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Chronic restraint stress impairs hippocampal-mediated spatial learning and memory, which improves following a post-stress recovery period. Here, we investigated whether brain derived neurotrophic factor (BDNF), a protein important for hippocampal function, would alter the recovery from chronic stress-induced spatial memory deficits. Adult male Sprague-Dawley rats were infused into the hippocampus with adeno- associated viral vectors containing the coding sequence for short interfering (si)RNA directed against BDNF or a scrambled sequence (Scr), with both containing the coding information for green fluorescent protein to aid in anatomical localization. Rats were then chronically restrained (wire mesh, 6h/d/21d) and assessed for spatial learning and memory using a radial arm water maze (RAWM) either immediately after stressor cessation (Str-Imm) or following a 21-day post-stress recovery period (Str-Rec). All groups learned the RAWM task similarly, but differed on the memory retention trial. Rats in the Str-Imm group, regardless of viral vector contents, committed more errors in the spatial reference memory domain than did non-stressed controls. Importantly, the typical improvement in spatial memory following recovery from chronic stress was blocked with the siRNA against BDNF, as Str-Rec-siRNA performed worse on the RAWM compared to the non-stressed controls or Str-Rec-Scr. These effects were specific for the reference memory domain as repeated entry errors that reflect spatial working memory were unaffected by stress condition or viral vector contents. These results demonstrate that hippocampal BDNF is necessary for the recovery from stress-induced hippocampal dependent spatial memory deficits in the reference memory domain.
ContributorsOrtiz, J. Bryce (Author) / Conrad, Cheryl D. (Thesis advisor) / Olive, M. Foster (Committee member) / Taylor, Sara (Committee member) / Bimonte-Nelson, Heather A. (Committee member) / Arizona State University (Publisher)
Created2013
Description
The brain is a fundamental target of the stress response that promotes adaptation and survival but the repeated activation of the stress response has the potential alter cognition, emotion, and motivation, key functions of the limbic system. Three structures of the limbic system in particular, the hippocampus, medial prefrontal cortex (mPFC), and amygdala, are of special interest due to documented structural changes and their implication in post-traumatic stress disorder (PTSD). One of many notable chronic stress-induced changes include dendritic arbor restructuring, which reflect plasticity patterns in parallel with the direction of alterations observed in functional imaging studies in PTSD patients. For instance, chronic stress produces dendritic retraction in the hippocampus and mPFC, but dendritic hypertrophy in the amygdala, consistent with functional imaging in patients with PTSD. Some have hypothesized that these limbic region's modifications contribute to one's susceptibility to develop PTSD following a traumatic event. Consequently, we used a familiar chronic stress procedure in a rat model to create a vulnerable brain that might develop traits consistent with PTSD when presented with a challenge. In adult male rats, chronic stress by wire mesh restraint (6h/d/21d) was followed by a variety of behavioral tasks including radial arm water maze (RAWM), fear conditioning and extinction, and fear memory reconsolidation to determine chronic stress effects on behaviors mediated by these limbic structures. In chapter 2, we corroborated past findings that chronic stress caused hippocampal CA3 dendritic retraction. Importantly, we present new findings that CA3 dendritic retraction corresponded with poor spatial memory in the RAWM and that these outcomes reversed after a recovery period. In chapter 3, we also showed that chronic stress impaired mPFC-mediated extinction memory, findings that others have reported. Using carefully assessed behavior, we present new findings that chronic stress impacted nonassociative fear by enhancing contextual fear during extinction that generalized to a new context. Moreover, the generalization behavior corresponded with enhanced functional activation in the hippocampus and amygdala during fear extinction memory retrieval. In chapter 5, we showed for the first time that chronic stress enhanced amygdala functional activation during fear memory retrieval, i.e., reactivation. Moreover, these enhanced fear memories were resistant to protein synthesis interference to disrupt a previously formed memory, called reconsolidation in a novel attempt to weaken chronic stress enhanced traumatic memory. Collectively, these studies demonstrated the plastic and dynamic effects of chronic stress on limbic neurocircuitry implicated in PTSD. We showed that chronic stress created a structural and functional imbalance across the hippocampus, mPFC, and amygdala, which lead to a PTSD-like phenotype with persistent and exaggerated fear following fear conditioning. These behavioral disruptions in conjunction with morphological and functional imaging data reflect a chronic stress-induced imbalance between hippocampal and mPFC regulation in favor of amygdala function overdrive, and supports a novel approach for traumatic memory processing in PTSD.
