Germany, a Western-European country famous for its beer, pretzels, and beautiful castles, is rated among the top countries in the world for quality public education and health care with a population of around 82,927,922 (U.S. News, 2019). While Germany is typically seen as a very progressive country, where do they stand when it comes to women in the business world? German women have the same rights as men, but do they have the same opportunities? My research aimed to find out whether traditional gender roles in Germany still impact businesswomen to this day. As an American woman, who one day hopes to work in sales in the private sector, I was curious as to what it would be like if I were to live in Germany. This was especially interesting to me as a Business Management and German student who also was an exchange student in Germany during high school. Throughout my research I gathered a plethora of information about traditional German gender roles, the current situation for German business women, and what the hope for the future is. (abstract)

The COVID-19 pandemic has renewed interest in the importance of indoor air quality for health. The spread of respiratory aerosols is the primary mechanism for COVID-19 transmission, making it crucial to understand the role of effective ventilation in managing the risk of disease transmission. The concentration of exhaled carbon dioxide (CO2) in indoor spaces can be used as a proxy measure of ventilation efficiency. Poor indoor air quality has been associated with a range of acute and chronic health problems, including respiratory issues, cardiovascular disease, and cancer. Poor air quality may also impair cognitive performance and productivity. Social and economic inequalities exacerbate the impact of indoor air quality issues, making it crucial to address these problems in an equitable manner. Public libraries have been identified as an effective intermediary for providing education and free air quality monitoring technology to communities, with the ultimate goal of promoting awareness and increasing access to tools to promote accountability for maintaining high indoor air quality standards. The primary objectives of this initiative are to: 1) develop a citizen science toolkit for assessing indoor air quality in public spaces and deploy the toolkit to public libraries in Arizona; and 2) to conduct a program evaluation to determine whether this kit can be effectively deployed through public libraries to promote citizen science efforts and engage community members in promoting healthier indoor air quality, identify areas where improvements can be made, and prepare the program to be scaled to a larger audience.

Labyrinths is my Capstone/Honors Creative Project, blending my proclivity for music composition and the inspiring stories of Jorge Luis Borges. Originally, the project was outlined as a collection of five to eight songs named for and based on stories in Borges' collection Labyrinths, to be written, recorded, and performed by me. Over time other aspects were included, making me a director of a large-scale creative project which now included three other musicians and two artists. In this paper, I give a brief overview of Borges' life and the context surrounding his collection Labyrinths, an in-depth description of the project as a whole, liner notes for each song, credits, and three appendices. The liner notes are broken into four sections: a summary of the story, an analysis of the story and my interpretation of it (including my musical ideas for the resulting song), an effects list, and performance notes which include the text I read from each story in the performance and recordings. The first appendix is a collection of the sheet music scores for each song and the text document I used for the performance readings. The second appendix shows the art I was given permission to use, and how I modified them for my thesis. The third appendix contains my primary sources, secondary sources/suggested readings, and suggested websites and videos. Attached are the recordings of each song I made in Logic Pro 9, a video of the live performance, and an unedited audio recording of the same performance.

This paper investigates the usage of the Japanese sentence-final construction no(da) in 27 postings collected from online question-and-answer forums. This linguistic feature appears frequently in both spoken and written Japanese discourse; however, it continues to pose difficulties to researchers when attempting to identify its meaning and functions. A major issue is that insufficient information regarding discourse context has resulted in ambiguity in many of the functions described in previous studies. Considering these limitations, the present study attempted to specify discourse contexts towards which three proposed functions of no(da) gravitate: 1) giving and asking explanation, 2) evoking politeness, and 3) organizing discourse. The results of this study indicate that two collocations, ~no desu ga and ~no deshou ka, play important roles in serving these functions in the genre of question-and-answer forums.

This creative project is a visual and sonic exploration of emotion in a video game format. The game is a 2D side-scroller created using PyGame and Python that focuses on a character who uses "emotions" to navigate their increasingly unrecognizable world. This project was taken on to explore the ways in which technologically-created media can relate to the human experience of emotion, and the ways in which emotions are like software to the human body's hardware. Additionally, this project conceptually comments on and rejects the idea that human situations always require a specific "appropriate" human emotion in response. Credit for the music in this game goes to Markus Rennemann.

As an important part of the movement for local and sustainable food in our cities, urban farming has the potential to actively involve urban dwellers in environmental, social, and economic issues of a global scale. When assessed according to a three-pillar model of sustainability, it can offer solutions to many of the major problems associated with the industrial food model that currently dominates the United States market. If implemented on a larger scale in the Phoenix metropolitan area, urban farming could improve overall environmental conditions, stimulate the local economy, and help solve food access and inequality issues. Through interviews with both amateur and established local urban farmers, this thesis attempts to identify and analyze some of the main barriers to the widespread participation in and incorporation of urban agriculture in the Phoenix Valley. Problems encountered by newcomers to the practice are compared with the experiences of more successful farmers to assess which barriers may be circumvented with proper knowledge and experience and which barriers specific to the Phoenix region may require greater structural changes.

The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.

Hispanic neighborhoods, referred to as barrios, reveal several key characteristics unique to their ethnic neighborhood identity. The housescapes in the neighborhoods exhibit three characteristics which distinguish them as Latino housescapes: bright color exteriors, fences around the property and a display of religious iconography. In a spatial and landscape analysis of two key barrios in Arizona: Barrio Anita in Tucson and El Campito in Nuestro Barrio in Phoenix, research reveals the prevalence of the three housescape characteristics. The multiple case study explores the extent to which Hispanic housescapes exhibit bright house color exteriors, fences and religious iconography. The least prevalent of these characteristics is the display of religious symbols which indicates a growing change in the way Hispanic ethnicity is displayed in neighborhoods.

The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.