Matching Items (62)
Description
Involvement in ultra-endurance mountain bike racing (UEMBR) is an expensive, time-consuming and risky endeavor. These factors are potentially problematic for athletes who are also in a committed relationship or are parents; it is not unreasonable to assume that the reallocation of time and financial resources from the household to the sport is likely to cause a significant amount of role conflict for an athlete and may impact his or her personal relationships in profound ways. However, a study of competitors who have participated in the Tour Divide, a 2,745 mile mountain bike race from Banff, Alberta to Antelope Wells, NM, reveals that these endurance athletes experience relatively low levels of role conflict and overwhelmingly perceive their involvement in this sport to have a more positive than negative impact on their personal relationships. This unexpected response is in line with recent research regarding the cross-role relationships of work and family, where models such as Greenhaus and Powell's (2006:79) work-family enrichment (WFE) model are used to study the ways in which individuals benefit from involvement in more than one role. As with most research regarding the cross-role relationships of work and family, that of sports-family relationships primarily focuses on role conflict. In an effort to understand the processes by which involvement in UEMBR can benefit an individual's role as a significant other and/or parent, Greenhaus and Powell's WFE model is used to study sports-family enrichment. Survey and interview data are analyzed to identify specific resources that racers gain from participating in UEMBR and subsequently apply to familial roles in a manner that results in role enrichment. The suitability of the WFE model for studying cross-role relationships in this context is assessed and suggestions are made for future research regarding the relationships between athletic and familial roles as well as other aspects of UEMBR.
ContributorsShepard, Lindsay (Author) / Parker, John (Thesis director) / Bhattacharjya, Nilanjana (Committee member) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The purpose of this study is to analyze the stereotypes surrounding four wind instruments (flutes, oboes, clarinets, and saxophones), and the ways in which those stereotypes propagate through various levels of musical professionalism in Western culture. In order to determine what these stereotypes might entail, several thousand social media and blog posts were analyzed, and direct quotations detailing the perceived stereotypical personality profiles for each of the four instruments were collected. From these, the three most commonly mentioned characteristics were isolated for each of the instrument groups as follows: female gender, femininity, and giggliness for flutists, intelligence, studiousness, and demographics (specifically being an Asian male) for clarinetists, quirkiness, eccentricity, and being seen as a misfit for oboists, and overconfidence, attention-seeking behavior, and coolness for saxophonists. From these traits, a survey was drafted which asked participating college-aged musicians various multiple choice, opinion scale, and short-answer questions that gathered how much they agree or disagree with each trait describing the instrument from which it was derived. Their responses were then analyzed to determine how much correlation existed between the researched characteristics and the opinions of modern musicians. From these results, it was determined that 75% of the traits that were isolated for a particular instrument were, in fact, recognized as being true in the survey data, demonstrating that the stereotypes do exist and seem to be widely recognizable across many age groups, locations, and levels of musical skill. Further, 89% of participants admitted that the instrument they play has a certain stereotype associated with it, but only 38% of people identify with that profile. Overall, it was concluded that stereotypes, which are overwhelmingly negative and gendered by nature, are indeed propagated, but musicians do not appear to want to identify with them, and they reflect a more archaic and immature sense that does not correlate to the trends observed in modern, professional music.
ContributorsAllison, Lauren Nicole (Author) / Bhattacharjya, Nilanjana (Thesis director) / Ankeny, Casey (Committee member) / School of Life Sciences (Contributor) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The business models of the music industry are currently experiencing rapid changes. Services such as Spotify, SoundCloud, and Pandora offer methods of consuming music unlike any the industry has seen before. Consumers have shifted from wanting products (digital music and CDs) to using streaming services (Spotify, Pandora, etc.). This study analyzes the motivation for these changes and considers why people choose the avenues by which they experience music.
ContributorsDugan, Emma (Co-author) / Foley, Meghan (Co-author) / Bhattacharjya, Nilanjana (Thesis director) / Ingram-Waters, Mary (Committee member) / School of Accountancy (Contributor) / Barrett, The Honors College (Contributor) / WPC Graduate Programs (Contributor) / Department of Economics (Contributor) / Department of Supply Chain Management (Contributor) / W. P. Carey School of Business (Contributor)
Created2015-05
Description
Drawing on existing scholarship as well as primary analytical materials, the research within this report demonstrates Wile E. Coyote's character is reliant on human connectivity and is evocative of the human condition, reflecting his disciplined and stylized design he possesses. Comprised of literary, film/media, and rhetorical elements, this report illustrates how Wile E. is an individual whose character holds various influences that provide dimensionality to his existence. The research within this report is both primary and secondary through observational recordings about the cartoons Wile E. appears in and through thorough analysis of texts elaborating on the elements comprising Wile E.'s character. Primary research from the initial observational recordings provides direction for the secondary research after viewing multiple cartoons and films containing Wile E. Coyote in his Warner Brothers Studios appearances and noting unique moments in his cinematic career. The notes from this viewing of Wile E. in his natural "habitat" drive the secondary research to focus on specific aspects of Wile E.'s character through the analysis of supporting texts which ultimately leads to the findings within this report. Research in the fields of literature, film/media studies, and rhetoric shape the analysis of Wile E.'s character as this report studies the various components compiled within the cartoon coyote. As a multifaceted individual, Wile E. illustrates a complexity within a stylized character that allows viewers to connect to his plights and to identify with his struggles. Through his emulative form, Wile E. embodies vital elements of character creation that allow him to become a memorable and prominent character that resonates in viewers and artists. From Wile E. Coyote's example, future generations of story tellers, regardless of their medium, can learn how to create similarly iconic and timeless characters within their works. Such stories can then contribute significant additions to popular narrative and characterization.