ContributorsHoffman, Ann (Author) / Conrad, Cheryl D. (Thesis advisor) / Olive, M. Foster (Committee member) / Hammer, Jr., Ronald P. (Committee member) / Sanabria, Federico (Committee member) / Arizona State University (Publisher)
Created2013
Description
My thesis, titled Female Agency in the Canterbury Tales and Telling Tales, compares Geoffrey Chaucer’s fourteenth century work and Patience Agbabi’s modern adaptation in regards to their portrayal of female agency. While each work contained a whole selection of tales, I focus on four tales, which were The Miller’s Tale, The Clerk’s Tale, The Physician’s Tale, and The Wife of Bath’s Tale. I also include relevant historical information to support and assist in the analysis of the literary texts, and secondary sources were also used supplementarily to enhance the analysis. I argue that female agency is irrationally believed to be dangerous, and the consequent attempts at protection manifest as limitations, which are themselves damaging. The paper is divided into two main sections, which are themselves separated into three smaller categories. The first of the two main sections concerns what actions and options are available to women influenced by a distinction of gender; this section is divided into female gender ideals, marriage, and occupation. The second of the two main sections addresses the entities or individuals enacting the limitations upon female agency, and its three subsections are society, men, and women. I ultimately conclude that not only is it irrational to believe that female agency is dangerous, but also that making gender-based judgment on the capacity of a group of people or an individual is inherently flawed.
ContributorsStemmons, Zaydee (Author) / Newhauser, Richard G (Thesis director) / Maring, Heather (Committee member) / Historical, Philosophical & Religious Studies (Contributor) / Department of English (Contributor) / Historical, Philosophical & Religious Studies, Sch (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
The following study is an attempt to analyze the idea of the abject through the grotesque representation of the female body in contemporary visual art. The focus of the paper will remain within the scheme of the modern Western ideology of physical female beauty, social affirmations, and restraints. My hypothesis is that the grotesque imagery of the female body in modern art redefines beauty and liberates the female subject by turning the gaze upon itself. The proposition of this study emerges from Julia Kristeva’s theory of the abject as it applies to the viewer and the viewed. There is a distinct relationship between grotesque ideas and the female body as it is viewed in the late 20th and 21st centuries. Visual imagery has become increasingly bold in its presentation for good or for bad. I chose the selected artists because they present dark, often socially ‘ugly’ depictions of the female body in honest, straightforward ways. I question why the grotesque is not popularly recognized on the ‘beauty scale’, yet our society craves this kind of imagery. The purpose of this study is to identify and explain abjection within depictions of the grotesque. This exploration of the female figure and its portrayal through the eyes of modern sculptors, painters, and designers aims to highlight that 20th and 21st century aesthetics have moved towards themes of grotesqueness in beauty, amidst cultural objectification and materialization. These themes perhaps present Western culture’s underlying physical insecurities and self-loathing.
ContributorsWillson, Ariane Lolita (Author) / Dove-Viebahn, Aviva (Thesis director) / Miller, April (Committee member) / Barrett, The Honors College (Contributor) / Economics Program in CLAS (Contributor) / Department of English (Contributor)
Created2015-05
Description
The video-on-demand marketplace in film has usually been reserved for independent distributors like Magnolia Pictures and IFC Films, who cannot secure widespread theatrical exhibition like the major studios do (which include Sony, 20th Century Fox, Warner Bros., and Disney, amongst other), therefore opting for the in-home launch of films through on-demand services. These include cable providers, iTunes, Google Play, and even Netflix and Amazon Instant Video. A drastic change to this model came with the launch of The Interview exclusively on VOD platforms and in independent cinemas, challenging the established norm in the industry of major studios releasing their films with major exhibitors like AMC and Regal. Sony's controversial film provided a breakthrough in the VOD marketplace as it became the highest-grossing film ever released on the platform. There remains mystery and secrecy in the VOD realm, though, as independent distributors fail to provide accountable data on their releases and rarely measure financial successes in public. Whereas theatrical box office are available every weekend, VOD numbers do not have to be disclosed at any time, further driving ambiguity behind just how successful the technology must be when the films are often low-key, character-driven efforts rather than the blockbusters that pervade the theatrical landscape around the world. This paper explores the ramifications of video-on-demand on the theatrical marketplace, and attempts to counter the recent claim of The Interview being the game-changing success for VOD.
