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Las personas públicas de mujeres fuertes mexicanas generalmente se definen como desafiantes y contrarias a los roles sociales generalmente aceptados de las mujeres sumisas. Dichas personas públicas exigen atención y buscan incluirse en la cultura popular. Sin embargo, cuando se analizan mediante los rubros de la teoría queer, se revelan arquetipos heternormativos. Esta tesis examina cronológicamente la obra de tres cronistas mexicanos de los siglos XX y XXI, Salvador Novo, Carlos Monsiváis y Sara Sefchovich, analizando su retrato de mujeres fuertes que ocupan sitios urbanos públicos en la Ciudad de México. Se investigan los efectos sociales elitistas de las imágenes públicas de mujeres fuertes, revelando restricciones patriarcales de mujeres en espacios públicos y construcciones subsecuentes de personas públicas como exóticas y cosificadas, asimismo facilitando interacciones con una sociedad sumamente masculinista y machista. La falta de agencialidad social real se revela cuando el patriarcado se reafirma, a pesar de la índole disconforme de las mujeres retratadas. Los constructos de familia y de masculinidad exigen la existencia tanto del padre y del esposo ausentes como del hipermacho y de la acompañante mujer sumisa limitada a sitios privados. El retrato de mujeres fuertes en la obra analizada desnaturaliza la imagen de domesticidad, señalando que las mujeres mexicanas salen del hogar para ocupar sitios públicos en la Ciudad de México. Como la normalización del constructo de familia se cuestiona, la teoría queer se utiliza en una manera innovadora para analizar dichos retratos de mujeres fuertes y agencialidad sociopolítica.
ContributorsHolcombe, William Daniel (Author) / Foster, David William (Thesis advisor) / Tompkins, Cynthia (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2013
Description
The hagiographic comedy written by Tirso de Molina Los lagos de San Vicente (1607) presents the journey of Santa Casilda in search of the cure of an illness in her blood that affects her. Casilda rejects the medical assistance offered to her by Muslim doctors and miraculously she finds the cure in the Christian world. In this quest, the intellectual and theological evolution of the future saint in defense of the Christian faith is presented. This dissertation will study the resources that Tirso de Molina employs to show the rejection and displacement against the Islamic world represented by a series of erotic behaviors that, in the effort of dramatizing these impertinences they are characterized within a second discourse. Tirso de Molina takes advantage of the hagiographic comedy's discourse nature and the baroque's obscure literary characteristics to express his messages. This dissertation will study in detail how the combination of hagiographic theatrical elements with linguistic expressions are used to convey a subversive discourse that therefore suggests the application of queer theory as a frame of reference. As a result of this investigation it is concluded that Tirso de Molina promotes the hagiographic model and in order to contrast the triumph of the moral Catholic world over the immoral Muslim world the play writer makes references to the nefarious sin.
ContributorsMurphy, Anayanci (Author) / Foster, David William (Thesis advisor) / Sanchez, Angel (Committee member) / Acereda, Alberto (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Volek, Emil (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation examines the use of color in lowrider car customizations. It studies the relationships among car owners, car painters, and car clubs in the process of selection, and manipulation of color. This research studies how color is constructed as an element for individual and community differentiation. Also included is the examination of the influence of car clubs in the design process, the understanding of color by car painters and car owners, and the cultural values associated with color in this community. This research argues that through the use, manipulation, and implementation of color as a visual/design element, lowriders challenge, transgress, and resist the preconceived notions of space, aesthetic hegemony, and social disparity they experience. In this case, color as a cultural expression, becomes a pivotal element to narrate and retell their stories of struggle and endurance, as well as to envision a different world. This research frames Chicana/o vernacular production, and color use as being central to the borderland experience of this community. Finally, this research follows the discourse of taste, as this concept has been used to create social categories of exotic otherness and the perpetuation of specific aesthetic epistemologies. In this context, it presents lowriders as expression of a Chicana/o network of vernacular border knowledge. This dissertation concludes by framing the Low n' Slow movement, in the context of healing and emancipating practices enacted by subjugated communities in order to survive, give sense to their reality, and to envision a more egalitarian world.
