Matching Items (5)
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- All Subjects: Popular Culture
- Creators: Sandlin, Jennifer
- Creators: Boyd, Patricia
- Resource Type: Text
Description
Crescendo, an after school program that was created to fulfill the Thesis/Creative Project requirement for Barrett, the Honors College, linked musical excellence with academic excellence in pursuit of social change for sixty of Tempe's underprivileged students in Thew Elementary School. This program focused on five main objectives: musical excellence through refined music education, academic excellence through tutorship, promotion of a positive self-image through community performances, development of strong communication skills through ensemble experience, and accessibility to students by providing the program free of cost. Students enrolled in this program were involved in musical rehearsal, college readiness sessions, a field trip to the Musical Instrument Museum, a music performance for the community, and academic assistance. Results of the overall effectiveness of the program were measured through a pre/post survey that was administered to the students and through dialogue with the teachers and parents of the participating students. The literary component of this project discusses the need for the integrations of outside arts organizations, like Crescendo, into schools, outlines the startup tasks of an arts education program (i.e. acquiring funding, designating volunteers, receiving permission, pinpointing a group of participants, etc.), offers before/after snapshot of the progress of the student participants, and provides a comparison to other programs of its type.
ContributorsGamboa, Stephen Allen (Author) / Smith, J.B. (Thesis director) / Creviston, Hannah (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-05
Description
Despite its rich history in the English classroom, popular culture still does not have a strong foothold in first-year composition (FYC). Some stakeholders view popular culture as a “low-brow” topic of study (Bradbury, 2011), while others believe popular culture distracts students from learning about composition (Adler-Kassner, 2012). However, many instructors argue that popular culture can cultivate student interest in writing and be used to teach core concepts in composition (Alexander, 2009; Friedman, 2013; Williams, 2014). This dissertation focuses on students’ perceptions of valuable writing—particularly with regards to popular culture—and contributes to conversations about what constitutes “valuable” course content. The dissertation study, which was conducted in two sections of an FYC course during the Spring 2016 semester, uses three genre domains as a foundation: academic genres, workplace genres, and pop-culture genres. The first part of the study gauges students’ prior genre knowledge and their beliefs about the value of academic, workplace, and pop-culture genres through pre- and post-surveys. The second part of the study includes analysis of students’ remix projects to determine if and how students can meet FYC learning outcomes by working within each domain.
Through this study, as well as through frameworks in culturally sustaining pedagogy, writing studies, and genre studies, this dissertation aims to assist in the reconciliation of opposing views surrounding the content of FYC while filling in research gaps on the knowledge, interests, and perceptions of value students bring into the writing classroom. Ultimately, this dissertation explores how pop-culture composition can facilitate student learning just as well as academic and workplace composition, thereby challenging course content that has traditionally been privileged in FYC.
Through this study, as well as through frameworks in culturally sustaining pedagogy, writing studies, and genre studies, this dissertation aims to assist in the reconciliation of opposing views surrounding the content of FYC while filling in research gaps on the knowledge, interests, and perceptions of value students bring into the writing classroom. Ultimately, this dissertation explores how pop-culture composition can facilitate student learning just as well as academic and workplace composition, thereby challenging course content that has traditionally been privileged in FYC.
ContributorsKushkaki, Mariam (Author) / Boyd, Patricia (Thesis advisor) / Roen, Duane (Committee member) / Saidy-Hannah, Christina (Committee member) / Arizona State University (Publisher)
Created2017
Description
This project explores television as the mediation of lived experience through a semiotic phenomenological lens. To do so, this thesis explores representations of gendered violence in self-identified feminist, Sally Wainwright's two shows: Last Tango in Halifax (2012) and Happy Valley (2014). By employing a phenomenological framework to Sally Wainwright's own relationships and experiences, I will seek to examine the semiotic codes embedded in the interactions between women in Happy Valley and Last Tango in Halifax. This will also provide a foundation for discussion on how and why the characters in her shows appear in ways that submit to and subvert the dominant 21st century understanding of 'feminine' on television.
ContributorsFry, Elisabeth (Author) / Sandlin, Jennifer (Thesis advisor) / Cavender, Gray (Committee member) / Anderson, Lisa (Committee member) / Arizona State University (Publisher)
Created2017
Description
This paper analyzes the television show Star Trek: Deep Space Nine within the context of the other Trek series, especially the original series and Star Trek: The Next Generation, with a particular focus on multiculturalism. Previous Trek series present an image of the United Federation of Planets that has evolved into a peaceful, cooperative, post-scarcity, multicultural utopia, but gloss over the difficulties the Federation governments must have faced in creating this utopia and must still face in maintaining it. I argue that DS9’s shift in focus away from exploration and towards a postcolonial, multicultural, stationary setting allows the show to interrogate the nature of the Federation’s multicultural utopia and showcase the difficulties in living in and managing a space with a plurality of cultures. The series, much more than those that precede and follow it, both directly and indirectly criticizes the Federation and its policies, suggesting that its utopian identity is based more in assimilation than multiculturalism. Nonetheless, this criticism, which is frequently abandoned and even undermined, is inconsistent. By focusing on three of the show’s contested spaces/settings—the space station itself, the wormhole, and the demilitarized zone—I analyze the ways in which DS9’s ambivalent criticism of the success of multiculturalism challenges the confidence of the Trek tradition.
ContributorsPoterack, Vivien Eulalie (Author) / Free, Melissa (Thesis director) / Sandlin, Jennifer (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
In this study, I offer a critique of representational thought and the related concept of intentionality in the theory and practice of curriculum in arts education. I use the philosophies of Jacques Derrida and Gilles Deleuze alongside new materialist and posthumanist theory to interrogate three figures of representational thought in arts education: the art object, the curriculum as enclosure, and the transmission-acquisition theory of learning. My analysis of these figures reveals how the theory and practice of curriculum in arts education uses privileged forms of interiority—the work of art, human subjectivity, and intentional consciousness—to pre-judge difference(s) according to recognizable subject-object determinations and established values. I argue that in the guise of representational thought, such determinations often (re)produce divisions and hierarchies of the human and nonhuman that, while making differences visible and knowable, also encloses them in fixed images. In arts education, such representational enclosures produce exclusionary boundaries for participation and learning which subordinate difference to identity, matter to form, and creativity to already-given determinations of subject and object in the mind of the intending human subject. I suggest that thinking about curriculum and learning in terms of inclosure rather than enclosure may allow arts educators to create living curricular forms that respond to and affirm differences rather contain them under representational identities.
ContributorsShowen, Austin (Author) / Mantie, Roger (Thesis advisor) / Stauffer, Sandra (Thesis advisor) / Sandlin, Jennifer (Committee member) / Arizona State University (Publisher)
Created2021