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Description
This qualitative, action research study examines how teacher-writers' identities are constructed through the practice of revision in an extra-curriculum writing group. The writing group was designed to support the teacher-writers as they revised classroom research projects for submission for a scholarly journal. Using discourse analysis, the researcher explores how the teacher-writers' identities are constructed in the contested spaces of revision. This exploration focuses on contested issues that invariably emerge in a dynamic binary of reader/writer, issues of authority, ownership, and unstable reader and writer identities. By negotiating these contested spaces--these contact zones--the teacher-writers construct opportunities to flex their rhetorical agency. Through rhetorical agency, the teacher-writers shift their discoursal identities by discarding and acquiring a variety of discourses. As a result, the practice of revision constructs the teacher-writers identities as hybrid, as consisting of self and other.
ContributorsClark-Oates, Angela (Author) / Smith, Karen (Thesis advisor) / Roen, Duane (Thesis advisor) / Fischman, Gustavo (Committee member) / Early, Jessica (Committee member) / Arizona State University (Publisher)
Created2013
Description
Since the September 11, 2001 terrorist attacks and subsequent creation of the Transportation Security Administration (TSA), airport security has become an increasingly invasive, cumbersome, and expensive process. Fraught with tension and discomfort, "airport security" is a dirty phrase in the popular imagination, synonymous with long lines, unimpressive employees, and indignity. In fact, the TSA and its employees have featured as topic and punch line of news and popular culture stories. This image complicates the TSA's mission to ensure the nation's air travel safety and the ways that its officers interact with passengers. Every day, nearly two million people fly domestically in the United States. Each passenger must interact with many of the approximately 50,000 agents in airports. How employees and travelers make sense of interactions in airport security contexts can have significant implications for individual wellbeing, personal and professional relationships, and organizational policies and practices. Furthermore, the meaning making of travelers and employees is complexly connected to broad social discourses and issues of identity. In this study, I focus on the communication implications of identity and emotional performances in airport security in light of discourses at macro, meso, and micro levels. Using discourse tracing (LeGreco & Tracy, 2009), I construct the historical and discursive landscape of airport security, and via participant observation and various types of interviews, demonstrate how officers and passengers develop and perform identity, and the resulting interactional consequences. My analysis suggests that passengers and Transportation Security Officers (TSOs) perform three main types of identities in airport security contexts--what I call Stereotypical, Ideal, and Mindful--which reflect different types and levels of discourse. Identity performances are intricately related to emotional processes and occur dynamically, in relation to the identity and emotional performances of others. Theoretical implications direct attention to the ways that identity and emotional performances structure interactions, cause burdensome emotion management, and present organizational actors with tension, contradiction, and paradox to manage. Practical implications suggest consideration of passenger and TSO emotional wellbeing, policy framing, passenger agency, and preferred identities. Methodologically, this dissertation offers insight into discourse tracing and challenges of embodied "undercover" research in public spaces.
ContributorsRedden, Shawna Malvini (Author) / Tracy, Sarah J. (Thesis advisor) / Corley, Kevin (Committee member) / Alberts, Janet (Committee member) / Trethewey, Angela (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this study is to investigate the literacy practices of three members of Alcoholics Anonymous (A.A.) and to explore how they use these practices to support and maintain their recovery in their lives. This study also aims to examine how each participant used specialist language, enacted certain identities and acquired the secondary Discourse in A.A. through literacy use. This dissertation study is the result of in-depth interviewing in which each participant was interviewed three times for 90-minutes. These interviews were then transcribed and analyzed using discourse analysis. Study results are presented in three chapters, each one designated to one of the participants. Within these chapters is a life history (chronology) of the participant leading up to the point in which they got sober. The chapters also include a thematic discourse analysis of the interview transcripts across themes of literacy practice and topics in A.A. A conclusion is then presented to investigate how literacy was used from a sociocultural perspective in the study. Due to the emotionally charged nature of this dissertation, it has been formatted to present the stories of the participants first, leaving the theoretical framework, literature review and research methods to be included as appendices to the main text.
ContributorsClausen, Jennifer Ann (Author) / Marsh, Josephine (Thesis advisor) / Hayes, Elisabeth (Committee member) / Serafini, Frank (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study is based on 31 interviews conducted in 2012 with male, female, and transgender sex workers at the St. James Infirmary, a full-spectrum health clinic run by sex workers for sex workers, located in San Francisco, California. My primary goals were, first, to document the lived realities of a diverse range of sex workers who live and work in the San Francisco Bay Area, and, second, to understand the impact of sex work discourse on the facilitation of stigma toward the sex work community and, finally, how that stigma influences the sex worker group identity and individual identity constructions. My primary findings indicate that although sex work discourse has traditionally been constructed within the dominant public sphere and not by sex workers themselves, this discourse has a profound effect on creating and perpetuating the stigma associated with sex work. In turn, this stigma affects both how the group and how individuals construct their identities, often negatively. Alternatively, a benefit of stigma is that it can induce the production of counterpublics which facilitate the emergence of new discourse. However, for this new discourse to gain acceptance into the public sphere, activist organizations must utilize traditional (and sometimes unintentionally marginalizing) strategies that can impact both the identity construction of the group and of individuals within the group. Understanding these complex relationships is therefore essential to understanding how activist organizations, such as the St. James Infirmary, situate themselves within the larger dominant public sphere, their impact on sex work discourse, and their impact on individual sex worker identity construction.