ContributorsCalvo, William (Author) / Giard, Jacques (Thesis advisor) / Boradkar, Prasad (Committee member) / Foster, David William (Committee member) / Arizona State University (Publisher)
Created2011
Description
Anchored to the Mexican-American and U.S. Latino historical experience, this dissertation examines how a Latino and Chicano Canibalia manifests itself in literary and cultural production across the different literary periods of the Southwest and the United States as formulated by Luis Leal and Ilan Stavans: Colonization: 1537-1810, Annexations: 1811-1898, Acculturation: 1898-1945, Upheaval: 1946-1979, and the fifth period, Into the Mainstream: 1980-Present. Theoretically, the study is primarily based on the work Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) by Carlos Jauregui. This Canibalia claims that the symbol Caliban, a character taken from the drama The Tempest (1611) by William Shakespeare and interpreted in Calibán (1971) by Roberto Fernández Retamar, is an indispensable reference that, today, links the discourse on Colonial Studies in Latin America and, for us, also in the Mexican-American Southwest. To particularize Jáuregui’s critical perspective, we draw from the work The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) by José David Saldívar, whose call for a School of Caliban not only brings together all subaltern subject positions but marks the value of the “schooling” such an institution will provide. For Saldívar, Chicano and U.S. Latino scholarship needs to be incorporated into Caliban Studies due to a shared anti-imperial resistance. We also rely on the theoretical work Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) by Walter Mignolo, which links colonial difference to border thinking and examines contemporary dialogues on Orientalism, Occidentalism, and post-Occidentalism with regards to Latin American, Chicano, and U.S. Latino cultures. Our study interprets such works as I Am Joaquín (1967) by Rodolfo “Corky” Gonzales, the performances of Guillermo Gómez-Peña, the novels Peregrinos de Aztlán (1974) by Miguel Méndez and Entre la sed y el desierto (2004) by Óscar L. Cordero, US Latino films like Balseros (2002) and Which Way Home (2009), the Mexican film Acorazado (2010), and Chicano and US Latino poetry that features the literary symbol examined under our critical approach; in turn, we have learned that the Chicano and Latino Canibalia is a collection of cannibal discourses which have as an objective stereotyping civilians of Mexican and Latin American descent in the United States. Our critical discourse provides an understanding of today’s complex cultural ties between all countries. A Chicano and Latino Canibalia serves as a bridge of understanding regarding the discursive silences in the history of the United States and Latin America as well as the world.
[TEXT IN SPANISH.]
ABSTRACTO
Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo.
[TEXT IN SPANISH.]
ABSTRACTO
Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo.
ContributorsRamos Rodríguez, Tomás (Author) / Hernández-G., Manuel De Jesús (Thesis advisor) / Rosales, Jesus (Committee member) / Foster, David William (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACTO
La identidad y el pluralismo se debaten cuando hablamos de dos escritoras chicanas. Ellas reclaman una herencia judía e indígena en sus obras literarias: María Speaks: Journeys into the Mysteries of the Mother in My Life (2004) de Sarah Amira de la Garza y The Desert Remembers My Name:On Family and Writing (2007) de Kathleen Alcalá. En sus obras se examina el proceso de la construcción de identidad dentro de la comunidad cripto-judía en el suroeste de los Estados Unidos. Dicha comunidad ejemplifica y pone en cuestión la construcción de la identidad en el mundo moderno, deconstruyendo la historia tradicional. Se aplican dos conceptos derivados del estructuralismo para analizar el proceso de integrar una identidad más en identidades ya existentes. Bricolaje, concepto teórico de Claude Lévi-Strauss en su obra: El pensamiento salvaje (1962); bricolaje proporciona el modelo a seguir para entender los diferentes patrones culturales que conforman la construcción de una identidad. Jonglerie de Seth Kunin o la manipulación de las identidades, extraído del artículo: “Juggling Identities Among the Crypto-Jews of the American Southwest” (2001). Acudimos al deconstructivismo de Jacques Derrida y al poscolonialismo de Gloria Anzaldúa y Emma Pérez. Este estudio revela que María Speaks deconstruye una educación católica al haber contradicciones eclesiásticas y cotidianas que producen un agudo sufrimiento en el sujeto femenino, ejerciendo como bricoleur, éste acude a la historia chicana de resistencia, a los mitos aztecas y coloniales, y al conocimiento y creencias judías para construir una nueva identidad chicana que incluye la cara sefardita. En The Desert Remembers my Name, el sujeto femenino, partiendo de una conciencia mexicoamericana de los 1950 y los 1960 donde se dan indicios culturales judíos, deconstruye su temprana identidad chicana y, como bricoleur, emprende investigaciones históricas y de familia para recuperar hechos, figuras, prácticas y símbolos para reconstruir una identidad sefardita y opata como parte de una actualizada identidad chicana. El método teórico aplicado, Bricolaje, Jonglerie, deconstructivismo y el poscolonialismo han sido útiles para recuperar la cara sefardita de la identidad chicana heterogénea. Creemos que este estudio representará un punto de partida para futuros estudios de la literatura judea-chicana.
