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- Genre: Art--Study and teaching (Secondary)--Arizona.
- Genre: Fiction--Technique.
- Creators: Arizona State University
Description
Many alternative schools for at-risk students do not offer art classes to their students. Phoenix Job Corps is one of those schools. I conducted a qualitative study about a voluntary summer art course at Phoenix Job Corps, a vocational school for at-risk students. I had thirteen student volunteers, eight of them refugees from other countries. All the participants created a narrative painting about something in their lives. The purpose of this study was to examine this voluntary summer art course and to determine its usefulness as a beneficial tool to the lives of the students. This included looking at participants' narrative paintings to determine common themes or subjects, finding out their opinions on whether or not their school should offer an art course, their willingness to share their stories, determining whether they think it's important for others to see their work, and lastly concluding what artwork they like best and why. I found that the majority of students do want an art class offered at their schools, and all but one participant was more than willing to share their story about their narrative painting. Common themes amongst their paintings were family, a specific memory or event, or their present and future lives. I found similar subject matter in their paintings such as animals, houses or huts, and people. My research also unveiled a large difference in the refugee students' paintings as opposed to the other United States participants. The findings also suggest that participants judged other work based on meaning more so than aesthetics. This study explores, in detail, the narrative art and experiences of a very diverse group of students.
ContributorsSchaller, Kimberly (Author) / Young, Bernard (Thesis advisor) / Erickson, Mary (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2012
Description
This essay is an exploration of Michael Holladay's interests in style and influence related to his writing and overall writing process. I've chosen a selection of books that both reflect my interests as a writer, books that I've loved and have informed me in the past which continue to inform and inspire on each re-read (Battleborn by Claire Vaye Watkins, A Visit from the Goon Squad by Jennifer Egan, for example) and also books I hadn't read and needed to in order to challenge myself with writing I haven't been exposed to yet so I can continue to grow (I hadn't, for instance, read Jesus' Son by Denis Johnson or Reasons to Live by Amy Hempel before preparation for this essay.) The fiction I've chosen to discuss strikes a balance between favorites that have formed me up to this point and new work to "fill in the gaps" of books I needed to read. Additionally, I've chosen a selection of books on craft to provide a lens for thinking about writing. Finally, I've also included work in other genres that inform my fiction (Ryan van Meter's creative nonfiction essays, If You Knew Then What I Know Now and Andrew Haigh's film, Weekend.)
I've intentionally chosen work that is diverse in both form and content. I have more linear fiction represented (William Trevor, for example) matched with work that's fragmentary and language focused (Christine Schutt's Nightwork among others) since I'm interested in how linear form and fragmentation can intersect, and I've been experimenting with both during my time in the program. And in terms of content, the majority of the work speaks to my interest in how region, specifically the South, impresses itself on sexuality and gender, specifically queer or decentered sexuality and gender. So I have books with a heavy focus on region (Daddy's by Lindsay Hunter and Girl Trouble by Holly Goddard Jones) and work that explores the complexities of sexuality and identity (Michael Cunningham, Edmund White, Alexander Chee, and I'll mention Haigh's film Weekend again because it's always worth mentioning again.) These works will help synthesize and bring together my interests in style, language, structure, and form, and in content.
I've intentionally chosen work that is diverse in both form and content. I have more linear fiction represented (William Trevor, for example) matched with work that's fragmentary and language focused (Christine Schutt's Nightwork among others) since I'm interested in how linear form and fragmentation can intersect, and I've been experimenting with both during my time in the program. And in terms of content, the majority of the work speaks to my interest in how region, specifically the South, impresses itself on sexuality and gender, specifically queer or decentered sexuality and gender. So I have books with a heavy focus on region (Daddy's by Lindsay Hunter and Girl Trouble by Holly Goddard Jones) and work that explores the complexities of sexuality and identity (Michael Cunningham, Edmund White, Alexander Chee, and I'll mention Haigh's film Weekend again because it's always worth mentioning again.) These works will help synthesize and bring together my interests in style, language, structure, and form, and in content.
ContributorsHolladay, Michael (Author) / Ison, Tara (Thesis advisor) / Pritchard, Melissa (Committee member) / Bell, Matt (Committee member) / Arizona State University (Publisher)
Created2016