The Role of College Students' Perceptions of Effort Source on Self-Evaluations of Academic Ability

In the present studies I investigated whether college students’ perceptions of effort source influenced their perceptions of the relation between levels of their own effort and ability in mathematics. In Study 1 (N = 210), I found using hypothetical vignettes that perceptions of task-elicited effort (i.e., effort that arises due to the subjective difficulty or ease of the task) led to perceptions of an inverse relation between one’s effort and ability, and perceptions of self-initiated effort (i.e., effort that arises due to one’s own motivation or lack of motivation) led to perceptions of a positive relation between one’s effort and ability, consistent with my hypotheses and prior research. In Study 2 (N = 160), participants completed an academic task and I used open-ended questions to manipulate their perceptions of effort source. I found that participants in the task-elicited condition endorsed no overall relation between effort and ability, and participants in the self-initiated condition endorsed an overall inverse relation, which is inconsistent with my hypotheses and prior research. Possible explanations for the findings, as well as broader theoretical and educational implications are discussed.

Sonic Movie Memories: Sound, Childhood, and American Cinema

Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience. The second half of the dissertation pivots into more experimental children’s cartoons like Gerald McBoing-Boing (1951) - cartoons that embrace audio-visual dissonance in ways that soothe even as they create tension through a phenomenon I call “comfortable discord.” In the final chapter, director Wes Anderson reveals that these sonic tensions have just as much appeal to adults. In films like The Royal Tenenbaums (2001), Anderson demonstrates that comfortable discord can simultaneously provide a balm for anxiety and create an open-ended space that makes empathetic connections between characters possible. The dissertation closes with a call to rethink nostalgia, not as a romanticization of the past, but rather as a reconnection with forgotten affective channels.

Augmented Dissent: The Affordances of ICTs for Citizen Protest (A Case Study of the Ukraine Euromaidan Protests of 2013-2014).

This dissertation research project uses the Euromaidan protests in Ukraine to inform and shape a theory of augmented dissent to help explain the complex ways in which protest participants guided by the political, social, and cultural contexts engage in dissent augmented by ICTs in a reality where both the physical and the digital are used in concert. The purpose of this research is to conceptualize the use and perception of ICTs in protest activity using the communicative affordances framework. Through a mixed-method research approach involving interviews with protest participants, as well as qualitative and thematic analysis of online content from social media pages of several key Euromaidan protest communities, the research project examines the role ICTs played in the information and media landscape during the Euromaidan protest. The findings of the online content analysis were used to inform the questions for the 59 semi-structured, open-ended interviews with Euromaidan protest participants in Ukraine and abroad. The research findings provide in-depth insights about how ICTs were used and perceived by protest participants, and their role as vehicles for information and civic media content. The study employs the theoretical framework of social media affordances to interpret the data gathered during the interviews and content analysis to better understand how digital media augmented citizens’ protest activity through affording them new possibilities for dissent, and how they made meaning of said protest activity as augmented by ICTs. The findings contribute towards shaping a theory of digitally augmented dissent that conceptualizes the complex relationship between citizens and ICTs during protest activity as an affordance-driven one, where online and offline tools and activity merge into a unified dissent space and extend or augment the possibilities for action in interesting, and sometimes unexpected ways. Such a conceptual model could inform broader theories about civic participation and digital activism in the post-Soviet world and beyond, as ICTs become an inseparable part of civic life.