Matching Items (34)
Description
This work explores the dynamics in emergence, deployment, and execution of modern technoscientific initiatives in the U.S. government. I focus on the federal initiative that developed vaccine and other responses to the Covid-19 crisis. This included federal policy mechanisms used during crisis, political and financial risk in federal technoscientific solutions, and conditions for technoscientific solutions success. The focus on these dynamics during crisis response is an approach to understanding overarching governance of technoscientific initiatives in non-crisis times. The process of exploration includes a series of interviews with senior officials engaged in technoscientific initiative development. Two studies governed by the tenets of the Delphi approach were completed, one in 2020 with senior government officials engaged in Operation Warp Speed, and another in 2021 with former senior government officials involved in government-funded technoscientific initiatives including the National Nanotechnology Initiative, the National Manufacturing Initiative, and the Precision Medicine Initiative. These results were coded and then the data were triangulated and corroborated through the use of public media, follow up interviews, and fact-checking in the local Washington, D.C. policy network. This work reveals a series of theoretical, policy, and practical results. The theoretical contributions include that high profile technoscientific initiatives are undertheorized in Innovation Policy and Science and Technology Studies. This work also establishes an early typology of U.S. government technoscientific initiatives. In addition, this work suggests policy and practical contributions regarding federal responses to emerging crises, as well as lessons from crisis-intervention policies that might be useful without crises.
ContributorsArnold, Amanda J (Author) / Ross, Heather (Thesis advisor) / Cook-Deegan, Robert (Thesis advisor) / Underiner, Tamara (Committee member) / Hurlbut, J. Ben (Committee member) / Arizona State University (Publisher)
Created2023
Description
This study follows three secondary teachers as they facilitate a digital storytelling project with their students for the first time. All three teachers were not specifically trained in digital storytelling in order to investigate what happens when a digital storytelling novice tries to do a project like this with his or her students. The study follows two high school English teachers and one middle school math teacher. Each teacher's experience is shared in a case study, and all three case studies are compared and contrasted in a cross-case analysis. There is a discussion of the types of projects the teachers conducted and any challenges they faced. Strategies to overcome the challenges are also included. A variety of assessment rubrics are included in the appendix. In the review of literature, the history of digital storytelling is illuminated, as are historical concepts of literacy. There is also an exploration of twenty-first century skills including multiliteracies such as media and technology literacy. Both the teachers and their students offer suggestions to future teachers taking on digital storytelling projects. The dissertation ends with a discussion of future scholarship in educational uses of digital storytelling.
ContributorsGordon, Corrine (Author) / Blasingame, James (Thesis advisor) / Nilsen, Alleen P (Committee member) / Early, Jessica (Committee member) / Marsh, Josephine (Committee member) / Arizona State University (Publisher)
Created2011
Description
Drawing from Foucault's notion of heterotopias, my dissertation identifies and examines three distinct but related events that resignified (re-imagined) Chile during 2010, the year of its Bicentenary, namely: the Rescue of the 33 Miners trapped in the San José mine, the Chilean Military Parade performed in celebration of Chilean Independence, and the Mapuche Hunger Strike of 32 indigenous people accused of terrorism by the Chilean State. My central hypothesis states that these three events constitute heterotopias with strong performative components that, by enacting a utopian and a dystopian nation, denounce the flaws of Chilean society. I understand heterotopias as those recursive systems that invert, perfect or contest the society they mirror. In other words: heterotopias are discursive constructions and material manifestations of social relations that dispute, support, or distort cultural assumptions, structures, and practices currently operating in the representational spaces of a given society. In addition to following the six heterotopological principles formulated by Foucault, these case studies have performance as the central constituent that defines their specificity and brings the heterotopias into existence. Due to the performative nature of these heterotopias, I have come to call them performance heterotopias, that is, sets of behaviors that enact utopias in the historical world, the place in which we live, the site in which "the erosion of our lives, our time and our history occurs," as Foucault puts it. Here, performance would act as the interface, the point of interaction, and suture between the conceived, the perceived and the representational spaces each heterotopia articulates. Thus, a performance heterotopia would be a particular type of heterotopia which is enacted through performance. A relevant aspect that emerged from my research is that heterotopic places not only mirror, contest, and compensate their own host society, but also refer to, and intersect with other contemporaneous heterotopias enacted in that society. In my conclusion I suggest that such interactions also happen between heterotopias that emerge in different countries and cultures. If so, the mapping of utopias enacted in the macro socio geographies of Latin American countries could offer new perspectives to understand the sociopolitical processes that are underway in the region.