La identidad y el pluralismo se debaten cuando hablamos de dos escritoras chicanas. Ellas reclaman una herencia judía e indígena en sus obras literarias: María Speaks: Journeys into the Mysteries of the Mother in My Life (2004) de Sarah Amira de la Garza y The Desert Remembers My Name:On Family and Writing (2007) de Kathleen Alcalá. En sus obras se examina el proceso de la construcción de identidad dentro de la comunidad cripto-judía en el suroeste de los Estados Unidos. Dicha comunidad ejemplifica y pone en cuestión la construcción de la identidad en el mundo moderno, deconstruyendo la historia tradicional. Se aplican dos conceptos derivados del estructuralismo para analizar el proceso de integrar una identidad más en identidades ya existentes. Bricolaje, concepto teórico de Claude Lévi-Strauss en su obra: El pensamiento salvaje (1962); bricolaje proporciona el modelo a seguir para entender los diferentes patrones culturales que conforman la construcción de una identidad. Jonglerie de Seth Kunin o la manipulación de las identidades, extraído del artículo: “Juggling Identities Among the Crypto-Jews of the American Southwest” (2001). Acudimos al deconstructivismo de Jacques Derrida y al poscolonialismo de Gloria Anzaldúa y Emma Pérez. Este estudio revela que María Speaks deconstruye una educación católica al haber contradicciones eclesiásticas y cotidianas que producen un agudo sufrimiento en el sujeto femenino, ejerciendo como bricoleur, éste acude a la historia chicana de resistencia, a los mitos aztecas y coloniales, y al conocimiento y creencias judías para construir una nueva identidad chicana que incluye la cara sefardita. En The Desert Remembers my Name, el sujeto femenino, partiendo de una conciencia mexicoamericana de los 1950 y los 1960 donde se dan indicios culturales judíos, deconstruye su temprana identidad chicana y, como bricoleur, emprende investigaciones históricas y de familia para recuperar hechos, figuras, prácticas y símbolos para reconstruir una identidad sefardita y opata como parte de una actualizada identidad chicana. El método teórico aplicado, Bricolaje, Jonglerie, deconstructivismo y el poscolonialismo han sido útiles para recuperar la cara sefardita de la identidad chicana heterogénea. Creemos que este estudio representará un punto de partida para futuros estudios de la literatura judea-chicana.
ContributorsBohanon, Citlali (Author) / Hernández-G., Manuel De Jesús (Thesis advisor) / Foster, David William (Committee member) / García-Fernández, Carlos Javier (Committee member) / Elenes, C. Alejandra (Committee member) / Arizona State University (Publisher)
Created2019
Description
If different societies encode their communication according to their socio-historical context, it makes sense to postulate that satire resides in the no-man's-land that sprawls between what an individual claims to be and the reality revealed by his actions. Thus, satirical caricature, as graphic and scenic art, results in the indictment of collective or individual vices through irony, sarcasm and farce. This study examines the Spanish-American War of 1898, and the "disaster" brought about by the defeat of Spain and the loss of its colonial empire, through the lens of the caricatures published by three satirical magazines—Don Quijote (Madrid), La Campana de Gracia (Barcelona) y El Hijo de El Ahuizote (Mexico)—between January and December, 1898. These magazines provide a many-splendored set of facets depicting a scathing and hard-hitting campaign supporting the war and the demonization, management, and suppression of the other through the use of symbols. While in the peninsular press Spain is represented as a raging bull, a lion, or a virgin maiden, Cuba as an empty container or a black and ignorant peasant and the United States as imperialist pigs and a treacherous thieves, the Mexican magazine views the Spanish as the usurpers, pirates and traitors, the United States as liberator, and the annexed populations as respectable and noble societies to be freed from the Spanish colonial yoke.
Whether motivated by internal ideological confrontations or in opposition to external threats, the use of graphic representation as a political weapon considerably enriches the meaning of symbols. Satirical caricature represents a categorical instrument for the definition of national identity. The creation and dissemination of unified stereotypes—images assumed to be identical for all recipients—generates the development of a powerful national imaginary, both abstract and highly accessible to the reader, fomenting the manufacture of "public opinion". It is precisely here where its great semiotic power lies, because caricature achieves its maximum expression when it veers toward the symbolic rather than the discursive, delivering its content in an abstract and unlimited fashion, and spreading its effects through time and all the different socio-cultural contexts it may find along the way.
Whether motivated by internal ideological confrontations or in opposition to external threats, the use of graphic representation as a political weapon considerably enriches the meaning of symbols. Satirical caricature represents a categorical instrument for the definition of national identity. The creation and dissemination of unified stereotypes—images assumed to be identical for all recipients—generates the development of a powerful national imaginary, both abstract and highly accessible to the reader, fomenting the manufacture of "public opinion". It is precisely here where its great semiotic power lies, because caricature achieves its maximum expression when it veers toward the symbolic rather than the discursive, delivering its content in an abstract and unlimited fashion, and spreading its effects through time and all the different socio-cultural contexts it may find along the way.