ContributorsGarza, Christopher Aaron (Author) / Baldini, Cajsa (Thesis director) / Mack, Robert (Committee member) / Sandler, Kevin (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This paper will explore the themes of performing race in hip-hop music. Through the genesis of the hip-hop industry in the Bronx in the 1970s, rap music has become aligned with afrocentric themes. The music spoke to inner cities and often held themes of economic abandonment, racism, and poverty. Today, non-black hip-hop artists are entering the rap scene. However, the mainstream hip-hop industry is still dominated by black artists. We explore the idea of performing race, specifically performing blackness. Non-black artists do this by dressing a certain way, speaking a certain way, and moving a certain way. We have chosen to identify three case studies to help us explore these ideas and understand how race is still important in the hip-hop industry today. Our case studies include Mellow Man Ace, Jin, and Brother Ali. While success is a complex term, we have discovered that race still follows a predictive outcome in monetary success and fame. The hip-hop industry is always in dynamic change. Our paper attempts to open the dialogue for talking about race and hip-hop music.
ContributorsKoyama, Curtis (Co-author) / Chiu, Carissa (Co-author) / Bhattacharjya, Nilanjana (Thesis director) / Montesano, Mark (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2014-05
Description
Playable female characters in video games have become increasingly more acceptable in the mind of the average gamer. Video games like the Mass Effect series allow gamers to choose to play as either male or female. Despite the industry's data showing that the male character is more likely to be played, vocal fans of the game will often argue that the female character is more desirable depending on the experience that the player is wanting. It is this inconsistency between the gaming industry's data on gender choice and the fans that go against this data that leads to the present research. This research explores why men play female characters in video games. Previous literature found that avatar choices matter to gamers, both for how they are viewed and how they experience the game. This literature suggests that gamers make character decisions based on the desired gaming experience. Data for the current study consists of comments from five Reddit posts and from supplementary surveys completed by volunteers from Reddit. Four main categories that encompassed the numerous results are identified: in-game advantages, player-character interactions, exploration of new experiences and/or identities, and novelty. Each category also features a number of subcategories that were identified first and then combined to make the final four categories. The results found supported previous literature as well as expanded the literature to offer more insight behind why male gamers choose to play as female characters. This choice is ultimately reliant upon varied factors on which they base their choices for the desired gaming experience.
ContributorsBunch, Sarah Elizabeth (Author) / Mack, Robert (Thesis director) / Ingram-Waters, Mary (Committee member) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
American society reflects a never-ending cycle of sociopolitical anxiety; as one source of anxiety disappears, another materializes. One of the most prominent and relevant examples of a sociopolitical anxiety currently plaguing the United States is our government, especially the president. Donald Trump, a successful businessman with no political background who is infamous for his crass, rude demeanor, is currently in charge of the United States. At the Women’s March in Washington on January 21, 2018, a protestor held up a sign reading “This episode of Black Mirror sucks” in response to President Trump’s election into office. Women, especially, have felt so threatened by Trump’s presence that they have made comparisons between the current political reality and the depressing dystopias illustrated in Netflix’s series Black Mirror. Such comparisons speak volumes about the current state of our country, suggesting that our future is likely to devolve into one similar to the exaggerated and decidedly dark futures portrayed in the series.
In order to evaluate this sentiment, this thesis will explore the representation of various modern social anxieties as presented in five different episodes of Black Mirror: “Fifteen Million Merits,” “White Bear,” “Nosedive,” “Men Against Fire,” and “Hang the DJ.” The essay begins with a brief introduction to the series and background information that explores the modern relationship between technology and some of the anxieties it raises. Following this contextualization, I will present a definitional section that outlines the various concepts that are relevant to dystopias and the ones depicted in Black Mirror specifically. The next segment discusses the more specific evolution of technology within dystopias. I will analyze nondiegetic and extratextual material related to the series, such as the Black Mirror theme music and the posters used to advertise the series. This section will also include some background information about the show, including its structure and the intentions of the creator as expressed in interviews. The main portion of the thesis will use the aforementioned episodes to demonstrate the various threats that technology presents to the individual, such as commodification, an illusion of agency, emotional and mental deterioration, and obtaining pleasure from violence. The paper also discusses the threats that technology poses to society including brainwashing, a lack of authenticity in social interactions, the presence of monotony, and dehumanization. Finally, a concluding section will explain how the series Black Mirror represents prominent modern social anxieties and conveys why contemporary users of technology should fear it.
