchildren of Holocaust survivors--the After Generations. The After Generations are considered the proof--the living legacies--that their parents and grandparents survived. Growing up with intimate knowledge of the atrocities that occurred during the Holocaust, members of the After Generations not only carry with them their family's story, but also their own vicarious experience(s) of trauma. From this legacy comes a burden of responsibility to those who perished, their survivor parents/grandparents, the stories that were shared, as well as to future generations. Using grounded theory method, this study not only explores the long-term effects of the Holocaust upon members of the After Generations, but what it means to responsibly remember the stories from the Holocaust, as well as how individuals might ethically represent such stories/memories. Findings that developed out of an axial analysis of interview transcripts and journal writing, as well as the later development of a performance script, are embodied in a manner that allows the actual language and experiences of the participants to be collectively witnessed both symbolically and visually. Through their desire to remember, members of the After Generations demonstrate how they plan to carry on traditions, live lives that honor those that came before them, and maintain hope for the future. In so doing, the stories shared reveal the centrality of the Holocaust in the lives of members of the After Generations through their everyday choices to responsibly and actively remember through their art, writings, life-work, as well as from within their work in their local communities. Such acts of remembrance are important to the education of others as well as to the construction and maintenance of the After Generations' identities. The representation of these voices acts as a reminder of how hatred and its all-consuming characteristics can affect not only the person targeted, but multiple generations, as well.
ContributorsRath, Sandra (Author) / de la Garza, Sarah Amira (Thesis advisor) / Underiner, Tamara (Committee member) / Corey, Frederick C. (Committee member) / Eisenberg, Judith (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation employs an ethnographic methodological approach. It explores young people's performance of a New Afrikan subjectivity, their negotiation of a multiple consciousness (American, African-American, New Afrikan and Pan-Afrikan) and the social and cultural implications for rearing children of African descent in the US within a New Afrikan ideology. Young people who are members of the New Afrikan Scouts, attendees of Camp Pumziko and/or students enrolled at Kilombo Academic and Cultural Institute were observed and interviewed. Through interviews young people shared their perceptions and experiences of New Afrikan childhood. The findings of this study discuss the ways in which agency, conformity and the spaces in between are enacted and experienced by New Afrikan children. The findings particularly reveal that in one sense New Afrikan adults aid young people in examining their racial and cultural subjectivity in US America. In another sense New Afrikan adults manipulate young people into performing prescribed roles that are seemingly uncritical of the implications of these performances beyond an adult agenda.
ContributorsSunni-Ali, Asantewa (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Davis, Olga (Committee member) / Saldana, Johnny (Committee member) / Underiner, Tamara (Committee member) / Arizona State University (Publisher)
Created2014
Description
This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through a close reading of the play, I hope to illustrate how the play's complicated ending and lack of complete resolution reveals why it has received relatively little attention from scholars who have previously discussed other strong, intelligent female characters in Guan Hanqing's plays. The second chapter of this thesis includes translation of the play that is comprised of a wedge preceding the four acts. Before each act of the play is a critical introduction and analysis of the act to follow. Although many of Guan Hanqing's plays have been translated into English, this play has never been translated.
ContributorsByrnes, Kelli (Author) / West, Stephen H. (Thesis advisor) / Zou, Yu (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2011
Description
With organizations’ rising interest in creativity as one of the most sought out skill sets for graduates, it has become crucial to infuse creativity training in academic programs. This study evaluated freshmen business students’ perceptions about their personal, everyday creativity and examined the influence of infusing creativity training in their freshmen seminar course.
This action research study drew upon the intersection of three creative self-belief theories from management and education psychology literature: Jaussi, et al (2007) Creative Identity Theory; Karwowski (2014) Creative Mindset Theory; and Tierney & Farmer (2002) Creative Self-efficacy Theory. These theories arguably stemmed from Burke (1991) Identity Theory; Dweck (2006) Mindset Theory; and Bandura (1977, 1997) Self-efficacy Theory, respectively. This approach was used to understand what factors influenced students’ perceptions about their personal, everyday creativity.
Freshmen business students participated in the study. A concurrent mixed methods approach was used to gather data from the students. Quantitative data came from a post- and retrospective pre-intervention survey that assessed four constructs: creative identity, creative self-efficacy, growth mindset, and fixed mindset. The data also came from the quantitative section of a post-workshop feedback survey asking to rate the effectiveness of each workshop. Qualitative data were gathered in several ways. Student interviews focused on asking how they defined creativity, shared reasons that motivated or inhibited them to practice creativity, and explained to what extent the workshops influenced them. Additional qualitative data came from student reflection essays and the qualitative section of a post-workshop feedback survey.
