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Description
This work examines star formation in the debris associated with collisions of dwarf and spiral galaxies. While the spectacular displays of major mergers are famous (e.g., NGC 4038/9, ``The Antennae''), equal mass galaxy mergers are relatively rare compared to minor mergers (mass ratio <0.3) Minor mergers are less energetic than major mergers, but more common in the observable universe and, thus, likely played a pivotal role in the formation of most large galaxies. Centers of mergers host vigorous star formation from high gas density and turbulence and are surveyed over cosmological distances. However, the tidal debris resulting from these mergers have not been well studied. Such regions have large reservoirs of gaseous material that can be used as fuel for subsequent star formation but also have lower gas density. Tracers of star formation at the local and global scale have been examined for three tidal tails in two minor merger systems. These tracers include young star cluster populations, H-alpha, and [CII] emission. The rate of apparent star formation derived from these tracers is compared to the gas available to estimate the star formation efficiency (SFE). The Western tail of NGC 2782 formed isolated star clusters while massive star cluster complexes are found in the UGC 10214 (``The Tadpole'') and Eastern tail of NGC 2782. Due to the lack of both observable CO and [CII] emission, the observed star formation in the Western tail of NGC 2782 may have a low carbon abundance and represent only the first round of local star formation. While the Western tail has a normal SFE, the Eastern tail in the same galaxy has an low observed SFE. In contrast, the Tadpole tidal tail has a high observed star formation rate and a corresponding high SFE. The low SFE observed in the Eastern tail of NGC 2782 may be due to its origin as a splash region where localized gas heating is important. However, the other tails may be tidally formed regions where gravitational compression likely dominates and enhances the local star formation.
ContributorsKnierman, Karen A (Author) / Scowen, Paul (Thesis advisor) / Groppi, Christopher (Thesis advisor) / Mauskopf, Philip (Committee member) / Windhorst, Rogier (Committee member) / Jansen, Rolf (Committee member) / Arizona State University (Publisher)
Created2013
Description
Using arts-informed ethnographic approaches, theatrical techniques and a feminist/performance studies lens, this study analyzes the construction of US girlhood from the perspective of girls ranging in age from fourteen to seventeen by examining their original artistic creations and performances. Placing the artifacts of girl-created culture and the girls' representations, which I view as a performative practice, at the heart of my study, I connect girlhood studies to Butler's gender performance theories and to the larger field of performance studies. Rather than strictly analyzing these original works myself, I involve the girl participants as co-theorists in the analysis of the resulting artistic creations as a performance of girlhood. Through our theory building sessions, we aim to discover a nuanced understanding of girlhood and how gender identity can be performed by adolescent girls, as well as how artistic and theatrical practices can serve to assist youth in exploring complex issues. The adolescent female participants serve as active writers and performers of girlhood and through their writing and performances demonstrate their understanding of what it means to be a girl in contemporary US society. In viewing the girls as theorists, I demonstrate their capabilities while honoring their experiences and knowledge, an approach I believe should be more often employed in academia and in everyday life. Specifically, my study's central research question asks: how do US girls consume mass media representations of girlhood and reproduce or subvert these representations? In what ways do girls perform their understandings of their own identities and what it means to be a girl in contemporary US society through their creations of original art and literature, live theatrical pieces, and digital cultural practices? These works include theatrical performances, creative writing, self-portrait sculptures, and blogs/journals. Additionally, I conduct and analyze both solo and group interviews. I assert the importance of creative space and theatrical/artistic practices as tools with which girls can examine and challenge girlhood and gender discourses.
