Matching Items (6)
Description
Comparative life cycle assessment (LCA) evaluates the relative performance of multiple products, services, or technologies with the purpose of selecting the least impactful alternative. Nevertheless, characterized results are seldom conclusive. When one alternative performs best in some aspects, it may also performs worse in others. These tradeoffs among different impact categories make it difficult to identify environmentally preferable alternatives. To help reconcile this dilemma, LCA analysts have the option to apply normalization and weighting to generate comparisons based upon a single score. However, these approaches can be misleading because they suffer from problems of reference dataset incompletion, linear and fully compensatory aggregation, masking of salient tradeoffs, weight insensitivity and difficulties incorporating uncertainty in performance assessment and weights. Consequently, most LCA studies truncate impacts assessment at characterization, which leaves decision-makers to confront highly uncertain multi-criteria problems without the aid of analytic guideposts. This study introduces Stochastic Multi attribute Analysis (SMAA), a novel approach to normalization and weighting of characterized life-cycle inventory data for use in comparative Life Cycle Assessment (LCA). The proposed method avoids the bias introduced by external normalization references, and is capable of exploring high uncertainty in both the input parameters and weights.
ContributorsPrado, Valentina (Author) / Seager, Thomas P (Thesis advisor) / Chester, Mikhail V (Committee member) / Kullapa Soratana (Committee member) / Tervonen, Tommi (Committee member) / Arizona State University (Publisher)
Created2015
Description
In the triumvirate of composer-performer-listener, while the listener always wins, the performer is the interpreter through which the listener experiences the writings of the composer. When the composer and performer are combined, however, a unique situation arises: the link from the composer to the listener becomes a direct line and the composer becomes his/her own interpreter. Such is the case with Benjamin Britten. Britten conducted almost his entire repertoire in recordings for Decca (the exceptions being Paul Bunyan, Owen Wingrave, and Death in Venice). A comparative analysis of the recordings of four of Britten's works, the Serenade for Tenor, Horn, and Strings, Op. 31; Albert Herring, Op. 39; Spring Symphony, Op. 44; and the Nocturne, Op. 60, shows that despite his complaints about performers not following his tempo markings, Britten often deviated from them himself, tending slower. Britten also occasionally added additional rubato, ritardandi, and accelerandi to his works. Additionally, a discrepancy regarding a pitch in the "Prelude" of the Serenade comes to light. Video of Britten conducting the Nocturne in rehearsal with the Canadian Broadcasting Company (CBC) Vancouver provides additional insight into his methodology. Benjamin Britten succeeded as a composer-conductor, and his catalogue of recordings provides essential primary reference material when studying his works.
ContributorsSterneman, Walter (Author) / Reber, William (Thesis advisor) / Russell, Timothy (Committee member) / Dreyfoos, Dale (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2014
Description
This thesis will examine how the Middle Ages are historically interpreted and portrayed in the United States. In order to keep this study within reasonable bounds, the research will exclude films, television, novels, and other forms of media that rely on the Pre-Modern period of European history for entertainment purposes. This thesis will narrow its focus on museums, non-profit organizations, and other institutions, examining their methods of research and interpretation, the levels of historical accuracy or authenticity they hold themselves to, and their levels of success. This thesis ultimately hopes to prove that the medieval period offers the same level of public interest as popular periods of American history.
This focus on reenactment serves to illustrate the need for an American audience to form a simulated connection to a historical period for which they inherently lack geographic or cultural memory. The utilization of hyperreality as described by Umberto Eco lends itself readily to this historic period, and plays to the American desire for total mimetic immersion and escapism. After examining the Metropolitan Museum of Art’s exhibition of medieval history as high art and culture, the thesis focuses on historical reenactment, as it offers a greater level of visitor interaction, first by analyzing R.G. Collingwood’s definition of “reenactment” and it’s relation to the modern application in order to establish it as a veritable academic practice.
The focus of the thesis then turns to the historical interpretation/reenactment program identified here as historical performance, which uses trained actors in controlled museum conditions to present historically accurate demonstrations meant to bring the artifacts on display to simulated life. Beginning with the template first established by the Royal Armories Museum in the United Kingdom, a comparative study utilizing research and interviews highlights the interpretative methods of the Frazier History Museum, and those of the Higgins Armory Museum. By comparing both museum’s methods, a possible template for successfully educating the American public about the European Middle Ages; while a closer examination of the Frazier Museum’s survival compared to the Higgins Armory’s termination may illustrate what future institutions must do or avoid to thrive.