ContributorsGimeno Robles, Jorge (Author) / Foster, David William (Thesis advisor) / Gil-Osle, Juan Pablo (Committee member) / Hernández-G, Manuel De Jesús (Committee member) / Arizona State University (Publisher)
Created2019
Description
The inherent risk in testing drugs has been hotly debated since the government first started regulating the drug industry in the early 1900s. Who can assume the risks associated with trying new pharmaceuticals is unclear when looked at through society's lens. In the mid twentieth century, the US Food and Drug Administration (FDA) published several guidance documents encouraging researchers to exclude women from early clinical drug research. The motivation to publish those documents and the subsequent guidance documents in which the FDA and other regulatory offices established their standpoints on women in drug research may have been connected to current events at the time. The problem of whether women should be involved in drug research is a question of who can assume risk and who is responsible for disseminating what specific kinds of information. The problem tends to be framed as one that juxtaposes the health of women and fetuses and sets their health as in opposition. That opposition, coupled with the inherent uncertainty in testing drugs, provides for a complex set of issues surrounding consent and access to information.
ContributorsMeek, Caroline Jane (Author) / Maienschein, Jane (Thesis director) / Brian, Jennifer (Committee member) / School of Life Sciences (Contributor) / Sanford School of Social and Family Dynamics (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Social-emotional learning (SEL) methods are beginning to receive global attention in primary school education, yet the dominant emphasis on implementing these curricula is in high-income, urbanized areas. Consequently, the unique features of developing and integrating such methods in middle- or low-income rural areas are unclear. Past studies suggest that students exposed to SEL programs show an increase in academic performance, improved ability to cope with stress, and better attitudes about themselves, others, and school, but these curricula are designed with an urban focus. The purpose of this study was to conduct a needs-based analysis to investigate components specific to a SEL curriculum contextualized to rural primary schools. A promising organization committed to rural educational development is Barefoot College, located in Tilonia, Rajasthan, India. In partnership with Barefoot, we designed an ethnographic study to identify and describe what teachers and school leaders consider the highest needs related to their students' social and emotional education. To do so, we interviewed 14 teachers and school leaders individually or in a focus group to explore their present understanding of “social-emotional learning” and the perception of their students’ social and emotional intelligence. Analysis of this data uncovered common themes among classroom behaviors and prevalent opportunities to address social and emotional well-being among students. These themes translated into the three overarching topics and eight sub-topics explored throughout the curriculum, and these opportunities guided the creation of the 21 modules within it. Through a design-based research methodology, we developed a 40-hour curriculum by implementing its various modules within seven Barefoot classrooms alongside continuous reiteration based on teacher feedback and participant observation. Through this process, we found that student engagement increased during contextualized SEL lessons as opposed to traditional methods. In addition, we found that teachers and students preferred and performed better with an activities-based approach. These findings suggest that rural educators must employ particular teaching strategies when addressing SEL, including localized content and an experiential-learning approach. Teachers reported that as their approach to SEL shifted, they began to unlock the potential to build self-aware, globally-minded students. This study concludes that social and emotional education cannot be treated in a generalized manner, as curriculum development is central to the teaching-learning process.
ContributorsBucker, Delaney Sue (Author) / Carrese, Susan (Thesis director) / Barab, Sasha (Committee member) / School of Life Sciences (Contributor, Contributor) / School of Civic & Economic Thought and Leadership (Contributor) / School of International Letters and Cultures (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
Turbidity is a known problem for UV water treatment systems as suspended particles can shield contaminants from the UV radiation. UV systems that utilize a reflective radiation chamber may be able to decrease the impact of turbidity on the efficacy of the system. The purpose of this study was to determine how kaolin clay and gram flour turbidity affects inactivation of Escherichia coli (E. coli) when using a UV system with a reflective chamber. Both sources of turbidity were shown to reduce the inactivation of E. coli with increasing concentrations. Overall, it was shown that increasing kaolin clay turbidity had a consistent effect on reducing UV inactivation across UV doses. Log inactivation was reduced by 1.48 log for the low UV dose and it was reduced by at least 1.31 log for the low UV dose. Gram flour had a similar effect to the clay at the lower UV dose, reducing log inactivation by 1.58 log. At the high UV dose, there was no change in UV inactivation with an increase in turbidity. In conclusion, turbidity has a significant impact on the efficacy of UV disinfection. Therefore, removing turbidity from water is an essential process to enhance UV efficiency for the disinfection of microbial pathogens.
ContributorsMalladi, Rohith (Author) / Abbaszadegan, Morteza (Thesis director) / Alum, Absar (Committee member) / Fox, Peter (Committee member) / School of Human Evolution & Social Change (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05