ContributorsBravo Goldsmith, Néstor (Author) / Underiner, Tamara (Thesis advisor) / Melo, Carla (Committee member) / Foster, David W (Committee member) / Arizona State University (Publisher)
Created2011
Description
Traumas are moments which disrupt a way of being, often involving death or injury and a period of recovery for its survivors. They can be personal, experienced by an individual, or collective, experienced by a group of individuals, such as a family. Others, like the bombing of Hiroshima, impact much larger communities, such as an entire town, an entire nation, or even the world. These national traumas often include large-scale death or injury and impact the lives of thousands. In addition to their immediate physical and material affects (mortalities, economic impact, creating a need for aid), these events shatter not only an individual's sense of well- being, but also larger notions of national identity, stability and security. In many cases, they also reveal the limits of prevailing concepts of national cohesiveness, citizenship and belonging while often simultaneously upholding or reconstructing newly problematic concepts of national cohesion. Traumas are documented and grappled with through various media, including literature, poetry, art, photography, and journalism. This dissertation, "Performing Nation, Performing Trauma: Theatre and Performance after September 11th, Hurricane Katrina and the Peruvian Dirty War" examines how theatre and performance are utilized to respond to, document, memorialize and represent national traumas resulting from such historical crises as the Peruvian Dirty Wars, Hurricane Katrina, and September 11th, as well as how they resist dominant narratives that construct national traumas as such. These traumas are relived and expressed through performance perhaps precisely because the members of a nation (consciously or subconsciously) recognize that nation is also performed. This dissertation focuses on both the content of and the reception of these performances and the particular implications that performances about national traumas hold for theatre critics/scholars, performance practitioners and audience members (those immediately connected and not so obviously connected to the event).
ContributorsNigh, Katherine Jean (Author) / Underiner, Tamara (Thesis advisor) / Woodson, Stephani (Committee member) / Whitaker, Matthew C. (Committee member) / Arizona State University (Publisher)
Created2011
Description
This qualitative, action research study examines how teacher-writers' identities are constructed through the practice of revision in an extra-curriculum writing group. The writing group was designed to support the teacher-writers as they revised classroom research projects for submission for a scholarly journal. Using discourse analysis, the researcher explores how the teacher-writers' identities are constructed in the contested spaces of revision. This exploration focuses on contested issues that invariably emerge in a dynamic binary of reader/writer, issues of authority, ownership, and unstable reader and writer identities. By negotiating these contested spaces--these contact zones--the teacher-writers construct opportunities to flex their rhetorical agency. Through rhetorical agency, the teacher-writers shift their discoursal identities by discarding and acquiring a variety of discourses. As a result, the practice of revision constructs the teacher-writers identities as hybrid, as consisting of self and other.
ContributorsClark-Oates, Angela (Author) / Smith, Karen (Thesis advisor) / Roen, Duane (Thesis advisor) / Fischman, Gustavo (Committee member) / Early, Jessica (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Holocaust and the effects it has had upon witnesses has been a topic of study for nearly six decades; however, few angles of research have been conducted relating to the long-term effects of the Holocaust upon the children and grandchildren of Holocaust survivors--the After Generations. The After Generations are considered the proof--the living legacies--that their parents and grandparents survived. Growing up with intimate knowledge of the atrocities that occurred during the Holocaust, members of the After Generations not only carry with them their family's story, but also their own vicarious experience(s) of trauma. From this legacy comes a burden of responsibility to those who perished, their survivor parents/grandparents, the stories that were shared, as well as to future generations. Using grounded theory method, this study not only explores the long-term effects of the Holocaust upon members of the After Generations, but what it means to responsibly remember the stories from the Holocaust, as well as how individuals might ethically represent such stories/memories. Findings that developed out of an axial analysis of interview transcripts and journal writing, as well as the later development of a performance script, are embodied in a manner that allows the actual language and experiences of the participants to be collectively witnessed both symbolically and visually. Through their desire to remember, members of the After Generations demonstrate how they plan to carry on traditions, live lives that honor those that came before them, and maintain hope for the future. In so doing, the stories shared reveal the centrality of the Holocaust in the lives of members of the After Generations through their everyday choices to responsibly and actively remember through their art, writings, life-work, as well as from within their work in their local communities. Such acts of remembrance are important to the education of others as well as to the construction and maintenance of the After Generations' identities. The representation of these voices acts as a reminder of how hatred and its all-consuming characteristics can affect not only the person targeted, but multiple generations, as well.
ContributorsRath, Sandra (Author) / de la Garza, Sarah Amira (Thesis advisor) / Underiner, Tamara (Committee member) / Corey, Frederick C. (Committee member) / Eisenberg, Judith (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this study was to explore the ways in which childhood was perceived in the circuit Chautauqua movement. The methodology followed a threefold approach: first, to trace the development of the Chautauqua movement, thereby identifying the values and motivations which determined programming; next, to identify the major tropes of thought through which childhood has been traditionally understood; and finally, to do a performance analysis of the pageant America, Yesterday and Today to locate perceptions of childhood and to gain a better understanding of the purpose of this pageant. My principal argument is that the child's body was utilized as the pivotal tool for the ideological work that the pageant was designed to do. This ideological effort was aimed at both the participants and the audience, with the child's body serving as the site of education as well as signification. Through the physical embodiment and repetition of different roles, the children who participated performed certain values and cultural assumptions. This embodiment of values was expected to be retained and performed long after the performance was over - it was a form of training through pleasure.
