The COVID-19 pandemic has had an international impact since the novel coronavirus first surfaced in late 2019. Since then, different countries have taken different approaches to try and limit transmissions and deaths. While this is seemingly unprecedented in modern day times, many pandemics, or plagues, have happened relatively frequently in history. This paper examines three historical plagues through the lens of social psychologist Geert Hofstede’s six cultural dimensions to distinguish between cultures: power distance, individualism versus collectivism, masculinity versus femininity, uncertainty avoidance, long term orientation and indulgence versus restraint. This paper then applies these dimensions to the modern day U.S. and South Korea, two countries who have had different success in handling the COVID-19 pandemic. Through these dimensions, this paper aims to explain a factor in why South Korea has had better results than the U.S. It also recognizes that Hofstede’s cultural dimensions are not the only factor to affect the pandemic, and explores political influences in America through the lens of Henry David Thoreau and John Dewey. Overall, this paper argues that the U.S. has been unsuccessful in taming the pandemic because of certain cultural dimensions, such as more an individualist and indulgent culture, and its unstable and divisive political climate. Given this, the United States has a hopeful, yet arduous path moving forward with COVID-19 and future pandemics.

This thesis is concerned with the political implications of two of Jacques-Louis David's paintings: Oath of the Horatii (1784) and The Lictors Bringing to Brutus the Bodies of His Sons (1789). In this thesis, I argue that David’s pre-Revolutionary work contained political anticipations of Revolutionary France articulated in his Neoclassical forms, the classical stories he chose to paint, his own narrative innovations using light, color, gender, unusual scenes and the thematic conflict of the state vs the individual and family.

Abstract
Exploring the Veil of Blackness is a creative project in the form of a podcast titled UKME America”. UKME America stands for Uwem mi Kederimbot America, which means “my life in the world in America”. It aims to explore the differences that divide individuals within the black community from a perspective of a First-Generation African American. It also illustrates how diverse the black community is. Drawing from my own experiences and research, this led me to a common theme centered around the following four questions: (a) what is it like to lose one’s identity; (b) where does this insecurity stem from; (c) how does society impact the way we view ourselves; and (d) how can we uplift ourselves. In my podcast, I interviewed individuals who identified as African Americans, First Generation African Americans, and Africans.
Everyone I interviewed told me their stories using historical, social, and cultural narratives. Overall, I want individuals to understand that there is fluidity behind the meaning of “black”, and the more individuals learn to embrace their differences, the more we can break down the barriers, put a united front, fight societal discrimination. I would like to thank my thesis director Dr. Neveser Köker and Second Committee Chair, Matthew Voorhees. I want to thank them for their guidance, motivation, patience, and for pushing and challenging me to reach new heights. I also would like thank my mom and Dr. Cynthia Patiño, for their constant encouragement and support. This would not have been possible without them.

Since 1965, Billboard has been charting top songs to publicly inform music artists and consumers which music is most popular at a given time. Given the changes in culture, technology, and countless other factors over time, it seems as though there are very few consistencies across the board to answer the question of why a song makes it to the top of the charts. To analyze this issue, I look at both songwriting trends and consumer mentality as they relate to the following questions:

1. What does a consumer look for in the music they choose to listen to?
2. What do trends in songwriting show us?
3. How can artists make songs that stand out in an oversaturated market?

In examining songwriting trends, I utilize both secondary research and Python code for a dataset from Kaggle that contains over 5,000 records of Top 100 songs since 1965. To understand the consumer, I observe psychological, sociological, and psychographic behaviors that contribute to their music consumption patterns. To take time factors into consideration, I also consider the implications of our technology-heavy modern world.
Consumers seek male vocalists with noticeable effort exerted and seek to explore themes present in the Urban/Contemporary stage of their lives, which occurs around early adulthood and involves finding love and social acceptance. Consumers also seek familiarity within or immediately surrounding their music due to psychological factors pointed out by author Charles Duhigg. Popular structure has changed over time by becoming shortened due to a decrease in attention span, and lyrics have evolved to focus more on the self due to the increased presence of social media.
My results give songwriters a short, broad reference with which to understand consumers and create music that has a better chance at success and popularity. Though tailored to music, the results can be applied to all art forms, as the end consumer is very similar and the same societal shifts have shaped art for the past five decades. My goal is to inspire the artist that there is room for them in the ever-growing world of music that craves individuality as much as it does familiarity.

This thesis explores European identity through the European Union and the Eurovision Song Contest using Michael Walzer’s hyphenated American identity by expanding his argument to the EU, culture, and broadening the definition of diversity. Walzer had three main points about the American identity that makes it unique. First, a hyphen with a many side and a one side exist with no expectation of assimilation. Second, the should be a hyphen and can be emphasized. Third, there are unsuccessful patriotic fevers. On the political level, the EU has a hyphenated identity but fails with expectations of assimilation and successful patriotic fevers like Brexit. Walzer does not examine the cultural aspect of identity, this is where this thesis goes beyond his idea in examining European identity in the cultural institution of Eurovision. The literature and winning songs confirm that a hyphenated identity exists in Eurovision. I sorted the winning songs into three categories of diversity, national identity, and neutral. I did not reject two of my hypotheses, there were more neutral songs, and songs in diversity and national identity became common after 1992. The hypothesis I rejected was that national identity songs would be more common than diversity songs, this was not the case. I used Ukraine 2004 for diversity and Greece 2005 for national identity case studies. Overall, when there is a United States of Europe its identity will be the same as Walzer’s American identity. It is just not there yet, but with further European integration, it will.

