Matching Items (44)
Filtering by
- Status: Published
ContributorsBach, Johann Sebastian, 1685-1750 (Composer)
ContributorsBach, Johann Sebastian, 1685-1750 (Composer)
ContributorsBach, Johann Sebastian, 1685-1750 (Abridger)
Description
The purpose of this study was to examine whether dispositional sadness predicted children's prosocial behavior, and whether empathy-related responding (i.e., sympathy, personal distress) mediated this relation. It was hypothesized that children who were dispositionally sad, but well-regulated (i.e., moderate to high in effortful control), would experience sympathy versus personal distress, and thus would engage in more prosocial behaviors than children who were not well-regulated. Constructs were measured across three time points, when children were 18-, 30-, and 42-months old. In addition, early effortful control (at 18 months) was investigated as a potential moderator of the relation between dispositional sadness and empathy-related responding. Separate path models were computed for sadness predicting prosocial behavior with (1) sympathy and (2) personal distress as the mediator. In path analysis, sadness was found to be a positive predictor of sympathy across time. There was not a significant mediated effect of sympathy on the relation between sadness and prosocial behavior (both reported and observed). In path models with personal distress, sadness was not a significant predictor of personal distress, and personal distress was not a significant predictor of prosocial behavior (therefore, mediation analyses were not pursued). The moderated effect of effortful control was significant for the relation between 18-month sadness and 30-month sympathy; contrary to expectation, sadness was a significant, positive predictor of sympathy only for children who had average and low levels of effortful control (children high in effortful control were high in sympathy regardless of level of sadness). There was no significant moderated effect of effortful control on the path from sadness to personal distress. Findings are discussed in terms of the role of sadness in empathy-related responding and prosocial behavior as well as the dual role of effortful control and sadness in predicting empathy-related responding.
ContributorsEdwards, Alison (Author) / Eisenberg, Nancy (Thesis advisor) / Spinrad, Tracy (Committee member) / Reiser, Mark R. (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this study was to examine whether dispositional sadness predicted children's prosocial behavior and if sympathy mediated this relation. Constructs were measured when children (n = 256 at time 1) were 18, 30, and 42 months old. Mothers and non-parental caregivers rated children's sadness; mothers, caregivers, and fathers rated children's prosocial behavior; sympathy (concern and hypothesis testing) and prosocial behavior (indirect and direct, as well as verbal at older ages) were assessed with a task in which the experimenter feigned injury. In a panel path analysis, 30-month dispositional sadness predicted marginally higher 42-month sympathy; in addition, 30-month sympathy predicted 42-month sadness. Moreover, when controlling for prior levels of prosocial behavior, 30-month sympathy significantly predicted reported and observed prosocial behavior at 42 months. Sympathy did not mediate the relation between sadness and prosocial behavior (either reported or observed).
ContributorsEdwards, Alison (Author) / Eisenberg, Nancy (Author) / Spinrad, Tracy (Author) / Reiser, Mark (Author) / Wilkens, Natalie (Author) / Liew, Jeffrey (Author) / College of Liberal Arts and Sciences (Contributor) / Department of Psychology (Contributor) / Sanford School of Social and Family Dynamics (Contributor) / School of Mathematical and Statistical Sciences (Contributor)
Created2015-01-01
Description
Fashion is an inherently political and reflective medium for the daily ramblings and revolutions of a society. Much of the time the influence is subtle. Silhouettes and fabrics reflect different stances on conservatism, on sex, on the degrees to which we fetishize luxury, and on infinite other attitudes of an era. Other times the influence is extremely direct, with text printed on the clothing that explicitly articulates a current societal dynamic. I began exploring fashion in 2016, as the country had reached an unprecedented and linguistically weaponized divide.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
While taking a fashion technology course under the instruction of Galina Mihaleva, I developed a tracksuit incorporating concealed LED displays that are capable of scrolling customizable text on the sides of the garment. I expanded on this futuristic execution of politically charged clothes by utilizing a more realistic application of the LED technology in the Bouis Vuitton project. This project is a collection of six white vinyl bags with semi-flexible LED displays projecting revolutionary slogans through the vinyl textile.
The bags act as an appropriate housing for technology that is intended for significantly longer use, as bags have a longer lifespan in wardrobes than clothes and return to trend more frequently. The production investment in the technology is more equitable to the investment in the production of a bag and facilitates the wearer’s broadcasting of concise messages. The result is a collection of functional, utilitarian pieces with a clean, futuristic look and a mixed modern and vintage silhouette scrolling pro-revolutionary messages.