This focus on reenactment serves to illustrate the need for an American audience to form a simulated connection to a historical period for which they inherently lack geographic or cultural memory. The utilization of hyperreality as described by Umberto Eco lends itself readily to this historic period, and plays to the American desire for total mimetic immersion and escapism. After examining the Metropolitan Museum of Art’s exhibition of medieval history as high art and culture, the thesis focuses on historical reenactment, as it offers a greater level of visitor interaction, first by analyzing R.G. Collingwood’s definition of “reenactment” and it’s relation to the modern application in order to establish it as a veritable academic practice.
The focus of the thesis then turns to the historical interpretation/reenactment program identified here as historical performance, which uses trained actors in controlled museum conditions to present historically accurate demonstrations meant to bring the artifacts on display to simulated life. Beginning with the template first established by the Royal Armories Museum in the United Kingdom, a comparative study utilizing research and interviews highlights the interpretative methods of the Frazier History Museum, and those of the Higgins Armory Museum. By comparing both museum’s methods, a possible template for successfully educating the American public about the European Middle Ages; while a closer examination of the Frazier Museum’s survival compared to the Higgins Armory’s termination may illustrate what future institutions must do or avoid to thrive.
ContributorsHatch, Ryan R (Author) / Wright, Kent (Thesis advisor) / Warnicke, Retha M. (Committee member) / Fixico, Donald L. (Committee member) / Arizona State University (Publisher)
Created2015
Description
Adult second-language learners of Spanish struggle with the acquisition of preterite and imperfect selection due to the overtly morphological representation of grammatical aspect. Prior studies have documented the effect of a default encoding without influence of the lexical aspect in the emergence of aspectual morphology, and have proposed the Default Past Tense Hypothesis (DPTH).
This study investigates the emergence of aspectual morphology by testing the DPTH and the effect of adverbials at interpreting grammatical aspect in this process of acquisition. Twenty-eight English-speaking learners of Spanish (beginning, intermediate and advanced) and twenty native-Spanish speakers are tested with two written comprehension tasks that assess the interpretation of habitual/imperfect and episodic/preterite readings of eventive verbs. The truth-value judgment task incorporates forty short stories with two summary sentences, from which participants must choose one as true. The grammaticality judgment task presents sixty-four sentences with temporal adverbials of position and duration, thirty-two are grammatical and thirty-two are ungrammatical. Participants must accept or reject them using a 5-point likert scale.
The findings indicate that the DPTH is partially supported by the statistical data showing a default marker, imperfect for beginning learners, and preterite for intermediate learners. This provides support to the argument of unsteady aspectual checking of [-bounded] in the spec of AspP and not necessarily by only checking [+past] in the TP for intermediate learners. The influence of the lexical aspect value of the verb is partially evident with advanced learners. Temporal adverbials play an important role at interpreting grammatical aspect with intermediate and advanced learners. Results show that beginning learners are not influenced by the presence of adverbials due to their inexperience with the Spanish aspectual morphology.
The findings also allow the confirmation of prior results about factors that influence the interpretation of preterite and imperfect. First, the instruction of aspectual morphology co-indexed with specific temporal adverbials, and second, that learners rely on lexical cues at the sentential level, while native speakers rely on discursive ones.
This study investigates the emergence of aspectual morphology by testing the DPTH and the effect of adverbials at interpreting grammatical aspect in this process of acquisition. Twenty-eight English-speaking learners of Spanish (beginning, intermediate and advanced) and twenty native-Spanish speakers are tested with two written comprehension tasks that assess the interpretation of habitual/imperfect and episodic/preterite readings of eventive verbs. The truth-value judgment task incorporates forty short stories with two summary sentences, from which participants must choose one as true. The grammaticality judgment task presents sixty-four sentences with temporal adverbials of position and duration, thirty-two are grammatical and thirty-two are ungrammatical. Participants must accept or reject them using a 5-point likert scale.