ContributorsMinarsich, Teresa (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Saldana, Johnny (Committee member) / Melo, Carla (Committee member) / Arizona State University (Publisher)
Created2014
Description
In this dissertation, I focus on a subset of Native American theatre, one that concentrates on peoples of mixed heritages and the place(s) between worlds that they inhabit. As it is an emergent field of research, one goal of this project is to illuminate its range and depth through an examination of three specific points of focus - plays by Elvira and Hortencia Colorado (Chichimec Otomí/México/US), who create theatre together; Diane Glancy (Cherokee/US); and Marie Clements (Métis/Canada). These plays explore some of the possibilities of (hi)story, culture, and language within the theatrical realm across Turtle Island (North America). I believe the playwrights' positionalities in the liminal space between Native and non-Native realms afford these playwrights a unique ability to facilitate cross-cultural dialogues through recentering Native stories and methodologies. I examine the theatrical works of this select group of mixed heritage playwrights, while focusing on how they open up dialogue(s) between cultures, the larger cultural discourses with which they engage, and their innovations in creating these dialogues. While each playwright features specific mixed heritage characters in certain plays, the focus is generally on the subject matter - themes central to current Native and mixed heritage daily realities. I concentrate on where they engage in cross-cultural discourses and innovations; while there are some common themes across the dissertation, the specific points of analysis are exclusive to each chapter. I employ an interdisciplinary approach, which includes theories from theatre and performance studies, indigenous knowledge systems, comparative literary studies, rhetoric, and cultural studies.
ContributorsNoell, Tiffany (Author) / Underiner, Tamara L. (Thesis advisor) / Woodson, Stephani (Committee member) / Brayboy, Bryan (Committee member) / Arizona State University (Publisher)
Created2011
Description
The IceCube Neutrino Observatory has provided the first map of the high energy (~0.01 – 1 PeV) sky in neutrinos. Since neutrinos propagate undeflected, their arrival direction is an important identifier for sources of high energy particle acceleration. Reconstructed arrival directions are consistent with an extragalactic origin, with possibly a galactic component, of the neutrino flux. We present a statistical analysis of positional coincidences of the IceCube neutrinos with known astrophysical objects from several catalogs. For the brightest gamma-ray emitting blazars and for Seyfert galaxies, the numbers of coincidences is consistent with the random, or “null”, distribution. Instead, when considering starburst galaxies with the highest flux in gamma-rays and infrared radiation, up to n = 8 coincidences are found, representing an excess over the ~4 predicted for the null distribution. The probability that this excess is realized in the null case, the p-value, is p = 0.042. This value falls to p = 0.003 for a set of gamma-ray detected starburst galaxies and superbubbles in the galactic neighborhood. Therefore, it is possible that these might account for a subset of IceCube neutrinos. The physical plausibility of such correlation is discussed briefly.
ContributorsEmig, Kimberly L (Author) / Windhorst, Roiger (Thesis advisor) / Lunardini, Cecilia (Thesis advisor) / Groppi, Christopher (Committee member) / Arizona State University (Publisher)
Created2015
Description
How do trees (live and representational) participate in our theatrical and performed encounters with them? If trees are not inherently scenic, as their treatment in language and on stage might reinforce, how can they be retheorized as agents and participants in dramatic encounters? Using Diana Taylor’s theory of scenario to understand embodied encounters, I propose an alternative approach to understanding environmental beings (like trees) called “synercentrism,” which takes as its central tenet the active, if not 100 percent “willed,” participation of both human and non-human beings. I begin by mapping a continuum from objecthood to agenthood to trace the different ways that plants and trees are used, represented, and included in our encounters. The continuum provides a framework that more comprehensively unpacks human-plant relationships.
My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents.
My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents.
ContributorsDe Roover, Megan Laura (Author) / Underiner, Tamara L. (Thesis advisor) / Hughes, Erika (Committee member) / Goggin, Peter (Committee member) / Arizona State University (Publisher)
Created2018
Description
This research study examines the interaction between youth queer narratives and young people through examining my core research question, How do young people engage, interpret, and respond to queer narratives? Applying a feminist narrative analysis to examine the qualitative data, I propose a methodological research shift where the voices of youth are valued as content experts; an artistic shift that moves content-creation away from a top down traditional media model and towards a youth-centered new media approach for art making; an aesthetic shift away from over-used stereotypes, tropes, and stale representations and instead innovate to represent intersectional, spectrum-based diversity of the LGBTQ+ experience.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
ContributorsWaldron, Andrew (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Hunt, Kristin (Thesis advisor) / Saldana, Johnny (Committee member) / Hughes, Erika (Committee member) / Arizona State University (Publisher)
Created2018
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
ABSTRACT
In this study, I analyze the construction of childhood and nature in a number of Korean Theatre For Young Audience (TFY) works and family movies produced since 2000. Studying The Tale of Haruk, Gamoonjang Baby, Oseam and The Way Home, I explore the childhood memes that surface in the analysis and how they relate to dominant cultural understandings of Korean childhood. Both nature and childhood are metaphorical spaces reflecting the specificity of the cultural context in which they are situated. And in the works I explore, the two are paired in interesting and complex ways and for ideological reasons, the study of which produces a deeper understanding of the construction of Korean childhood. The “child" in Korean TFY has not been thoroughly explored in earlier scholarly work, nor do many preceding studies explore the performance texts of Korean TFY from an analytic stance. This is a serious gap in the literature, considering the significance of the discourse on childhood as a major conceptual framework bolstering TFY and the centrality of the performative aspect of the field. Thus, this study is meaningful as one of the first doctoral works to analyze the performance texts of Korean TFY and the first work to explore Korean TFY from a childhood studies framework. The findings of this interdisciplinary work will be of interest to the field of childhood studies and TFY, broadly defined. In studying the works, my main methodology has been detailed performance analysis. Through the analysis, interesting tropes of Korean childhood emerge, some of which have not been addressed explicitly before. My work reveals Korean childhood as a hybrid cultural assemblage reflecting the complexity of the Korean cultural context, where historical, current, native and foreign ideas about childhood mingle.
