Matching Items (208)
Description
Carbon lacks an extended polyanionic chemistry which appears restricted to carbides with C4-, C22-, and C34- moieties. The most common dimeric anion of carbon atoms is C22- with a triple bond between the two carbon atoms. Compounds containing the dicarbide anion can be regarded as salts of acetylene C2H2 (ethyne) and hence are also called acetylides or ethynides. Inspired by the fact that molecular acetylene undergoes pressure induced polymerization to polyacetylene above 3.5 GPa, it is of particular interest to study the effect of pressure on the crystal structures of acetylides as well. In this work, pressure induced polymerization was attempted with two simple metal acetylides, Li2C2 and CaC2. Li2C2 and CaC2 have been synthesized by a direct reaction of the elements at 800ºC and 1200ºC, respectively. Initial high pressure investigations were performed inside Diamond anvil cell (DAC) at room temperature and in situ Raman spectroscopic measurement were carried out up to 30 GPa. Near 15 GPa, Li2C2 undergoes a transition into a high pressure acetylide phase and around 25 GPa this phase turns amorphous. CaC2 is polymorphic at ambient pressure. Monoclinic CaC2-II does not show stability at pressures above 1 GPa. Tetragonal CaC2-I is stable up to at least 12 GPa above which possibly a pressure-induced distortion occurs. At around 18 GPa, CaC2 turns amorphous. In a subsequent series of experiments both Li2C2 and CaC2 were compressed to 10 GPa in a multi anvil (MA) device and heated to temperatures between 300 and 1100oC for Li2C2, and 300°C to 900°C for CaC2. The recovered products were analyzed by PXRD and Raman spectroscopy. It has been observed that reactions at temperature higher than 900°C were very difficult to control and hitherto only short reaction times could be applied. For Li2C2, a new phase, free of starting material was found at 1100°C. Both the PXRD patterns and Raman spectra of products at 1100oC could not be matched to known forms of carbon or carbides. For CaC2 new reflections in PXRD were visible at 900ºC with the starting material phase.
ContributorsKonar, Sumit (Author) / Häussermann, Ulrich (Thesis advisor) / Seo, Dong (Thesis advisor) / Steimle, Timothy (Committee member) / Wolf, George (Committee member) / Arizona State University (Publisher)
Created2012
Description
About one in ten refugees from the American Revolution was African-descended, and unlike many white Loyalists fleeing war in the thirteen mainland North American colonies, black Loyalists were people without a country. Most were fleeing slavery in Virginia or the Carolinas, yet not fully able to claim to be British subjects, despite many heeding the call to join British forces. Among the 40,000 Loyalists who departed, around 3,500 black Loyalists evacuated from the newly founded United States between the years of 1776 and 1785. I hope to evaluate the movement patterns and thought process behind this particular group with what choices they ultimately had after the war using Dunmore’s Proclamation as a means to freedom. These black Loyalists faced the difficult decision in choosing what identity they would side with once they left. These former slaves ultimately had to choose between becoming forced migrants with the losing side of the war or staying with the winning side of the war as people bound by chains. Although there were a multitude of fascinating tales that could be told through the lens of these black Loyalists, one particular family caught my eye within my research. This story is the journey of the Fortune family who chose to run away from American slavery to migrate to Nova Scotia. Their story will grant me access to analyze the extreme discrimination families met as they fled, the contempt the new colonies felt against them, as well as the evolution of their societal roles as some of these immigrants integrated into their new country and became accepted as respected individuals. Furthermore, their tale aided me in understanding what caused some emigrant black Loyalists to stay in Nova Scotia despite the hardships they faced as outsiders who were unwelcome from the perspective of native white Nova Scotians.
ContributorsNanez-Krause, Michael L (Author) / Schermerhorn, Calvin J. (Thesis director) / Barnes, Andrew (Committee member) / Historical, Philosophical & Religious Studies (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
As of 2019, 30 US states have adopted abortion-specific informed consent laws that require state health departments to develop and disseminate written informational materials to patients seeking an abortion. Abortion is the only medical procedure for which states dictate the content of informed consent counseling. State abortion counseling materials have been criticized for containing inaccurate and misleading information, but overall, informed consent laws for abortion do not often receive national attention. The objective of this project was to determine the importance of informed consent laws to achieving the larger goal of dismantling the right to abortion. I found that informed consent counseling materials in most states contain a full timeline of fetal development, along with information about the risks of abortion, the risks of childbirth, and alternatives to abortion. In addition, informed consent laws for abortion are based on model legislation called the “Women’s Right to Know Act” developed by Americans United for Life (AUL). AUL calls itself the legal architect of the pro-life movement and works to pass laws at the state level that incrementally restrict abortion access so that it gradually becomes more difficult to exercise the right to abortion established by Roe v. Wade. The “Women’s Right to Know Act” is part of a larger package of model legislation called the “Women’s Protection Project,” a cluster of laws that place restrictions on abortion providers, purportedly to protect women, but actually to decrease abortion access. “Women’s Right to Know” counseling laws do not directly deny access to abortion, but they do reinforce key ideas important to the anti-abortion movement, like the concept of fetal personhood, distrust in medical professionals, the belief that pregnant people cannot be fully autonomous individuals, and the belief that abortion is not an ordinary medical procedure and requires special government oversight. “Women’s Right to Know” laws use the language of informed consent and the purported goal of protecting women to legitimize those ideas, and in doing so, they significantly undermine the right to abortion. The threat to abortion rights posed by laws like the “Women’s Right to Know” laws indicates the need to reevaluate and strengthen our ethical defense of the right to abortion.
