<p>This dissertation argues that critical practices in the expanded field of art, technology, and space illustrate the potential of twenty-first century media by materializing depths of our experiential dimensions. Scholarship on digital embodiment and materialism in art, media studies, and aesthetics has paid much attention to the central role played by the human body in contemporary media environments. Grounded in these studies, however, this study moves forward to understand the more fundamental quality that grounds and conditions the experience of the human body—namely depth. </p><p>Drawing on diverse disciplines, such as art history, visual studies, media studies, critical theory, phenomenology, and aesthetics, this study provides a reconstruction of the notion of depth to unpack the complex dimensionality of human experiences that are solicited by different critical spatial practices. As a spatial medium that produces the body subject and the world through the process of intertwining, depth points to an environmental affordance that prepares or conditions the ways in which the body processes the information in the world. The dimension of depth is not available to natural human perception. However, incorporating twenty-first century media that are seamlessly embedded in physical environments, critical spatial practices sensibly materialize the virtual dimensions of depth by animating space in a way that is different from the past. </p><p>This dissertation provides comprehensive analyses of these critical spatial practices by artists who create constructed situations that bring the experiential dimensions of depth to the fore. The acknowledgement of depth allows us to understand the spatialities of bodies and their implication in the vaster worldly spatiality. In doing so, this study attends to major contemporary philosophical and aesthetic challenges by reframing the body as the locus of subjectivity that is always interdependent upon broader sociocultural and technological environments.</p> / Dissertation

Doctor of Philosophy / Department of Curriculum and Instruction / Jeong-Hee Kim / Precollege science education in the United States has virtually always been influenced by university scientists to one degree or another. Partnership models for university scientist – school district collaborations are being advocated to replace outreach models. Although the challenges for such partnerships are well documented, the means of fostering successful and sustainable science education partnerships are not well studied. This study addresses this need by empirically researching a unique scientist-educator partnership between a university and a school district utilizing case study methods. The development of the partnership, emerging issues, and multiple perspectives of participants were examined in order to understand the culture of the partnership and identify means of fostering successful science education partnerships. The findings show the partnership was based on a strong network of face-to-face relationships that fostered understanding, mutual learning and synergy. Specific processes instituted ensured equity and respect, and created a climate of trust so that an evolving common vision was maintained. The partnership provided synergy and resilience during the recent economic crisis, indicating the value of partnerships when public education institutions must do more with less. High staff turnover, however, especially of a key leader, threatened the partnership, pointing to the importance of maintaining multiple-level integration between institutions. The instrumental roles of a scientist-educator coordinator in bridging cultures and nurturing the collaborative environment are elucidated. Intense and productive collaborations between teams of scientists and educators helped transform leading edge disciplinary science content into school science learning. The innovative programs that resulted not only suggest important roles science education partnerships can play in twenty-first century learning, but they also shed light on the processes of educational innovation itself. Further, the program and curriculum development revealed insights into areas of teaching and learning. Multiple perspectives of participants were considered in this study, with student perspectives demonstrating the critical importance of investigating student views in future studies. When educational institutions increasingly need to address a diverse population, and scientists increasingly want to recruit diverse students into the fields of science, partnerships show promise in creating a seamless K-20+ continuum of science education.

In the study, the population of educators in 21st Century Classrooms across the State of Tennessee was surveyed to determine teachers' satisfaction with 21st Century program implementation and associated changes in instructional practices. During fall 1998, six hundred of the 4,800 21st century classroom teachers were surveyed using the Technology Use Questionnaire. Three hundred two completed surveys were returned. Frequency rates and percentages were calculated for each of the 33 questions and the 8 demographic items. The questions were grouped into 7 subscales: Administration, Teacher Training, Implementation, Integration, Use on the Job, Use at Home and Instructional Change. Correlation analysis determined that at the.05 alpha level there were significant relationships between 5 subscales (Administration, Teacher Training, Implementation of the Technology Plan, Integration, and Use on the Job) and Instructional Change. Conversely, there was no significant relationship between the demographic data and instructional change. In general, teachers were unsatisfied with the implementation of the Master Plan for the 21st Century program and had made only moderate instructional changes. The correlation data supported previous research citing teacher training, use on the job, inclusion in future planning, administrative support as impacting instructional change.

American composer Christopher Theofanidis’s choral-orchestral work The Here and Now (2005) is a setting of Jalal ad-Din Rumi’s thirteenth-century poetry as translated by Coleman Barks. Theofanidis employs a cappella sonic contrasts, silence, rhythmic text setting, and a libretto based on fragments of Rumi’s poems to tell a story about the search for love, longing, joy, and gratitude. While rooted in traditional Western composition methods, this twenty-first-century work uses musical elements like color chords (bichords), cluster chords, changing meters, and modality, as well as imitative polyphony and unifying motifs within a new, tonal American aesthetic espoused by the Atlanta School of Composers, of which Theofanidis is a founding member. This DMA project presents warmups, rehearsal strategies, and teaching methods to guide the choir and conductor through the challenges of rhythmic text setting and dense harmonic language so that learning and performing The Here and Now is a rewarding endeavor.

