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Description
"YouTube Shakespeares" is a study of Shakespeare online videos and the people who create, upload, and view them on YouTube. Employing an interdisciplinary approach, this work is a remix of theories and methodologies from literary, performance, (social) media, fan, and Internet studies that expands the field of Shakespeare studies. This dissertation explores the role of YouTube users and their activities, the expansion of literary research methods onto digital media venues, YouTube as site of Shakespeare performance, and YouTube Shakespeares' fan communities. It analyzes a broad array of Shakespeare visual performances including professional and user-generated mashups, remixes, film clips, auditions, and high school performances. A rich avenue for the study of people's viewing and reception of Shakespeare, YouTube tests the (un)limitations of Shakespeare adaptation. This work explores the ethical implications of researching performances that include human subjects, arguing that their presence frequently complicates common concepts of public and private identities. Although YouTube is a "published" forum for social interactivity and video repository, this work urges digital humanities scholars to recognize and honor the human users entailed in the videos not as text, but as human subjects. Shifting the study focus to human subjects demands a revision of research methods and publications protocols as the researcher repositions herself into the role of virtual ethnographer. "YouTube Shakespeares" develops its own ethics-based, online research method, which includes seeking Institutional Board Review approval and online interviews. The second half of the dissertation shifts from methodology to theorizing YouTube Shakespeares' performance spaces as analogs to the interactive and imaginary areas of Shakespeare's early modern theatre. Additionally, this work argues that YouTube Shakespeares' creators and commentators are fans. "YouTube Shakespeares" is one of the first Shakespeare-centric studies to employ fan studies as a critical lens to explore the cultural significance and etiquette of people's online Shakespeare performance activities. The work ends with a conversation about the issues of ephemerality, obsolescence, and concerns about the instability of digital and online materials, noting the risk of evidentiary loss of research materials is far outweighed by a scholarly critical registration of YouTube in the genealogy of Shakespeare performance.
ContributorsFazel, Valerie Margaret (Author) / Thompson, Ayanna (Thesis advisor) / Ryner, Bradley (Committee member) / Fox, Cora (Committee member) / Arizona State University (Publisher)
Created2013
Description
In this dissertation I develop a deep theory of temporal planning well-suited to analyzing, understanding, and improving the state of the art implementations (as of 2012). At face-value the work is strictly theoretical; nonetheless its impact is entirely real and practical. The easiest portion of that impact to highlight concerns the notable improvements to the format of the temporal fragment of the International Planning Competitions (IPCs). Particularly: the theory I expound upon here is the primary cause of--and justification for--the altered (i) selection of benchmark problems, and (ii) notion of "winning temporal planner". For higher level motivation: robotics, web service composition, industrial manufacturing, business process management, cybersecurity, space exploration, deep ocean exploration, and logistics all benefit from applying domain-independent automated planning technique. Naturally, actually carrying out such case studies has much to offer. For example, we may extract the lesson that reasoning carefully about deadlines is rather crucial to planning in practice. More generally, effectively automating specifically temporal planning is well-motivated from applications. Entirely abstractly, the aim is to improve the theory of automated temporal planning by distilling from its practice. My thesis is that the key feature of computational interest is concurrency. To support, I demonstrate by way of compilation methods, worst-case counting arguments, and analysis of algorithmic properties such as completeness that the more immediately pressing computational obstacles (facing would-be temporal generalizations of classical planning systems) can be dealt with in theoretically efficient manner. So more accurately the technical contribution here is to demonstrate: The computationally significant obstacle to automated temporal planning that remains is just concurrency.
ContributorsCushing, William Albemarle (Author) / Kambhampati, Subbarao (Thesis advisor) / Weld, Daniel S. (Committee member) / Smith, David E. (Committee member) / Baral, Chitta (Committee member) / Davalcu, Hasan (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
Amidst studies attempting to fix the U.S., China, and their relationship into preconceived frameworks of international relations, presupposed definitions, and models of reality, this dissertation adopts an identity centric approach to understanding the nature of U.S.-China relations and, more generally, international politics. This approach involves utilizing an interpretive method to understanding, analyzing the narratives of self and other expressed by political actors and how their identities--expressed through narratives--interact with one another and thus how they influence or reflect social behavior. Striving for greater understanding and a more intellectually honest approach to the study of international politics, this study seeks not theory building or generalizability in a traditional "scientific" sense. Rather, informed by thinkers from Karl Popper through those more recent, this dissertation develops and outlines an in-depth, contextual approach to understanding, applying this approach to analyzing the nature of U.S.-China relations. Ultimately, this study argues that U.S. and Chinese identities and how their identities interact influence the nature of U.S.-China relations, whether the relationship tends towards cooperation or conflict, and that in order to glimpse this nature researchers must delve into the details of their subjects of study. Attempting to do so, this study analyzes U.S.-China relations surrounding the terrorist attacks of 11 September 2001, relations regarding the Diaoyu/Senkaku Islands dispute between China and Japan as it pertains to U.S. relations with China, and relations regarding encounters between the U.S. and China in cyber space (paying special note to attempts to define this "space" itself).
ContributorsKoehler, Clifford Eugene (Author) / Simon, Sheldon (Thesis advisor) / Doty, Roxanne (Committee member) / Ashley, Richard (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
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
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26