Abstract Older adults and people with disabilities are two unique populations, though they intersect in their need for mobility options that are often not met by traditional transportation services. There is consensus that the government should provide assistance for older adults and people with disabilities to achieve and maintain independence. However, the challenge lies in addressing the many forms of mobility inequity. Population projections for the twenty-first century have sparked interest in the rights of these two populations. As the population of the United States of America ages, supporting the mobility of seniors and individuals with disabilities will become imperative to maintaining their quality of life. One existing federal grant, Section 5310: Enhanced Mobility for Seniors and Individuals with Disabilities (49 U.S.C. 5310) provides formula funding for services that provide transportation options to older adults and people with disabilities. While the 5310 program provides crucial funding to non-profits and government agencies to support mobility options for older adults and people with disabilities, it does not address the full scope of mobility issues faced by these two communities. This thesis project provides a thorough analysis of this grant from the federal legislation it is founded on, to the local administration of this grant as applied by the Maricopa Association of Governments (MAG). Finally, this thesis looks at emerging technology with the potential to revolutionize mobility, along with sobering historical context of the barriers faced older adults and people with disabilities.

A rapidly evolving technological environment has enabled the exponential expansion of creative opportunities for artists. Major developments in the digital landscape have impacted the world of music creation, namely the unprecedented rise of the remix. However, copyright laws have failed to keep up with the new ways in which musicians are interacting with technology. Although the last amendments to the Copyright Act were made well before the digital age, the same laws from 1976 still govern the digital activities of today. This leaves forty years of technological developments largely unaccounted for, including the advancements that have led to the emergence of the remix. This paper will first address the value of remixing in the advancement of the Electronic Dance Music genre by outlining the history of sampling and remixing, and will discuss the existing copyright doctrine and the various issues that have arisen within copyright law. It will then seek to develop potential solutions that strike a fair and equitable balance between the owners of intellectual property and the ever-increasing universe of homegrown creative artists. The days where remix artists are per se ‘copyright criminals’ should be numbered, for the greater good of all participants in the rapidly expanding worldwide web of music, musicians and music lovers, whether they be consumers, creators or recreators.

This paper explores whether American football player Colin Kaepernick and other athletes’ refusal in 2016 to acknowledge the national anthem symbolizes a form of nationalism in the United States. At first glance, the rising support of “un-American” acts that reject traditional patriotism would imply that American nationalism is faltering. If one observes the colloquial understanding of nationalism as extreme commitment to a country, this may be true. But after closer examination, the pattern instead depicts a polarization of two distinct forms of nationalism — ethnocentric nationalism and what I call multicultural nationalism, both intensifying away from each other.
As opposed to colloquial understanding, there is no standard scholarly definition of nationalism, but it is widely seen as zeal over an identity that strives to manifest into an organized state. Despite this minimal consensus, nationalism is usually equated with an ethnocentric conception of the nation-state, what I recognize to be ethnocentric nationalism, the commitment to a linguistically, racially, and culturally likeminded nation. I argue that this traditional, ethnocentric understanding of nationalism is only one interpretation of nationalism. Ethnocentric nationalism has and continues to be in tension with a more recently established interpretation of the nation, which I call multicultural nationalism: the commitment to a country’s principles rather than to its racial, cultural, and religious ties.

A common acceptance of difference is growing in the United States as shown by Kaepernick’s public support in the face of patriotic conformity. This perspective draws from the United States’ ideological roots that argue for one nation made up of many, e pluribus unum, so that foreign backgrounds should not just be accepted but also embraced to form a more diverse nation. The passion for a progressive, multicultural America can be translated into its own movement of multicultural nationalism. In this context, the support for Kaepernick’s actions no longer appears to represent increased dissent from the United States, but instead seems to be an attempt to challenge ethnocentric nationalism’s claim to the nation.

This paper will begin by contrasting the reactions to Kaepernick’s protest and to protests before him in order to contend that nationalism is no longer characterized by only ethnocentric tradition. I will analyze theoretical studies on nationalism to dispute this common understanding that nationalism is solely ethnocentric. I will argue that nationalism, rather, is the intense manifestation of a community’s identity within a political state; the identity of which can be either ethnocentric or multicultural. The Kaepernick ordeal will be used to signify the greater division in the American public over whether a multicultural or ethnocentric conception of the nation should be supported in the United States. Lastly, this paper will observe how the Kaepernick protest suggests multicultural nationalism’s viability in today’s politically progressive environment, and how multiculturalism should embrace nationalism to advance its platform.