Broadcasting the knock-off name ‘BOUIS VUITTON’, I’ve inserted only my first initial into the reputable luxury company and paired it with slogans: ‘EAT THE RICH’ and ‘HEADS WILL ROLL’. The collection articulates a sense of nihilism felt by the youngest generations growing up on the outside of a very exclusive economic and political sphere. Three upcycled vintage luggage pieces evoke associations with the white American upper-class society of the 1960s. The luggage pieces were retrofitted in white vinyl and white-enameled metal fixtures. Three additional soft bags made of the same material reflect a utilitarian style of functional bags on trend with Spring/Summer 2019 streetwear. For the runway presentation of the bags, the models are dressed in navy-colored Dickies boiler suits, white retro-style Fila sneakers, and white ascots reminiscent of the historical male ruffled cravat. The contradictions of iconic silhouettes from both upper and lower-class American fashion history further the juxtaposition of anti-capitalist slogans posted on luxury goods.
Bouis Vuitton: Bags for the Revolution is intended to embody an unapologetic disregard for established wealth and political power in the most public of venues: the sidewalk, the mall, the high and the low-income neighborhoods – wherever people are wearing clothes. Fashion is the modern protest that requires no permit, and the new poster is a luxury bag.
ContributorsViton, Benjamin Douglas (Author) / Sewell, Dennita (Thesis director) / Mihaleva, Galina (Committee member) / School of Art (Contributor) / College of Integrative Sciences and Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The current study looked at weight stereotype presence and whether certain types of medical professionals held this bias over others. This study also investigated if there was a relation between medical professionals' self-esteem and the presence of the weight stereotype. By having a sample consisting of registered nurses, physician assistants, and medical doctors data was then collected within each group to analyze for any significant differences between the three levels of medical professionals. Eleven participants were guided through participation in the Harvard Implicit Association Test, specifically testing for weight stereotype presence, followed by responses to 50 true/false statements on the Sorensen Self-Esteem Test to measure the self-esteem of each participant. The participants within this study were 11 medical professionals, between the ages of 25 and 59, with 6 women and 5 men. The resulting sample consisted of 6 registered nurses, 3 physician assistants, and 2 medical doctors all currently practicing medicine in the state of Arizona, with the exception of 1 participant who is practicing in Colorado. This study was conducted through Qualtrics, an online database through Arizona State University. Upon completion of the study, 3 different tests were run using the data collected. The first was a between-subjects effect test to determine if there was a difference in stereotype presence among the three levels of medical professionals. The second test was a correlation between stereotype presence and the self-esteem each medical professional displayed. The third was a between-subjects effect test looking at self-esteem differences among the three levels of medical professionals. None of the tests yielded significant results, suggesting that there is no difference in weight stereotype presence or self-esteem among the three groups of medical professionals. The data also suggests that there is no correlation between a medical professionals' self-esteem and weight stereotype presence. Suggestions for future research within this paper have discussed ways to improve the current study in order to create significant results.
ContributorsFisher, Bobbi Paige (Author) / Lewis, Stephen (Thesis director) / Edwards, Alison (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
How does the idea of the visible and invisible, tangible and intangible, interact with the garments on the body? Perception, to become aware through the sense, involves the way in which the eye sees space, both visible and invisible. The way in which we see objects are significant in our everyday life and how we evaluate it. The main pattern the garments encompass are the accordion pleating and the variety in which the pattern can be utilized; the accordion pleating can be scaled, attached together, and twisted around the body. Effervescence is a 6-look collection that entails the idea of perception. The results of the project include 3 completed looks, 3 3D print on fabric, and 8 3D print accessories. In this paper, I will explain the process of creating the collection, the experimentation, and the results.