ContributorsVenkatraman, Richa (Author) / Maienschein, Jane (Thesis director) / Brian, Jennifer (Thesis director) / Abboud, Carolina (Committee member) / Historical, Philosophical & Religious Studies (Contributor) / School of Life Sciences (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This document is a proposal for a research project, submitted as an Honors Thesis to Barrett, The Honors College at Arizona State University. The proposal summarizes previous findings and literature about women survivors of domestic violence who are suffering from post-traumatic stress disorder as well as outlining the design and measures of the study. At this time, the study has not been completed. However, it may be completed at a future time.
ContributorsKunst, Jessica (Author) / Hernandez Ruiz, Eugenia (Thesis director) / Belgrave, Melita (Committee member) / School of Music (Contributor) / Dean, W.P. Carey School of Business (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The National Basketball Association (NBA) is one of the Big Four Sporting Leagues of US Professional Sports. In recent years, the NBA has enjoyed milestone seasons in both attendance and television ratings, resulting in steady increases to both, over the previous decade. (Morgan, 2017) This surge can be attributed in part to the integration of "cultural recognition" initiatives and the overall message of inclusivity on the part of NBA franchises, with their respective promotions and advertisements such as television, social media, radio, etc. Heritage Nights, such as "Noche Latina," among other variants in the NBA, typically feature culturally influenced changes to team logos, giveaways, and other consumer offerings. In markets where Hispanics make up a significant percentage of the fan-base, such as Phoenix, NBA franchises such as the Phoenix Suns must ascertain the financial or perceptual impacts, associated with risks of stereotyping, offending or otherwise unintentionally alienating different categories of fans. To this end, data was collected from the local NBA franchises' fanbase, specifically Phoenix Suns season-ticket holders, and was statistically checked for significant relationships between both categories of fans and several different variables. This analysis found that only $192K in revenue is being missed through the investment of Heritage Nights, and that fan perceptions of stereotypical or offensive giveaways and practices have no significant effect on game or event attendance, despite the stereotypes toward giveaways and practices still being present. Implications of this study provide possible next steps for the Suns and continue to widen the scope of demographical sports marketing both in professional basketball and beyond.
ContributorsGibbens, Patrick Alexander (Author) / Eaton, John (Thesis director) / McIntosh, Daniel (Committee member) / Department of Supply Chain Management (Contributor) / School of Music (Contributor) / Department of Marketing (Contributor) / W.P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This creative project explores the concept of how music is like a language and how, as a teacher, I plan to enforce this concept through my teaching. The aim of this project is to highlight the importance of completing research and acquiring knowledge of aspects, such as the composer's life, historical background and literary references, when learning a piece of music. Through this project, I address connections between the brain and music pertaining to memorization, the components of language, the similarities between language and music, the role of the teacher and the development of a "toolbox" of knowledge for studying a piece of music. I present my own research on Schumann's Novelette Op. 21, No. 8 in f-sharp minor as well as my own experiences of learning the piece to demonstrate an example of the process and discoveries I hope my students will make in their own studies of repertoire.
ContributorsLee, Kara Jia-Shan (Author) / Pagano, Caio (Thesis director) / Creviston, Hannah (Committee member) / Division of Teacher Preparation (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
"French Vanilla" is a collection of written narratives drawn from lived experiences which serve as the vehicle storytelling that I use to examine larger themes related to the intersections of race and gender. Themes include: binaries, legitimacy, intersectionality, biracial identity development (border identity construction), whiteness, shame, and crisis. While the narratives are situated within theoretical discourse, the narratives present a representation of the lived experience. These pieces engage members of my family as well as a number of figures, including Rachel Dolezal, President Barack Obama, Alicia Keys, and a stranger on a tram in an airport. My relationship with these people present the grounds for an interrogation of identity. This project asks the question: How does one negotiate biracial identity with herself and others through narrative performance? It engages theories, such as critical race theory, black feminist theory, and standpoint theory, which informed my understanding of the discourse of race and contextualized my commentary on race. These theories present a framework within which to situate my understanding and analysis of race through lived experience. Narrative performance, the formal methodology for this work, provides a structure for the performance itself: the ultimate end product. Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other's solo pieces and co-producers of Negotiations, in which we share these pieces in relationship to each other. Thus, Negotiations is not a showcase of three individual works, but rather a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices, and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents: French Vanilla: An Exploration of Biracial Identity Through Narrative Performance by Carly Bates; Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through "Dress in Something Plain and Dark" by Allyson Yoder; and Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities by Raji Ganesan.
ContributorsBates, Carly Christopher (Author) / Davis, Olga Idriss (Thesis director) / de la Garza, Sarah Amira (Committee member) / Dove-Viebahn, Aviva (Committee member) / School of Music (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The music business has constantly evolved since its inception. Sheet music was the first physical form of music sold and was influenced by innovations in printing technology. Recorded music came about in the late 1800s and early 1900s, with Thomas Edison pioneering the phonograph record. Technology shifted from records to 8-tracks to cassettes, and finally, digital audio, which revolutionized the entire industry. Compact discs (CDs) skyrocketed in popularity during the 1990s and early 2000s, but so did file-sharing. To combat piracy, record labels began selling and streaming music online. Music sales have plummeted in all formats. Streaming reigns as the most popular form of music distribution, but it produces a mere fraction of the revenue traditional albums once did. The loss affects all those in the industry, especially the artists, who see an average of only $23.40 for every $1000 in music sold. But technology has allowed the independent artist to record and distribute their music to the world for little cost compared to their major label predecessors. Many wonder if the music industry is dead, but as with any other technological change in history, the adaptors and innovators will survive.
ContributorsDamiano, Alec (Author) / Swoboda, Deanna (Thesis director) / Whyte, Rutger (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2015-05
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12