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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
ContributorsWard, Geoffrey Harris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
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
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
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
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
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012