ContributorsForthun, Eric Matthew (Author) / Sandler, Kevin (Thesis director) / Green, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Department of English (Contributor)
Created2015-05
Description
This thesis examines contemporary cinematic adaptations of the Ovidian Pygmalion story. The films Blade Runner (1981), Lars and the Real Girl (2007), Ruby Sparks (2012), and Her (2013) are analyzed. This thesis seeks to understand why this particular myth is so resonant in today's popular culture and what this relevance reveals about modern society. The roles of female subjugation, sexualization, and relationship with technology will be major areas of concern. Research includes film criticism, Ovidian scholarship, and new advances in computer technology.
ContributorsStory, Sara Katherine (Author) / Corse, Taylor (Thesis director) / Ellis, Lawrence (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2015-05
Description
The relationship between mental illness (or "madness," as Socrates labeled psychosis, as well as a wide range of states of thought and emotion [Jamison, 1993]) and creativity has been noted since before the times of Socrates. The questions that this noted relationship pose are significant. Famous authors, poets, artists, and musicians who suffered from various forms of mental illness are littered throughout history. Edgar Allen Poe himself noted, "Men have called me mad but the question is not yet settled, whether madness is or is not the loftiest intelligence \u2014 whether much that is glorious \u2014 whether all that is profound \u2014 does not spring from disease of thought \u2014 from moods of mind exalted at the expense of the general intellect." Only in recent years have researchers begun to classify these disorders of past artists using modern diagnostic measures. While the concept of a relationship between creativity and mental illness is fascinating in and of itself, understanding the implications of a possible correlation is essential to the care and treatment that individuals with the diseases are given. If, indeed, creativity is linked with affective disorders, what does this mean for the treatment of these disorders? By eliminating the symptoms of mood disorders, are we also inadvertently eliminating creativity? It is important to acknowledge the possibility that mental illnesses like bipolar disorder include benefits to those afflicted. How can we treat the negative symptoms of mood disorders while enhancing the positive symptoms? In order to conclude that there is a link between creativity and mood disorders, it is first necessary to reexamine and reestablish the processes by which mood disorders are diagnosed. Although currently diagnosed on a categorical scale \u2014 meaning the patient is diagnosed under the black-and-white category of manic or depressive at a given point in time \u2014 this paper will argue that mood disorders can be better diagnosed and treated on a continuum of mood states. Furthermore, by viewing mood disorders on such a continuum, writers like Anne Sexton and Sylvia Plath, whose diagnoses are debated by historians and professionals, can be established as having a diagnosable affective disorder, since both experienced symptoms of depression and mania, if not in the precise timing and manner proscribed by the Diagnostic Manual. Finally, by determining these writers' diagnoses, a relationship can be explored between their creative states and their mood states.
ContributorsKugler, Danica Eileen (Author) / Montesano, Mark (Thesis director) / Holbo, Christine (Committee member) / Barrett, The Honors College (Contributor) / College of Letters and Sciences (Contributor) / Department of Psychology (Contributor) / Department of English (Contributor)
Created2015-05
Description
This study examined how second-generation Mexican American students talked about negotiating bilingualism in Arizona, where Spanish is associated with a social group considered to be problematic in the local anti-immigrant context. Using tools and approaches from narrative analysis, I analyzed testimonies collected through interviewing, a method within the field of sociolinguistics to elicit qualitative data, to understand how the narratives reveal insight into the social processes and ideological structures that are present in any given context. I modeled my study after Anna de Fina (2003) and her analysis of immigrant discourse. Anna de Fina (2003) along with Koven (2001), and Bamberg (2011) all devise frameworks in which narratives emerge through interactional contexts during interviews where the interviewee engages in constructing not only a narrative along with the interview but also the representation of his/her identity. Contributing to this literature, my analysis demonstrates the role of language ideologies in narrative constructions of identity, the fluid nature of identity performances, and the power of autobiographical storytelling to challenge or contest dominant discourses about a language and its speakers. Findings show that participants began to value their own bilingualism more after entering into dominant culture, where their negotiation of identity stood on intermediary ground and was conceived as a process, belonging was found with other bilinguals, and bilingualism was viewed as a resource capable of providing innovative ways of conceiving of belonging and identity.