The findings indicate that the DPTH is partially supported by the statistical data showing a default marker, imperfect for beginning learners, and preterite for intermediate learners. This provides support to the argument of unsteady aspectual checking of [-bounded] in the spec of AspP and not necessarily by only checking [+past] in the TP for intermediate learners. The influence of the lexical aspect value of the verb is partially evident with advanced learners. Temporal adverbials play an important role at interpreting grammatical aspect with intermediate and advanced learners. Results show that beginning learners are not influenced by the presence of adverbials due to their inexperience with the Spanish aspectual morphology.
The findings also allow the confirmation of prior results about factors that influence the interpretation of preterite and imperfect. First, the instruction of aspectual morphology co-indexed with specific temporal adverbials, and second, that learners rely on lexical cues at the sentential level, while native speakers rely on discursive ones.
ContributorsFistrovic, Tatiana Katy (Author) / Gelderen, Elly van (Thesis advisor) / Renaud, Claire (Committee member) / Muñoz-Liceras, Juana (Committee member) / Arizona State University (Publisher)
Created2016
Description
This study examines ninth graders’ negotiation of meaning with one canonical work, Romeo and Juliet. The study’s sample was 88% Latino at a Title I high school. The study adopts a sociocultural view of literacy and learning. I employed ethnographic methods (participant observation, data collection, interviews, and focus groups) to investigate the teacher’s instructional approaches and the literacy practices used while teaching the canonical work. With a focus on students’ interpretations, I examined what they said and wrote about Romeo and Juliet. One finding was that the teacher employed instructional approaches that facilitated literacy practices that allowed students to draw on their cultural backgrounds, personal lived experiences, and values as they engaged with Romeo and Juliet. As instructional approaches and literacy practices became routine, students formed a community of learners. Because the teacher allowed students to discuss their ideas before, during, and after reading, students were provided with multiple perspectives to think about as they read and negotiated meaning. A second finding was that students drew on their personal lived experiences, backgrounds, and values as they made sense and negotiated the meaning of Romeo and Juliet’s plot and characters. Although the text’s meaning was not always obvious to students, in their work they showed their growing awareness that multiple interpretations were welcomed and important in the teacher’s classroom. Through the unit, students came to recognize that their own and their peers’ understandings, negotiations, and interpretations of the canonical work were informed by a variety of complex factors. Students came to find relevance in the text’s themes and characters to their experiences as adolescents. The study’s findings point to the importance of allowing students to draw from their cultural backgrounds and experiences as they negotiate meaning with texts, specifically canonical ones, and to welcome and encourage multiple meanings in the English classroom.
ContributorsBaez, Felipe J., Jr (Author) / Warriner, Doris (Thesis advisor) / Anderson, Kate (Committee member) / Early, Jessica (Committee member) / Gee, Elisabeth (Committee member) / Arizona State University (Publisher)
Created2016
Description
Pursuit of an informed approach to interpreting Frédéric Chopin’s music has been increasingly challenging in the twenty-first century. In the process of forming their unique voices, pianists turn to the sound recordings of some of the most notable pianistic figures in history. This document offers a detailed inspection of three revered recordings and, with the help of syntactic analysis, seeks an understanding of the extraordinary interpretational decisions of Alfred Cortot, Arthur Rubinstein and Dinu Lipatti. The examined works are Chopin’s Prelude in C Major, Op. 28, No. 1, and the Largo of the Sonata in B Minor, Op. 58. The analysis of the Prelude compares recorded performances of Alfred Cortot (ca. 1933-1934) and Arthur Rubinstein (ca. 1946) and explains how their vastly different interpretational choices can, through an analytical process, be traced to the harmonic and melodic implications of the score. Likewise, inspection of the Largo focuses on Dinu Lipatti’s performance (ca. 1947) and draws connections between his phrasing and critical characteristics of the movement. All three performances present exquisite examples of a style of expressive playing that seems to have fallen into disuse in the twenty-first century. This study contributes to a deeper understanding of the performing style of Cortot, Rubinstein, and Lipatti, and also seeks to show connections between score analysis and interpretational decisions.
ContributorsJovanovic, Isidora (Author) / Pagano, Caio (Thesis advisor) / Holbrook, Amy (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020