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Gendered labor market outcomes during COVID-19: Evidence from early withdrawal of Federal Pandemic Unemployment Compensation
Get PDFDespite their importance in the social safety net, Unemployment Insurance (UI) benefits are expected to increase unemployment duration. I find that males, on average, face a greater drop in unemployment than females when (UI) is no longer offered in their respective state. Male’s unemployment rate dropped more by a magnitude of 0.7 percent compared to female’s which consists of about 11.5 percent of male unemployment during UI. Females who were married, were in lower family income brackets, or had children saw smaller changes in unemployment when UI programs were exhausted
Enumerating Maximal Binary Triangles
No full textWe study a subfamily Ln of binary triangles with weakly increasing columns and the preexisting partial ordering it inherits from the larger binary triangle family. Through the study of this subfamily’s structure we show that the maximal elements of Ln are enumerated by the Fibonacci numbers. We then examine those maximum elements of Ln which also have maximum total sum and show that this subset is enumerated by OEIS sequence A209561 and the corresponding sums are given by OEIS sequence A023536. We conclude with two methods of constructing these maximal elements with maximum sums, one recursive and one explicit
Wilted Home: How To Quickly Rehydrate A Dying Plant (2022) - a recording of live performance
No full textThis performance consists of vignettes (chapters) that are separate in themes and connected through movement motifs.
In the creative process, the cohort engaged in conversation about queerness, anti-racism, spirituality, life, and cycle. The work aims to hold space for tears and joy and potentially invoke some sort of emotional responses from the audience.
This performance project is the creative part of Lu Chen \u2722 \u27s Honor for THDA
Challenging Oppressive Expectations in American Theatre from Within: a Comparative Analysis of Whitney White and Elizabeth LeCompte
Get PDFWhat does it mean to be a theater director with identities and social positions that do not align with those of 19th century, Western European directors? Inspired by the incredible lack of qualitative information on most female directors and directors of color, the scholarly component of this Honors project consists of an analysis of the directing processes of Elizabeth LeCompte and Whitney White, in particular LeCompte’s Hamlet and White’s An Iliad.
For that, I draw from documentation on LeCompte’s and White’s filmed materials of their work, hours of recorded interviews about their processes, and articles about their productions. Both directors have a history of creating productions that defy typical expectations of how an artist should stage “classic” texts: they take old, well-known Western scripts by white male playwrights to devise performances that include experimental text and performance styles. As an early-career theatre director, I am deeply interested in these directors’ aesthetic visions and methods of directing adaptations. They were influential to the creative component of my directing honors project, a production of Tori Keenan-Zelt’s Seph in the spring of 2022. In Seph, Tori Keenan-Zelt reimagines the Greek myth Persephone as she reconstructs the characters and dynamics familiar to the original Greek mythology introduced by Hesiod and Homer. In this essay I identify artistic patterns in LeCompte’s and White’s productions that informed my own artistic style in directing Seph
Queering Pina Bausch: Tanztheater For Queer BIPOC Artists
Get PDFPina Bausch’s Tanztheater (“dance-theater” in English) revolutionized global dance theater performance. From a feminist perspective, Bausch mixed movement with theatrical design elements and film techniques to express emotions and sentiments of women-men relationships, and the boundary between performing and being displayed. Inspired by German Expressionist Dance and post-World-War-II avant-garde movements across Europe and the United States, her movement language and text were visceral in expressiveness through repetition, alienation, montage technique, and emotive gestures (Helden 134). In this essay I explore how Bausch’s approach to dance-theater can welcome dancers who stand outside of the German choreographer’s identity as a white European woman. For example, what does a safe creative space look like for queer Black, Indigenous, People of Color (BIPOC) with disabilities? Queer performance art, cyborg theory, and queer embodiment theory have encouraged queer artists to reimagine a reality with gender fluidity and to reject binary thinking (Haraway 3). This essay discusses the aesthetics and methods of Bausch, cyborg theory, and queer dance, to explore how we may create Bausch-inspired performance by and for queer BIPOC movers with limited rehearsal time, technique training, and disabilities
From Atoms to Drugs: An Exploration of Organic Syntheses and Other (Bio)Chemistry Involving Mellophanic Diimides
Get PDFAromatic diimides (ADI) are a common class of scaffolds used for research in pharmaceuticals and organic materials. In this work, we report an improved solution-phase synthesis to a less-widely explored scaffold of a non-linear ADI called mellophanic diimide (MDI) that is reproducible and generalizable. Modifications to the aromatic core and the imide functional group can lead to interesting optical, electrochemical, and potentially biochemical properties. MDIs shares many similarities with its cousin compound, naphthalene diimide (NDI) which has shown successful interaction biomolecules and demonstrated to be a successful DNA intercalator that serves as a promising anti-cancer therapeutic. Thus, we also propose MDI has a potential to be likewise developed and researched as a therapeutic scaffold and performed initial explorations of its interaction with DNA oligomers. Additionally, other preliminary experimentation that explores MDI as a monomeric unit for coupling reactions and other chemistry to expand the family of MDIs (with substitutions at the halogen and imide sites) are detailed in the work
Land is Life: Settler Colonial Governance of National Parks and Hunting in Taiwan
Get PDFThis thesis situates Taiwan as a settler colonial state by examining the discourse around the governance of national parks and the criminalization of Indigenous hunting. Placed in the context of historical patterns of land dispossession and cultural genocide, these two issues represent the ongoing process of settler colonialism and the reproduction of settler colonial relations through environmentalism. I focus on the narratives around three case studies: the controversial and ultimately unsuccessful campaign for the Maqaw National Park, the Tumpu Daingaz buluo’s struggle with the Yushan National Park, and the Tama Talum Indigenous hunting constitutional reinterpretation case. I argue that settler colonial framings of Indigenous/environmental issues enable the continued enactment of colonial relations and policies. Settler narratives and environmentalism perpetuate settler colonialism through what Métis scholar Max Liboiron explains as the assumption of access to Indigenous land, cultures, and knowledge. These cases are often framed as a progressive and benevolent government inclusion of Indigenous cultures and ecological knowledge. However, a settler colonial lens of analysis demonstrates that these moves of settler inclusivity serve to preserve settler legitimacy and futures in Taiwan while deeper contentions over Indigenous sovereignty remain unresolved. Indigenous voices within these stories reveal a throughline of ongoing resistance and resurgence, offering alternative understandings that center Indigenous land and life. While settler narratives portray and encourage limiting frameworks that prioritize settler interests, Indigenous narratives and activism expand the ways for Indigenous self-determination, futures, and land relations
How Screendance Embraces What Cannot Be Done on Stage
Get PDFDue to the recentness of the field of dance filmmaking, little research exists on the difference between dance films designed to be watched as films (referred to as screendance) and dance videography (videos of performances created to be viewed by a live audience). This paper contends that what separates screendance from dance videography is the unique appeal screendance has for the viewer. Through the use of instantaneous location changes or inaccessible locations, unusual camera perspectives (such as a birds’ eye shot) that allow the viewer to feel as if they or the dancers are defying gravity, and technology-mediated changes to bodies and surroundings, dance films show the viewer the impossible happening on screen. This impossibility factor enables the viewer to experience the work as a captivating visual spectacle. Rather than looking down on this as ‘low art,’ I suggest that the visual appeal has positive psychological effects on its viewers, which allows screendance to be used to create entertainment (music videos) and sell products (advertisements). This research has implications for dancers, choreographers, and dance filmmakers, particularly those interested in making their work — or dance in general — more accessible to audiences that may not conventionally seek out dance performances