In this study, I analyze the construction of childhood and nature in a number of Korean Theatre For Young Audience (TFY) works and family movies produced since 2000. Studying The Tale of Haruk, Gamoonjang Baby, Oseam and The Way Home, I explore the childhood memes that surface in the analysis and how they relate to dominant cultural understandings of Korean childhood. Both nature and childhood are metaphorical spaces reflecting the specificity of the cultural context in which they are situated. And in the works I explore, the two are paired in interesting and complex ways and for ideological reasons, the study of which produces a deeper understanding of the construction of Korean childhood. The “child" in Korean TFY has not been thoroughly explored in earlier scholarly work, nor do many preceding studies explore the performance texts of Korean TFY from an analytic stance. This is a serious gap in the literature, considering the significance of the discourse on childhood as a major conceptual framework bolstering TFY and the centrality of the performative aspect of the field. Thus, this study is meaningful as one of the first doctoral works to analyze the performance texts of Korean TFY and the first work to explore Korean TFY from a childhood studies framework. The findings of this interdisciplinary work will be of interest to the field of childhood studies and TFY, broadly defined. In studying the works, my main methodology has been detailed performance analysis. Through the analysis, interesting tropes of Korean childhood emerge, some of which have not been addressed explicitly before. My work reveals Korean childhood as a hybrid cultural assemblage reflecting the complexity of the Korean cultural context, where historical, current, native and foreign ideas about childhood mingle.
ContributorsKang, Yoona (Author) / Woodson, Stephani Etheridge (Thesis advisor) / Hughes, Erika (Committee member) / Bedard, Roger (Committee member) / Arizona State University (Publisher)
Created2015
Description
In the United States, we tend to understand linguistic systems as separate and autonomous, and by this understanding, bilinguals are people who speak two different languages and switch between them. This understanding of bilingualism, however, does not reflect the reality of the way many bilinguals use language. Rather than “code-switch” between two languages, sociolinguists posit that many bilinguals understand their language as a single linguistic system, and choose different elements of that system in different situations, a process termed, “translanguaging.” Translanguaging provides an alternative framework for examining bilingual language as an ideological system in plays, particularly plays which use translanguaged dialogue to describe the experiences of young people who dwell on and cross borders, a category of plays I term, “Border Theatre for Young Audiences (TYA).” This descriptive study utilizes grounded theory and close reading theoretically grounded in border studies and sociolinguistic theory to determine what roles Spanish and English play in Border TYA as autonomous systems, and as pieces of a new, translanguaged system. Playwrights of Border TYA u translanguaging as a structural metaphor for cultural negotiation to examine identity, belonging, and borders. Translanguaging provides subaltern characters a process for communicating their experiences, examining their identities, and describing encounters with borders in their own unique linguistic system. Border TYA, however, does not exclusively translanguage. Border TYA also incorporates monolingual dialogue and translation, and in these instances the languages, Spanish and English, function autonomously as tools for teaching audience members to recognize vocabulary and cultural experience.
