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Description
The connection between Hollywood costume design and the films of the 007/James Bond franchise, especially in regards to the changing perspective of the “Bond Girl”, is an intricate relationship that has previously been little researched. In the most recent Bond films, in particular, the female characters have become more powerful than the early characters and their roles within the narratives have changed with their characters taking on stronger and more integral roles. This thesis seeks to examine the films of the 007/James Bond franchise and how the rhetoric of the franchise’s costume design affects the representation of femininity and power in regards to the Bond Girls. After an overview of Bond history and costume theory, two films are analyzed as case studies: Dr. No (1962) which marks the beginning of the film franchise and Casino Royale (2006), which marks the more recent turn the films have taken. This thesis examines how the representations of Bond Girls and the use of costume design for their characters have changed over the course of the franchise from the days of Sean Connery to the recent reboot of the franchise with Daniel Craig as 007 James Bond. In addition to an examination of Bond Girl costume design, this thesis considers the role and influence of the costume designers. A designer’s vision of a character is derived from both the writing and the physical features of the actresses before them. Here this thesis considers how the rhetorical choices made by designers have contributed to an understanding of the relationship between femininity and power. Finally it shows how the costumes effect the power of the female characters and how the Bond Girls of today (Casino Royale) compare and/or contrast to Bond Girls of the past (Dr. No). This thesis combines the areas of feminist film theory and costume theory to provide an original rhetorical analysis of the Bond series in relation to costume design and examines the rhetorical statements made by the costume designers in their designs for the characters and how those statements influence the representations of the characters.
ContributorsSeverson, Andrea (Author) / Goggin, Maureen (Thesis advisor) / Ore, Ersula (Committee member) / Lamp, Kathleen (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Chemistry as a subject is difficult to learn and understand, due in part to the specific language used by practitioners in their professional and scientific communications. The language and ways of representing chemical interactions have been grouped into three modes of representation used by chemistry instructors, and ultimately by students in understanding the discipline. The first of these three modes of representation is the symbolic mode, which uses a standard set of rules for chemical nomenclature set out by the IUPAC. The second mode of representation is that of microscopic, which depicts chemical compounds as discrete units made up of atoms and molecules, with a particular ratio of atoms to a molecule or formula unit. The third mode of representation is macroscopic, what can be seen, experienced, or measured directly, like ice melting or a color change during a chemical reaction. Recent evidence suggests that chemistry instructors can assist their students in making the connections between the modes of representation by incorporating all three modes into their teaching and discussions, and overtly connecting the modes during instruction. In this research, chemistry teachers at the community college level were observed over the course of an entire semester, to evaluate their instructional use of mode of representation. The students of these teachers were tested prior to and after a semester's worth of instruction, and changes in the basic chemistry conceptual knowledge of these students were compared. Additionally, a subset of the overall population that was pre- and post-tested was interviewed at length using demonstrations of chemical phenomenon that students were asked to translate using all three modes of representation. Analysis of the instruction of three community college teachers shows there were significant differences among these teachers in their instructional use of mode of representation. Additionally, the students of these three teachers had differential and statistically significant achievement over the course of the semester. This research supports results of other similar studies, as well as providing some unexpected results from the students involved.
ContributorsWood, Lorelei (Author) / Baker, Dale (Thesis advisor) / Ganesh, Tirupalavanam G. (Committee member) / Colleen, Megowan (Committee member) / Sujatha, Krishnaswamy (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to maintain its global position, the United States needs to increase the number of students opting for science careers. Science teachers face a formidable challenge. Students are not choosing science because they do not think coursework is interesting or applies to their lives. These problems often compound for adolescents in urban areas. This action research investigated an innovation aimed at engaging a group of adolescents in the science learning process through cognitive processes and conceptual understanding. It was hoped that this combination would increase students' engagement in the classroom and proficiency in science. The study was conducted with 28 juniors and sophomores in an Environmental Science class in an urban high school with a student body of 97% minority students and 86% students receiving free and reduced lunch. The study used a mixed-methods design. Instruments included a pre- and post-test, Thinking Maps, transcripts of student discourse, and a two-part Engagement Observation Instrument. Data analysis included basic descriptives and a grounded theory approach. Findings show students became engaged in activities when cognitive processes were taught prior to content. Furthermore it was discovered that Thinking Maps were perceived to be an easy tool to use to organize students' thinking and processing. Finally there was a significant increase in student achievement. From these findings implications for future practice and research are offered.
ContributorsSingh, Renu (Author) / Zambo, Debby (Thesis advisor) / Hansen, Cory (Committee member) / Snyder, Jan D (Committee member) / Arizona State University (Publisher)
Created2014
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Culture played an intrinsic role in the conquest of Ireland in the sixteenth century, and the English colonial project, so often described in political and military terms, must be reexamined in this context. By examining sixteenth century spatial and literary representations of Ireland and Irish culture it becomes evident that the process described by Timothy Mitchell, called enframement, was being imposed upon the Irish. Enframement is the convergence of two aspects of power, the metaphysical and the microphysical. Metaphysical power worked through maps and literature to bring order in the conceptual realm, allowing the English to imagine Ireland as they wished it to be. Microphysical power created order in the material world, by physically changing the appearance of the landscape and people to conform to England's laws and norms. The English justified their policy of colonization by representing Ireland and Gaelic culture as wild or barbarous, and hoped to achieve their colonial ambition by physically coercing the Irish into adopting the "superior" English culture.
