Is virtuality close enough to reality? A comparison of the effectiveness of simulations with traditional laboratory activities in a high school biology class

Some schools do not have ideal access to laboratory space and supplies. Computer simulations of laboratory activities can be a cost-effective way of presenting experiences to students, but are those simulations as effective at supplementing content concepts? This study compared the use of traditional lab activities illustrating the principles of cell respiration and photosynthesis in an introductory high school biology class with virtual simulations of the same activities. Additionally student results were analyzed to assess if student conceptual understanding was affected by the complexity of the simulation. Although all student groups posted average gain increases between the pre and post-tests coupled with positive effect sizes, students who completed the wet lab version of the activity consistently outperformed the students who completed the virtual simulation of the same activity. There was no significant difference between the use of more or less complex simulations. Students also tended to rate the wet lab experience higher on a motivation and interest inventory.

Hamilton decompositions of 6-regular abelian Cayley graphs

In 1969, Lovasz asked whether every connected, vertex-transitive graph has a Hamilton path. This question has generated a considerable amount of interest, yet remains vastly open. To date, there exist no known connected, vertex-transitive graph that does not possess a Hamilton path. For the Cayley graphs, a subclass of vertex-transitive graphs, the following conjecture was made: Weak Lovász Conjecture: Every nontrivial, finite, connected Cayley graph is hamiltonian. The Chen-Quimpo Theorem proves that Cayley graphs on abelian groups flourish with Hamilton cycles, thus prompting Alspach to make the following conjecture: Alspach Conjecture: Every 2k-regular, connected Cayley graph on a finite abelian group has a Hamilton decomposition. Alspach’s conjecture is true for k = 1 and 2, but even the case k = 3 is still open. It is this case that this thesis addresses. Chapters 1–3 give introductory material and past work on the conjecture. Chapter 3 investigates the relationship between 6-regular Cayley graphs and associated quotient graphs. A proof of Alspach’s conjecture is given for the odd order case when k = 3. Chapter 4 provides a proof of the conjecture for even order graphs with 3-element connection sets that have an element generating a subgroup of index 2, and having a linear dependency among the other generators. Chapter 5 shows that if Γ = Cay(A, {s1, s2, s3}) is a connected, 6-regular, abelian Cayley graph of even order, and for some1 ≤ i ≤ 3, Δi = Cay(A/(si), {sj1 , sj2}) is 4-regular, and Δi ≄ Cay(ℤ3, {1, 1}), then Γ has a Hamilton decomposition. Alternatively stated, if Γ = Cay(A, S) is a connected, 6-regular, abelian Cayley graph of even order, then Γ has a Hamilton decomposition if S has no involutions, and for some s ∈ S, Cay(A/(s), S) is 4-regular, and of order at least 4. Finally, the Appendices give computational data resulting from C and MAGMA programs used to generate Hamilton decompositions of certain non-isomorphic Cayley graphs on low order abelian groups.

Reclaiming Indigenous Narratives through Critical Discourses and the Autonomy of the Trickster

How do prevailing narratives about Native Americans, particularly in the medium of film, conspire to promote the perspective of the dominant culture? What makes the appropriation of Indigenous images so metaphorically popular? In the past hundred years, little has changed in the forms of representation favored by Hollywood. The introductory chapter elucidates the problem and outlines the scope of this study. As each subsequent chapter makes clear, the problem is as relevant today as it has been throughout the entire course of filmic history. Chapter Two analyzes representational trends and defines each decade according to its favorite stereotype. The binary of the bloodthirsty savage is just as prevalent as it was during the 1920s and 30s. The same holds true for the drunken scapegoat and the exotic maiden, which made their cinematic debuts in the 1940s and 50s. But Hollywood has added new types as well. The visionary peacemaker and environmental activist have also made an appearance within the last forty years. What matters most is not the realism of these images, but rather the purposes to which they can be put toward validating whatever concerns the majority filmmakers wish to promote. Whether naïvely or not, such representations continue to evacuate Indigenous agency to the advantage of the majority. A brief historical overview confirms this legacy. Various disciplines have sought to interrogate this problem. Chapter three investigates the field of postcolonial studies, which makes inquiry into the various ways these narratives are produced, marketed, and consumed. It also raises the key questions of for whom, and by whom, these narratives are constructed. Additional consideration is given to their value as commodities in the mass marketplace. Typically the products of a boutique-multiculturalism, their storylines are apt to promote the prevailing point of view. Critical theory provides a foundational framework for chapter four. What is the blockbuster formula and how do the instruments of capital promote it? Concepts such as culture industry and repressive tolerance examine both the function and form of the master narrative, as well as its use to control the avenues of dissent. Moreover, the public sphere and its diminishment highlight the challenges inherent in the widespread promotion of an alternative set of narratives. Nonetheless, challenges to prevailing narratives do exist, particularly in the form of Trickster narratives. Often subject to persistent misrecognition, the Trickster demonstrates a potent form of agency that undeniably dismantles the hegemony of Western cinema. The final chapter examines some of the Trickster's more subtle and obscure productions. Usually subjugated to the realm of the mystical, rather than the mythical, these misinterpreted forms have the power to speak in circles around a majority audience. Intended for an Other audience, they are coded in a language that delivers a type of direction through indirection, promoting a poignant agency all their own.