ContributorsSchildkret, Elizabeth (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Underiner, Tamara (Committee member) / Garcia, Lorenzo (Committee member) / Bernstein, Katherine (Committee member) / Hughes, Erika (Committee member) / Arizona State University (Publisher)
Created2017
Description
This dissertation details the development of an open source, frequency domain multiplexed (FDM) readout for large-format arrays of superconducting lumped-element kinetic inductance detectors (LEKIDs). The system architecture is designed to meet the requirements of current and next generation balloon-borne and ground-based submillimeter (sub-mm), far-infrared (FIR) and millimeter-wave (mm-wave) astronomical cameras, whose science goals will soon drive the pixel counts of sub-mm detector arrays from the kilopixel to the megapixel regime. The in-flight performance of the readout system was verified during the summer, 2018 flight of ASI's OLIMPO balloon-borne telescope, from Svalbard, Norway. This was the first flight for both LEKID detectors and their associated readout electronics. In winter 2019/2020, the system will fly on NASA's long-duration Balloon Borne Large Aperture Submillimeter Telescope (BLAST-TNG), a sub-mm polarimeter which will map the polarized thermal emission from cosmic dust at 250, 350 and 500 microns (spatial resolution of 30", 41" and 59"). It is also a core system in several upcoming ground based mm-wave instruments which will soon observe at the 50 m Large Millimeter Telescope (e.g., TolTEC, SuperSpec, MUSCAT), at Sierra Negra, Mexico.
The design and verification of the FPGA firmware, software and electronics which make up the system are described in detail. Primary system requirements are derived from the science objectives of BLAST-TNG, and discussed in the context of relevant size, weight, power and cost (SWaP-C) considerations for balloon platforms. The system was used to characterize the instrumental performance of the BLAST-TNG receiver and detector arrays in the lead-up to the 2019/2020 flight attempt from McMurdo Station, Antarctica. The results of this characterization are interpreted by applying a parametric software model of a LEKID detector to the measured data in order to estimate important system parameters, including the optical efficiency, optical passbands and sensitivity.
The role that magnetic fields (B-fields) play in shaping structures on various scales in the interstellar medium is one of the central areas of research which is carried out by sub-mm/FIR observatories. The Davis-Chandrasekhar-Fermi Method (DCFM) is applied to a BLASTPol 2012 map (smoothed to 5') of the inner ~1.25 deg2 of the Carina Nebula Complex (CNC, NGC 3372) in order to estimate the strength of the B-field in the plane-of-the-sky (B-pos). The resulting map contains estimates of B-pos along several thousand sightlines through the CNC. This data analysis pipeline will be used to process maps of the CNC and other science targets which will be produced during the upcoming BLAST-TNG flight. A target selection survey of five nearby external galaxies which will be mapped during the flight is also presented.
The design and verification of the FPGA firmware, software and electronics which make up the system are described in detail. Primary system requirements are derived from the science objectives of BLAST-TNG, and discussed in the context of relevant size, weight, power and cost (SWaP-C) considerations for balloon platforms. The system was used to characterize the instrumental performance of the BLAST-TNG receiver and detector arrays in the lead-up to the 2019/2020 flight attempt from McMurdo Station, Antarctica. The results of this characterization are interpreted by applying a parametric software model of a LEKID detector to the measured data in order to estimate important system parameters, including the optical efficiency, optical passbands and sensitivity.
The role that magnetic fields (B-fields) play in shaping structures on various scales in the interstellar medium is one of the central areas of research which is carried out by sub-mm/FIR observatories. The Davis-Chandrasekhar-Fermi Method (DCFM) is applied to a BLASTPol 2012 map (smoothed to 5') of the inner ~1.25 deg2 of the Carina Nebula Complex (CNC, NGC 3372) in order to estimate the strength of the B-field in the plane-of-the-sky (B-pos). The resulting map contains estimates of B-pos along several thousand sightlines through the CNC. This data analysis pipeline will be used to process maps of the CNC and other science targets which will be produced during the upcoming BLAST-TNG flight. A target selection survey of five nearby external galaxies which will be mapped during the flight is also presented.
ContributorsGordon, Samuel, Ph.D (Author) / Mauskopf, Philip (Thesis advisor) / Groppi, Christopher (Committee member) / Scowen, Paul (Committee member) / Bowman, Judd (Committee member) / Jacobs, Daniel (Committee member) / Arizona State University (Publisher)
Created2019