ContributorsSchoenfelder, Joseph (Author) / Bedard, Roger (Thesis advisor) / Underiner, Tamara (Thesis advisor) / Sterling, Pamela (Committee member) / Arizona State University (Publisher)
Created2012
Description
The construction of the contemporary Taiwanese child and childhood has been under-researched. It is often understood solely in contrast to a Western context as a mysterious or even exotic existence. However, this understanding differs from what I discovered in my literary reviews, which reveal many similarities - not differences - with respect to the philosophical views of the child and childhood between the so-called "East" and "West." To gain a better understanding of the Taiwanese child and childhood, I chose the annual Taipei Children's Arts Festival (TCAF) as my main research subject and adopted grounded theory and dramatic analysis as my research methods to explore the following question: What are the representations of the Taiwanese child and childhood as reflected by the cultural artifacts of TCAF between 2000 and 2011? TCAF is the largest children's arts festival in Taiwan and theatre for young audiences (TYA) has been its main component. I therefore selected four award winning TCAF plays and their production videos as my main data. Additional data consists of forewords from the programs, which were written by mayors of Taipei City, commissioners of Taipei's Department of Cultural Affairs, and festival organizers. To provide context, I give a brief history of Taiwanese children's theatre before beginning the main analysis. My findings indicate a complex construction of the Taiwanese child and childhood. The central category states that Taiwanese children are constructed as adults' futures. This explains adults' desires to preserve children's positive qualities, and reflects adults' emphasis on learning and teaching, children's agency, and their happiness. Determining one central category/hypothesis proved to be difficult, due to the variety and complexity of my data. Missing categories include concepts of the unconscious child and children's relationships to religion, family, friendships, and gender issues. The distinctions between children and adults are both distinct and ambiguous. Although differences of the East/West binary exist, social constructions of the child and childhood become increasingly similar as the world becomes more fluid. My research highlights a variety of such elements. Future research is still needed, however, in order to broaden and deepen the understanding of the Taiwanese child and childhood.
ContributorsTsai, Yi-ren (Author) / Bedard, Roger (Thesis advisor) / Woodson, Stephani E (Committee member) / Underiner, Tamara (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT Controversies surrounding multilingual language programs, disparities on educational achievement measures, and tracking represent some of the conflicts concerning race that continue to take place in school districts around the country. These debates are especially significant today as schools experience shifts in demographics. Racial and ethnic minorities now account for at least one-third of the nation's population (United States Census Bureau, 2010), and schools are more racially and ethnically diverse than ever before (National Center for Education Statistics, 2012). The continued importance of race in education serves as the impetus behind this dissertation's inquiries into race and language in the high school English classroom. This study explores how one group of students, attending a predominately White high school with growing racial and ethnic diversity, write and talk about race in the English classroom. I examine how explicitly or implicitly students engaged in everyday language, school talk, and school writing about racial and ethnic identity, as well as how students responded to an English language arts curriculum devoted to issues of race and equity. On a broader scale, this study seeks to understand the school, community, and larger social context of racial and ethnic division and unity, particularly the role language and literacy pedagogies can play in addressing these issues. Blending two qualitative methodologies, including ethnography and the design and implementation of a race-conscious English curriculum, I spent eight months in one high school classroom, resulting in an analysis of a series of field notes, student writing, and in-depth participant interview transcripts. Findings from this study may help complicate researchers' and teachers' notions of how racial and ethnic identity operates in classrooms with shifting demographics. This study also highlights the importance of bringing race-conscious literacy activities to the forefront of English classrooms where structured discussions and carefully crafted writing prompts can facilitate discourse on race that might otherwise be muted in the context of traditional English language arts curriculum. Finally, this dissertation calls for a greater focus on collaborative research and teaching teams comprised of classroom teachers and university researchers.
ContributorsDeCosta, Meredith (Author) / Roen, Duane (Thesis advisor) / Early, Jessica (Committee member) / Paris, Django (Committee member) / Arizona State University (Publisher)
Created2012
Description
Bhairavi is a solo performance that investigates belonging and dis-belonging in diaspora communities, especially as it relates to the female body. Specifically, through my experience as a second-generation Indian-American woman - I expose and challenge the notion of ‘tradition,’ as it is forced into women’s bodies, and displaces them in their own homes. Bhairavi is a story told through movement and theatrical narrative composition with research and material collected through structured and unstructured observation of my family, cultural community, and myself.
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
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora
Communities by Raji Ganesan
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
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora
Communities by Raji Ganesan
ContributorsGanesan, Raji J (Author) / Underiner, Tamara (Thesis director) / Stephens, Mary (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05