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Master's Thesis: Reimagining the First Weeks of School Through a Trauma-Informed Lens
No full textThis thesis proposes a trauma-informed revision of the "First Weeks" curriculum at Egypt Elementary School in Memphis, Tennessee, to better support students affected by Adverse Childhood Experiences (ACEs). Drawing on research in trauma-informed care, social-emotional learning, and educational psychology, Braswell outlines a classroom-based intervention focused on four key concepts: emotional regulation, communication, goal setting, and stress management. The revised curriculum integrates mindfulness practices, reflective journaling, peer support, and culturally responsive read-alouds to create a safe, supportive, and predictable classroom environment. The study emphasizes the importance of teacher training, consistent routines, and student voice in fostering resilience and academic success. Ultimately, Braswell argues that trauma-informed practices must be embedded not only at the classroom level but also across schools, districts, and educational systems to disrupt cycles of inequity and promote student well-being
"The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition image
No full textThis digital image was taken by Chip Pankey and uploaded to DLynx by the Visual Resources Center in July 2022.This is an image documenting the "The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition, which was held in the Clough-Hanson Gallery from January 25 through March 21. This exhibition was created by "poly artists" Kuperus & Miller, who together make up Adult, as an extension of their then-upcoming album Perception as/is/of Deception. This exhibition uses built environments as well as decieving two-dimensional pieces to toy with the act of looking and the resultant, often unacknowleded, of being looked back at as well as that which goes unseen. Both artists focus on a different objective with their pieces in one singular exhibition, thus leaving the audience to discern the expected engagement with the space and message of the works
"The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition image
No full textThis digital image was taken by Chip Pankey and uploaded to DLynx by the Visual Resources Center in July 2022.This is an image documenting the "The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition, which was held in the Clough-Hanson Gallery from January 25 through March 21. This exhibition was created by "poly artists" Kuperus & Miller, who together make up Adult, as an extension of their then-upcoming album Perception as/is/of Deception. This exhibition uses built environments as well as decieving two-dimensional pieces to toy with the act of looking and the resultant, often unacknowleded, of being looked back at as well as that which goes unseen. Both artists focus on a different objective with their pieces in one singular exhibition, thus leaving the audience to discern the expected engagement with the space and message of the works
Deaf Space: Architectural Design for Deaf Students
No full textPresentation by Abby Connor ('20) delivered at the Rhodes College Undergraduate Research and Creative Activity Symposium (URCAS) as part of the Deaf Studies Fellowship.'Deaf-space,' a concept heavily influenced by Gallaudet University and architect Hansel Bauman, focuses on the importance of sight and the visual field. This type of architecture can "make a building porous, and create a fabric of visual connections throughout the building" (Tsymbal, 2010). Deaf design involves both Deaf architecture, space devised with the needs of D/deaf students in mind, and 'adapted space,' where changes are added to preexisting buildings (Hauan, 2017). With these adaptations, D/deaf students are able to increase their communication and improve their ease of learning. Studies have found "a functional relationship between the physical environment and both an increase in levels of academic engagement and a decrease in levels of disruptive behavior" (Guardino and Antia, 2012). Unfortunately, a dishearteningly low percentage (75%) of teachers are adequately prepared to teach deaf and hard of hearing students (Underwood, 2003). Thus, even in schools not designed for the D/deaf, teachers should be supplied the resources to make their classroom environment function better for D/deaf students. My research outlines modifications to improve existing schools and to consider when constructing new schools, as well as the effects of purposeful design (or the lack of) on D/deaf students' educations
Good Intentions: A Look into Memphis's Nonprofit Sector
No full textDue to its high poverty rates, Memphis is home to over one-thousand nonprofit organizations. Since the 1960s, the sector has grown into a 'nonprofit industrial complex.' The city seems to not only embrace its charitable tendencies; it relies on them. This piece explores the Memphis sector and how it causes and is created by socioracial inequities within the city. This piece not only provides a snapshot into what the nonprofit sector is like but how it can be improved through proper racial representation and creating partnerships instead of paternalistic infiltration