Research results suggested students gained an increased understanding in the importance of adopting a growth mindset, designating ‘creative’ as a critical identity and building confidence in their creative endeavors. The students’ interview and reflection essay data were consistent with the survey data. Finally, research results from the study highlighted the benefit of creativity training as a crucial, complementary, and iterative form of study in an academic setting allowing students to know themselves better and to prioritize their creative performances as part of their program learning outcomes.
This action research study drew upon the intersection of three creative self-belief theories from management and education psychology literature: Jaussi, et al (2007) Creative Identity Theory; Karwowski (2014) Creative Mindset Theory; and Tierney & Farmer (2002) Creative Self-efficacy Theory. These theories arguably stemmed from Burke (1991) Identity Theory; Dweck (2006) Mindset Theory; and Bandura (1977, 1997) Self-efficacy Theory, respectively. This approach was used to understand what factors influenced students’ perceptions about their personal, everyday creativity.
Freshmen business students participated in the study. A concurrent mixed methods approach was used to gather data from the students. Quantitative data came from a post- and retrospective pre-intervention survey that assessed four constructs: creative identity, creative self-efficacy, growth mindset, and fixed mindset. The data also came from the quantitative section of a post-workshop feedback survey asking to rate the effectiveness of each workshop. Qualitative data were gathered in several ways. Student interviews focused on asking how they defined creativity, shared reasons that motivated or inhibited them to practice creativity, and explained to what extent the workshops influenced them. Additional qualitative data came from student reflection essays and the qualitative section of a post-workshop feedback survey.
Research results suggested students gained an increased understanding in the importance of adopting a growth mindset, designating ‘creative’ as a critical identity and building confidence in their creative endeavors. The students’ interview and reflection essay data were consistent with the survey data. Finally, research results from the study highlighted the benefit of creativity training as a crucial, complementary, and iterative form of study in an academic setting allowing students to know themselves better and to prioritize their creative performances as part of their program learning outcomes.
ContributorsHomayoun, Sogol (Author) / Buss, Ray (Thesis advisor) / Henriksen, Danah (Committee member) / Underiner, Tamara (Committee member) / Arizona State University (Publisher)
Created2019
Description
In this dissertation, I translate and provide a critical analysis of the Iranian play, Tomb Dwellers (2009), by Hussein Kiyani. It was first staged after the contested presidential election in Iran in 2009 which brought Mahmoud Ahmadinejad into power for a second term. The play depicts the socioeconomic situation of Iran and its relation to other countries, the situation of women and the working class during Ahmadinejad’s two terms of presidency. Tomb Dwellers is written as a comedy, a genre more likely to make it past censors in Iran or other despotic countries. My research and translation project are sparked by questions that move in two directions simultaneously: one, toward understanding the sociopolitical context for theatre in Iran after the revolution of 1979; the other, toward the challenges of translating into English a play that stands as a social metaphor in its own historical context. Regarding the former, which forms the basis of my critical analysis, I explore the strategies artists have used to avoid the limitations imposed by the authorities. In making this play available to English-speaking readers at a time of political tension between Iran and the United States I offer to USAmerican audiences a more nuanced perspective of the way Iranian people feel about their government and its relation to other countries. This play is both timely and informative. Timely because of the tensions between the US and the Middle East. Informative because it represents the Iranian community and may serve to create a bridge between the two cultures. Translating and staging this play along with the critical analysis I am providing will help American audiences and immigrants from other countries to know more about Iran in a creative and entertaining way.
ContributorsMadani Sarbarani, Fatemeh (Author) / Underiner, Tamara (Thesis advisor) / Mahmoodi-Bakhtiari, Behrooz (Thesis advisor) / Reyes, Guillermo (Committee member) / Arizona State University (Publisher)
Created2019
Description
This research scrutinizes theatre teaching practice through a teacher perspective to find mechanisms that enable health promotion and quality theatre-making skills for students. The critical investigations conducted are twofold. First, I examine the intersection of my 18 years of experience teaching high school drama for connections to theatre and health research. I employ a narrative inquiry method to analyze lived experience to create an initial health promotion framework. And second, I interrogate that framework investigating the experience of a focus group of other high school drama teachers, a high school counselor, and a psychologist. This study reveals that drama teachers perceive their drama programs as psychologically, socially, and emotionally health-promoting for involved students. Furthermore, this study identifies the complex processes, relationships, and components of the theatre-making that the teachers pinpoint as preconditions and mechanisms that enhance and enable student flourishing. The teachers describe themselves as key to health promotion by modeling the artistry of theatre and the art form's social and emotional skills. Their narratives demonstrate that flexible time, their students, and the relationships they build with them as preconditions to maximize health promotion. Specifically, they identify the creation of a safe, supportive environment as foundational to the process.
ContributorsOlsen, Nicola (Author) / Etheridge-Woodson, Stephani (Thesis advisor) / Underiner, Tamara (Committee member) / McAvoy, Mary (Committee member) / Arizona State University (Publisher)
Created2021