ContributorsRead, Kathleen (Author) / Adams, Karen L (Thesis advisor) / Katsulis, Yasmina (Thesis advisor) / Adelman, Madelaine (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Efforts to privilege STEM (Science, Technology, Engineering, and Mathematics) disciplines, initiatives, and industries in American discourse are arguably the foremost expressions of scientific authority in contemporary educational policy. Citing a diverse body of STEM literature, I discuss the histories and rationales that sustain the promotion of STEM. In doing so, I appropriate two concepts -Michel Foucault's Regime of Truth and Hayden White's Emplotment- for the purpose of analyzing the complex interests embodied by STEM discourse. I argue that the Sputnik Narrative is the prevailing story in STEM advocacy discourse. I claim that STEM advocates typically emplot this history as a Romance. Furthermore, I classify two major bases of appeal (rationales) that appear within this literature to justify STEM projects and proposals, "competition" and "equity." Throughout my writing, I cite discursive strategies for challenging and reimagining STEM history. My goal in indicating these sites of narrative possibilities is broaden the discursive field to new, perhaps liberating possibilities.
ContributorsGeldis, Christopher (Author) / Harris, Lauren M (Thesis advisor) / Lyon, Edward (Committee member) / Greenes, Carole (Committee member) / Arizona State University (Publisher)
Created2014
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
Attack of the Fake Geek Girls: Challenging Gendered Harassment and Marginalization in Online Spaces applies feminist, gender, and rhetorical theories and methods, along with critical discourse analysis, to case studies of the popular online social media platforms of Jezebel, Pinterest, and Facebook. This project makes visible the structural inequities that underpin the design and development of internet technologies, as well as commonplace assumptions about who is an online user, who is an active maker of internet technologies, and who is a passive consumer of internet technologies. Applying these critical lenses to these inequities and assumptions enables a re-seeing of commonplace understandings of the relationship between gender performativity and digital cultures and practices. Together, these lenses provide a useful set of tools for methodically resisting the mystique of technologies that are, simultaneously, represented as so highly technical as to be opaque to scrutiny, and as ubiquitous to everyday life as to be beneath critical examination.
Through a close reading of the discourses surrounding these popular social media platforms and a rhetorical analysis of their technological affordances, I documented the transference of gender-biased assumptions about women's roles, interests, and competencies, which have historically been found in face-to-face contexts, to these digital spaces. For example, cultural assumptions about the frivolity of women's interests, endeavors, issues, and labors make their way into digital discourse that situates the online practices of women as those of passive consumers who use the internet only to shop and socialize, rather than to go about the serious, masculine business of making original digital content.
This project expands on existing digital identity and performativity research, while applying a sorely needed feminist critique to online discourses and discursive practices that assume maleness and masculinity as the default positionality. These methods are one approach to addressing the pressing problems of online harassment, the gender gap in the technology sector, and the gender gap in digital literacies that have pedagogical, political, and structural implications for the classroom, workplace, economic markets, and civic sphere.
Through a close reading of the discourses surrounding these popular social media platforms and a rhetorical analysis of their technological affordances, I documented the transference of gender-biased assumptions about women's roles, interests, and competencies, which have historically been found in face-to-face contexts, to these digital spaces. For example, cultural assumptions about the frivolity of women's interests, endeavors, issues, and labors make their way into digital discourse that situates the online practices of women as those of passive consumers who use the internet only to shop and socialize, rather than to go about the serious, masculine business of making original digital content.
This project expands on existing digital identity and performativity research, while applying a sorely needed feminist critique to online discourses and discursive practices that assume maleness and masculinity as the default positionality. These methods are one approach to addressing the pressing problems of online harassment, the gender gap in the technology sector, and the gender gap in digital literacies that have pedagogical, political, and structural implications for the classroom, workplace, economic markets, and civic sphere.
ContributorsTekobbe, Cindy (Author) / Miller, Keith D. (Thesis advisor) / Rose, Shirley K. (Committee member) / Boyd, Patricia (Committee member) / Arizona State University (Publisher)
Created2015
Description
This dissertation is a detailed rhetorical analysis of interviews with rice farmers in central Java, Indonesia and documents published by the global NGOs United Nations Food and Agriculture Organization (FAO) and CGIAR. Using theories of materiality, literacies, and environmental rhetorics, I examine how seemingly distinct and disparate humans, organizations, and inanimates are actually entangled agents in a dynamic conversation. I have termed that conversation the discourse of rice farming. Studying local and global together challenges conventional dichotomous thinking about farming and food. Looking at this conversation as an entanglement reveals what Karen Barad has defined in Meeting the Universe Halfway as the intra-relatedness of all agents. I focus on rice farming because rice is a food staple around the world and a major component of global agriculture initiatives by FAO and CGIAR. I argue that farmers construct their jobs in terms of production, food sovereignty, and community. The NGOs construct agriculture in terms of consumption, food security, and poverty alleviation. In my project I emphasize the need for global agents to better account for how farmers construct agriculture. Accounting for how all agents impact the discourse of rice farming is the only way to come to an objective understanding rice farming's impact on local and global scales. My argument adds to the field of environmental rhetorics because most published case studies are about the United States and thus are limited in their applicability. And it enriches global conversations about food security and food justice because it shares accounts from actual farmers who are often conspicuously absent from literature on those topics.
ContributorsCooney, Emily (Author) / Goggin, Peter (Thesis advisor) / Hannah, Mark (Committee member) / Chhetri, Netra (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014