When the Irish continued to rebel against English rule, the colonizers began employing methods of extreme violence to subdue the Gaelic people. At the same time, they began to practice more extreme forms of cultural colonization by attacking those aspects of Gaelic culture which most resisted conformity to English standards of civility. The Gaelic legal system, called Brehon law, redistributive inheritance, cattle herding and traditional forms of Irish dress were denigrated to assert English authority over the Irish people. English fear of the negative effects of Gaelic culture were exemplified by the Anglo-Irish lords, who were originally of English descent, but had "degenerated" into Irish barbarians through the use of Gaelic culture. This retrograde process could also occurred when an English person practiced marriage, childbirth, wet-nursing or fosterage with Irish persons. These interactions, and the consequences which came from them, were often described in terms of infection and disease. Thus culture, operating on multiple levels, and how that culture was represented, became a powerful site for colonial power to operate.
When the Irish continued to rebel against English rule, the colonizers began employing methods of extreme violence to subdue the Gaelic people. At the same time, they began to practice more extreme forms of cultural colonization by attacking those aspects of Gaelic culture which most resisted conformity to English standards of civility. The Gaelic legal system, called Brehon law, redistributive inheritance, cattle herding and traditional forms of Irish dress were denigrated to assert English authority over the Irish people. English fear of the negative effects of Gaelic culture were exemplified by the Anglo-Irish lords, who were originally of English descent, but had "degenerated" into Irish barbarians through the use of Gaelic culture. This retrograde process could also occurred when an English person practiced marriage, childbirth, wet-nursing or fosterage with Irish persons. These interactions, and the consequences which came from them, were often described in terms of infection and disease. Thus culture, operating on multiple levels, and how that culture was represented, became a powerful site for colonial power to operate.
ContributorsGreen, Katherine Marie (Author) / Warnicke, Retha (Thesis advisor) / Manchester, Laurie (Committee member) / Wright, Johnson (Committee member) / Arizona State University (Publisher)
Created2015
Description
This multiple-case study addresses the nature of the out-of-school musical engagements of four undergraduate students who were enrolled as jazz studies majors in a large school of music in the U.S. southwest. It concerns what they did musically when they were outside of school, why they did what they did, what experiences they said they learned from, and how their out-of-school engagements related to their in-school curriculum. Research on jazz education, informal learning practices in music, and the in-school and out-of-school experiences of students informed this study. Data were generated through observation, interviews, video blogs (vlogs), and SMS text messages.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
ContributorsLibman, Jeffrey B (Author) / Tobias, Evan (Thesis advisor) / Kocour, Michael (Committee member) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2014
Description
The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
ContributorsHopkins, Charles E (Author) / Pilafian, Sam (Thesis advisor) / Stauffer, Sandra (Committee member) / Solís, Ted (Committee member) / Ericson, John (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2011
Description
Masculinity has been increasingly recognized as a critical and relatively unexplored area of inquiry in anthropological gender studies. This project seeks to expand anthropological research on masculinity to contemporary American society. Using the case study of a male-centered popular new sport, Mixed Martial Arts (also known as cagefighting) this project integrates theories of embodiment and feminist perspectives to explore how masculinity and masculine hegemony are shaped, contested, and perpetuated in the United States. Using a multi-level framework this project explores: 1) How is masculinity experienced and expressed by Mixed Martial Arts fighters as a form of self-identity? How do their bodies play a role in constructing masculinity? 2) What are the pervasive forms of masculinity associated with Mixed Martial Arts (MMA)? Are they truly representative of the sport? 3) Can these pervasive forms of masculinity be seen as hegemonic? How would hegemony operate in relation to individual experience? Using multiple methods to capture multiple points of view was critical to thoroughly examining the complex notion of masculinity. This study employed participant observation, semi-structured interviews, focus groups, surveys, photo elicitation, and media content analysis, as each presented particular benefits and allowed for the development a more well-rounded understanding of masculinity within the realm of MMA. This study also situates the rise of MMA and its representations of masculinity within the greater perspective of contemporary American society. By doing so reveals how ideologies of prescribed masculinity do not arise out of a vacuum but in relation to particular economic, social and political contexts. An emphasis of this study was to examine the daily lives of MMA fighters to understand how their participation in what may be regarded as a hypermasculine activity affects their own perceptions of masculinity. In looking at how masculinity is embodied, the gaps and often contradictions between representation and individual experiences are revealed. Ultimately, the goal of this research is to contribute to a better understanding of masculinity as both an embodied and relational construct.
ContributorsHolthuysen, Jaime (Author) / Hjorleifur Jonsson (Thesis advisor) / Tsuda, Takeyuki (Committee member) / Ballestero-Salaverry, Andrea (Committee member) / Arizona State University (Publisher)
Created2011