"The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition image
No full textThis digital image was taken by Chip Pankey and uploaded to DLynx by the Visual Resources Center in July 2022.This is an image documenting the "The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition, which was held in the Clough-Hanson Gallery from January 25 through March 21. This exhibition was created by "poly artists" Kuperus & Miller, who together make up Adult, as an extension of their then-upcoming album Perception as/is/of Deception. This exhibition uses built environments as well as decieving two-dimensional pieces to toy with the act of looking and the resultant, often unacknowleded, of being looked back at as well as that which goes unseen. Both artists focus on a different objective with their pieces in one singular exhibition, thus leaving the audience to discern the expected engagement with the space and message of the works
"The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition image
No full textThis digital image was taken by Chip Pankey and uploaded to DLynx by the Visual Resources Center in July 2022.This is an image documenting the "The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition, which was held in the Clough-Hanson Gallery from January 25 through March 21. This exhibition was created by "poly artists" Kuperus & Miller, who together make up Adult, as an extension of their then-upcoming album Perception as/is/of Deception. This exhibition uses built environments as well as decieving two-dimensional pieces to toy with the act of looking and the resultant, often unacknowleded, of being looked back at as well as that which goes unseen. Both artists focus on a different objective with their pieces in one singular exhibition, thus leaving the audience to discern the expected engagement with the space and message of the works
Master's Thesis: Integrating Social Justice into Mathematics Curriculum
No full textThis thesis explores how mathematics education can be transformed through a social justice lens to empower students as critical thinkers and agents of change. Marcia White argues that mathematics is not neutral but inherently political, capable of reinforcing or dismantling systems of oppression. Drawing on the work of Freire, Gutstein, and Ladson-Billings, she outlines a theoretical framework for Teaching Mathematics for Social Justice (TMSJ) and presents a five-lesson Algebra I unit focused on minimum wage and housing affordability in Memphis. The curriculum integrates mathematical modeling, real-world data analysis, and artistic expression to help students connect math to their lived experiences and advocate for economic justice. The study emphasizes the importance of culturally relevant pedagogy and student agency in fostering both mathematical literacy and civic engagement
Master's Thesis: Can Authentic Assessments Enhance the Use of Higher-Order Thinking Skills?
No full textThis thesis explores how authentic assessments—those rooted in real-world relevance and student-centered learning—can foster higher-order thinking skills (HOTS) such as critical thinking and problem-solving. Millbrook critiques standardized testing as dehumanizing and disconnected from students' lived experiences, arguing that authentic assessments promote intrinsic motivation and meaningful engagement. Drawing on Paulo Freire's pedagogical theories and Gulikers et al.'s five-dimensional framework for authentic assessment, she proposes a model that integrates student voice, cultural relevance, and individualized learning contexts. The study emphasizes the importance of anecdotal records and teacher-student interaction in designing assessments that reflect students' strengths and needs. Ultimately, Millbrook advocates for a shift toward humanizing, inclusive assessment practices that empower students to demonstrate their full intellectual potential
"The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition image
No full textThis digital image was taken by Chip Pankey and uploaded to DLynx by the Visual Resources Center in July 2022.This is an image documenting the "The One Who Looks, Looks Upon The One Who Looks Upon The One Who Looks Upon..." exhibition, which was held in the Clough-Hanson Gallery from January 25 through March 21. This exhibition was created by "poly artists" Kuperus & Miller, who together make up Adult, as an extension of their then-upcoming album Perception as/is/of Deception. This exhibition uses built environments as well as decieving two-dimensional pieces to toy with the act of looking and the resultant, often unacknowleded, of being looked back at as well as that which goes unseen. Both artists focus on a different objective with their pieces in one singular exhibition, thus leaving the audience to discern the expected engagement with the space and message of the works