ContributorsNguyen, Juliana (Author) / Mihaleva, Galina (Thesis director) / Stephenson, Kathy (Committee member) / Tevzadze, Irina (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2022-05
Description
The purpose of this study was to examine whether maternal personality (i.e., Agreeableness and Conscientiousness) predicted maternal positive parenting (i.e., warmth/sensitivity and structure), and whether maternal parenting predicted children's regulation and sympathy and/or prosocial behavior. Additionally, the mediated effect of maternal warmth/sensitivity on the relation between maternal Agreeableness and children's regulation and the mediated effect of maternal structure on the relation between maternal Agreeableness and children's observed sympathy/prosocial behavior were investigated. Maternal personality was measured when children (N = 256 at Time 1) were 18 months old; maternal parenting was assessed when children were 18, 30, and 42 months old; children's regulation and sympathy/prosocial behavior (observed and reported) were assessed when children were 30, 42, and 54 months old. Mothers reported on their personality; maternal warmth/sensitivity was observed; maternal structure was observed and mothers also reported on their use of reasoning; mothers and caregivers rated children's regulation (i.e., effortful control [EC]) and regulation was also observed; mothers and fathers rated children's prosocial behavior; sympathy and prosocial behavior were also observed. In a path analysis, Conscientiousness did not significantly predict maternal warmth/sensitivity or structure at 30 months, whereas Agreeableness marginally predicted maternal warmth/sensitivity at 30 months and significantly predicted maternal structure at 30 months. Maternal warmth/sensitivity at 18 months significantly predicted 30-month EC, and 30-month maternal warmth/sensitivity significantly predicted 42-month EC. Maternal structure at 30 months significantly predicted 42-month observed sympathy/prosocial behavior. Maternal warmth/sensitivity at 42 months significantly predicted 54-month observed sympathy/prosocial behavior and marginally predicted 54-month reported prosocial behavior. Maternal structure and EC did not significantly predict reported prosocial behavior across any time point. EC did not significantly predict observed sympathy/prosocial behavior across any time point and maternal warmth/sensitivity at 18 and 30 months did not predict observed or reported sympathy/prosocial behavior at 30 or 42 months, respectively. Maternal Agreeableness directly predicted 30-month reported prosocial behavior and additional paths suggested possible bidirectional relations between maternal warmth/sensitivity and structure. Mediation analyses were pursued for two indirect relations; however, neither mediated effect was significant. Additional results are presented, and findings (as well as lack thereof) are discussed in terms of extant literature.
ContributorsEdwards, Alison (Author) / Eisenberg, Nancy (Thesis advisor) / Spinrad, Tracy L. (Thesis advisor) / Lemery-Chalfant, Kathryn (Committee member) / Bradley, Robert A. (Committee member) / Arizona State University (Publisher)
Created2015
Description
The ASU School of Dance presents Undergraduate Projects Showing, October 25-26, with works by undergraduate dance students, performed at Margaret Gisolo Dance Studio.
ContributorsPinholster, Jacob (Director, Artistic director) / Koch, Carolyn (Production manager) / Rex, Melissa S. (Technical director, Lighting designer) / Swayze, William (Musician) / Benard, Jacqueline (Costume designer) / Mihaleva, Galina (Costume designer) / Dodt, Alli (Artistic director) / Edwards, Allison (Artistic director, Performer) / Levin, Felicia (Performer) / Hughes, Haylee (Performer) / Groom, Léla (Performer) / Gastelo, Jr., Gabriel (Lighting designer) / Singleton, Kiah (Choreographer, Lighting designer, Costume designer, Performer) / DeSantis, Kimberly (Performer) / Freirich, Gordon (Performer) / Harkey, Noah (Performer) / Nguyen, Dana (Performer) / Bartholomew, Jessica (Choreographer, Musician, Costume designer) / Dorrel, Kayla (Performer) / Johnson, Sarah (Performer) / LeBlanc, Casey (Performer) / Norris, Sarah (Performer) / Rivera, Paola (Performer) / Sammons, Rylee (Performer) / Soto, Jose (Performer) / Wardarski, Jessie (Performer) / Witzke, Nikki (Performer, Choreographer, Costume designer) / Moraco, Steve (Videographer, Videographer) / Jackson, Sydney (Choreographer, Costume designer) / Castronova, Naomi (Performer) / Garcia, Lacee (Performer) / Keefe, Shelby (Performer) / Kerr, Elena (Performer) / Waitz, Jessica (Performer) / Riojas, David (Choreographer, Costume designer) / Calvano, Jourdan (Performer) / Locker, Rain (Performer) / Pullman, Gracie (Performer) / Reis, Ashley (Performer) / Nunn, Jasmine (Choreographer, Costume designer) / Koji, Saito (Musician) / Avery, Vickie (Musician) / Salcido, Alejandro (Lighting designer) / Baker, Ashley (Performer) / Siegfried, Jordyn (Performer) / Yoder, Allyson (Performer) / Gallagher, Grace (Choreographer, Costume designer, Videographer, Performer) / Dix, Geoffrey (Musician) / Stephens, Alexis (Choreographer, Costume designer, Performer) / Keating, Zoe (Musician) / Hernandez, Martha "Patty" (Choreographer, Costume designer, Performer) / Yuen, Priscilla (Performer) / Herberger Institute School of Dance (Musician)
Created2012