ContributorsGarcia, Jorge Jesus (Author) / Warriner, Doris (Thesis director) / Adams, Karen (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
The amount of connection one has, whether it is digitally or in-person can have an overall affect on a person's business, their being, and their interaction- these interactions are considered social capital. The main premise of social capital is that social networks have value. This means that the collective value of which people know will affect their inclination to do things for each other. In this case, social capital is not about the warm feeling one gets when someone does something for them, it refers to the information flow and mutual aid that bonds people who are interested in the same things. With technology at an all time high, these connections are made infinitely possible through social media. This project uses Cuisine of Arizona, a regional restaurant guide, to exemplify how strategies of social capital can be used via social media in order to build trustworthy and valuable connections and build a larger audience for the brand. Research on the benefits of Facebook, Instagram, and Twitter for social media marketing was conducted and was then adapted to benefit the Cuisine of Arizona restaurant guide. A social media calendar was implemented for organizational purposes and the social media sites were updated to keep their look current. Research on how business websites keep their audience was conducted as well. The current Cuisine of Arizona website was outdated, but still useful. A mock-up website was created on Wix.com to give the website a new look and bring in new interactive features, like the online flipbook version of the restaurant guide and a dynamic homepage, but still gave the audience the same useful information as the old site. The mock-up website was also mobile optimized for use on smartphones and tablets. The three social media methods were chosen because of their capabilities to interact with one another. For example, Instagram posts can be shared on both Facebook and Twitter, resulting in more unique viewers for each site. If the website's content is shared on any of these sites, it will build a larger audience for the Cuisine of Arizona website as well. If used carefully, the proposed social media plan will draw a larger audience to the entire Cuisine of Arizona brand and in turn, build trust and credibility among its audience.
ContributorsGuillen, Alejandra (Author) / Gilpin, Dawn (Thesis director) / Bovio, Sonia (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2015-05
Description
The depiction of mental illness, schizophrenia in particular, within film is a unique phenomenon that film directors have decided to undertake more so in the last 20 years than ever before in cinematic history (Wedding & Niemic, 2014; Robinson, 2004; Gabbard & Gabbard, 1999; Wahl, 1997). Countless filmmakers have taken on the challenge of depicting this complex, yet degenerative condition that entails auditory and visual hallucinations, disorganized thought and speech, and delusions. Its portrayals are usually exaggerated and romanticized, and convey a sense of separate "Otherness" with those who have a mental disorder. And while filmmakers try to encapsulate the schizophrenic experience, it is not without psychiatric error and regarding the person who has schizophrenia as a spectacle. This unfair and ostracizing view of people who have schizophrenia is fueled by films like A Beautiful Mind and The Shining where the film either creates impossibly high standards for schizophrenics to perform at, or the film paints the character as a violent savage. In either case, the end result is the marking and, usually, denouncement of the schizophrenic for their illness. What filmmakers tend to overlook is how much the public learns from the cinematic portrayals of these disorders, and that their films are contributing to an overarching issue of public presumptions of actual schizophrenia and how it is perceived. While the Hollywood approach offers a depiction that is usually more tangible and enjoyable for masses of audiences, spectators should recognize that these are artistic interpretations that take liberties in their depictions of schizophrenia. Viewing these films with an objective mindset to better understand the inner workings of schizophrenia is absolutely crucial in arriving anything close to the truth behind this mental illness that has been demonized long enough.
ContributorsFraga, Nicholas Andrew (Author) / Miller, April (Thesis director) / Cavanaugh Toft, Carolyn (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / Department of English (Contributor)
Created2015-05