This dissertation reveals a twentieth-century tradition of poetic formalism that positions race, gender, and sexuality as formal concerns, and further, as key factors in the development of contemporary formal poetics. My readings of three contemporary poets, Akilah Oliver, Sharon Bridgforth, and Alice Notley, combine formalist analysis with cultural approaches, including critical race theory and queer theory, to show how contemporary poets use form to confront racist, sexist, and homophobic representational traditions and to reshape identity discourse. This project intervenes in a critical tradition that divorces poetic form from political context and neglects formal aspects of poetries that engage with social identities, especially African American poetry. As Notley, Oliver, and Bridgforth portray racial, gender, and sexual diversity—including gay, lesbian, bisexual, and transgendered bodies—they invent and remake forms, genres, and textual strategies, from the feminist epic to the performance novel. These new forms exceed the strategies of rupture, fracture, and fragmentation that marked many modern and postmodern experiments and, in fact, reveal the limitations of rupture as a means of political critique. Instead, they widen the field of formalism, incorporating performance genres (epic, storytelling, blues) and new textual strategies to call attention to the histories of bodies and their representations, assert interdependent identities, promote pluralism, and insist on the interrelationship of literature, orality, and bodily experience. / text

In 2012, President Barack Obama used prosecutorial discretion to initiate the Deferred Action for Childhood Arrivals (DACA) program that deferred deportation and provided employment authorization for a two-year renewable period to undocumented immigrant persons that came to the U.S. as children. Under former President Donald Trump’s administration, DACA was rescinded in 2017. A review of the literature suggests this is the only study to explore the perceived impact of a policy shift in DACA status, given the critical time of interviews conducted from April 2016 to October 2018. Thus, substantially advancing the literature, qualitative data on a diverse group (N=10) of young adult DACA beneficiaries revealed positive and negative impacts. The sample included 60% currently gainfully employed, 40% attending college—while 80% had experienced emotional distress by having an unauthorized legal status and facing obstacles to pursuing higher education. Of note, 40% rated themselves as currently relatively healthy, while 60% indicated having experienced a decline in their physical or mental health since entering the United States. As significant sources of stress, 90% had experienced anxiety centered around having to wait to renew their DACA status and having to pay for their status renewals. Given the rescinding of the DACA program in 2017, many were ill-prepared, as 90% had never experienced being undocumented without a DACA status as an adult in the United States. The main body of qualitative data generated six categories that encompassed 51 emergent themes: 1-Participants’ health trajectory across their lifespan; 2-Participants’ experiences of barriers to seeking care and having their health and mental health needs addressed; 3-Participants Living at the Intersection of Contemporary Immigration; 4-The impact of other family members’ immigration status; 5-From enjoying benefits of the DACA program, to having a false sense of normalcy, to feeling ambivalence, and experiencing detriments; and, 6-Potential DACA policy shifts and anticipated impacts ranging from negative (fear, loss, suffering) to positive (relief). These six broad categories suggest how, despite the benefits of their DACA status, substantial barriers and sources of anxiety and stress still impacted the lives of the young adults and their families. Implications of the findings are discussed.

Cette thèse étudie les adaptations arabes de Macbeth, Hamlet, Richard III et La Nuit des rois par Shakespeare au cours de la première décennie du XXIe siècle. Les adaptations arabes de Shakespeare à l'étude marquent le tournant du siècle et un tournant dans la représentation du conflit entre l'Occident, incarné par les États-Unis, et le Moyen-Orient. Ils fournissent un témoignage théâtral vif des changements dont la région a été témoin en racontant l'avancée des transformations tant sur la scène sociopolitique que dans les productions théâtrales shakespeariennes. La thèse présente également une analyse de la notion d'adaptation en tant que conversion. Le caractère transformateur de l'expérience théâtrale et l'acte de transposer un texte shakespearien d'une culture à une autre favorisent une conversion culturelle qui donne de nouvelles significations à Shakespeare, en tant qu’auteur, et au processus de réception, notamment dans un contexte transculturel. / This dissertation examines Arab adaptations of Shakespeare’s Macbeth, Hamlet, Richard III, and Twelfth Night in the first decade of the twenty-first century. The Arab adaptations of Shakespeare under study mark the turn of the century and a turn in the representation of the conflict between the West, epitomized by the United States, and the Middle East. They provide a keen theatrical testimony to the changes which the region witnessed as they chronicle the progress of the transformations both on the sociopolitical scene and in the Shakespearean stage productions. The dissertation is also an examination of the notion of adaptation as conversion. The transformative nature of the theatrical experience and the act of transposing a Shakespearean text from one culture to another foster a cultural conversion that gives new meanings to Shakespeare as an author-function and to the process of reception, especially in a transcultural context.

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