In order to evaluate this sentiment, this thesis will explore the representation of various modern social anxieties as presented in five different episodes of Black Mirror: “Fifteen Million Merits,” “White Bear,” “Nosedive,” “Men Against Fire,” and “Hang the DJ.” The essay begins with a brief introduction to the series and background information that explores the modern relationship between technology and some of the anxieties it raises. Following this contextualization, I will present a definitional section that outlines the various concepts that are relevant to dystopias and the ones depicted in Black Mirror specifically. The next segment discusses the more specific evolution of technology within dystopias. I will analyze nondiegetic and extratextual material related to the series, such as the Black Mirror theme music and the posters used to advertise the series. This section will also include some background information about the show, including its structure and the intentions of the creator as expressed in interviews. The main portion of the thesis will use the aforementioned episodes to demonstrate the various threats that technology presents to the individual, such as commodification, an illusion of agency, emotional and mental deterioration, and obtaining pleasure from violence. The paper also discusses the threats that technology poses to society including brainwashing, a lack of authenticity in social interactions, the presence of monotony, and dehumanization. Finally, a concluding section will explain how the series Black Mirror represents prominent modern social anxieties and conveys why contemporary users of technology should fear it.
ContributorsRamesh, Bhavna (Author) / Miller, April (Thesis director) / Mack, Robert (Committee member) / School of Sustainability (Contributor) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Colorism- "Prejudice or discrimination against individuals with a dark skin tone, typically among people of the same ethnic or racial group"- is a social problem that has plagued India for decades. This thesis aims to identify how colorism has been transported across oceans and countries and, not only transplanted, but transformed within the second generation demographic-- who are those whose parents immigrated here from India and were born in America. In order to identify how second generation Indians, see color and how it operates in their lives, I sat down with 10 individuals who are attending Arizona State University in pursuit of their undergraduate degrees. I asked them questions relating to social cohesion, society's set beauty standards, proximity to Indian culture, involvement with social media, the origins of colorism, and lastly privilege. Based off of the narratives and experiences they shared with me I concluded that, in terms of colorism amongst this demographic, individuals tend to care more or focus more on their own skin tone as opposed to judging others based on theirs, due to the fear of being othered by the community they are in- whether that be Indian or American. They may not necessarily feel shunned or not accepted by certain community's standards, but they most certainly feel the pressure to conform to both in various situations in their lives. Because of these conclusions, I think colorism operates within this community but has transformed into a concept of transnational beauty and wanting to be seen as beautiful point blank. Not beautiful for an Indian girl or handsome for an Indian guy, and most certainly not beautiful for a South Indian man or women. With further research and more individuals sharing their narratives and experiences, this demographic and generation can reduce the importance the Indian community places on color and widen the definition of beauty.
ContributorsLokareddy, Nikitha (Author) / Bhattacharjya, Nilanjana (Thesis director) / Miller, April (Committee member) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
In the late 2000s and 2010s, digital art and the use of the internet as a new platform for art to be displayed became increasingly common. A new art scene began developing among South Asian diasporic artists, driven primarily by adolescents and young adult women who have never attended art school. Their primary medium is digital tools, their primary display platform is the internet, and they adhere to a DIY ("do-it-yourself") ethic rather than traditional art techniques and norms. As these internet artists have forgone the traditional gallery art scene in favor of more accessible internet platforms, these artists have not received attention from the mainstream art world. However, the popularity of these internet artists is undeniable as many of them have tens of thousands and hundreds of thousands of followers on their social media accounts. This new art scene has gained notice with the advent of social media platforms such as Tumblr and Instagram and websites focused on youth culture and counterculture, such as Vice, Buzzfeed, Dazed, and independent digital zine publications. The content of the work of these artists is often political, promoting feminist ideals, challenging South Asian and European beauty standards and limiting stereotypes of South Asian women, and creating groundbreaking new representations of South Asian women. Influences from both South Asian and Western pop culture and counterculture are prominent in their as well. This thesis explores the origins of this art scene and its roots in South Asian modernism and conventional South Asian diasporic artists.
ContributorsKhan, Nevine (Author) / Bhattacharjya, Nilanjana (Thesis director) / Mack, Robert (Committee member) / School of Life Sciences (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
In this undergraduate thesis, I explore the relationship between politics and popular culture through an ethnography of Justice League Arizona, a cosplay ensemble devoted to costumed civic activism. While existing scholarship addresses cosplay ensembles and political theory, there is very little that examines how the act of cosplay can be a form of politics and what the impact of that interpretation has on both individuals and the community at large. Through both participant observation and interviews with members of the ensemble, I discovered that cosplay has the ability to intensify aspects of the self, the ability to expose new aspects of the self, and the ability to bring one closer to a particular character. I also found cosplay to be political through the sensibility and situated knowledge that proves to be in practice during cosplay, ultimately having the power to be used as a form of political resistance.
ContributorsBurrus, Ella Rene (Author) / Mack, Robert (Thesis director) / Behl, Natasha (Committee member) / School of Social and Behavioral Sciences (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12