Theses and Dissertations

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Now showing 1 - 5 of 325
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    Iraqi Kurdistan teachers' views and attitudes towards written corrective feedback in EFL writing
    (Colorado State University. Libraries, 2023) Al-Jaf, Chnur, author; Ehlers-Zavala, Fabiola, advisor; Delahunty, Gerald, committee member; Grim, Frédérique, committee member
    Written corrective feedback (WCF) in English as a foreign/second language (EFL/ESL) teaching and learning is one of the most controversial topics among researchers and teachers. Several researchers have debated and investigated its influences and effects on student learning (e.g., Ferris, 1999, 2003, 2004; Truscott, 1996), and different types of feedback have proven to be effective in improving writing skills (Bitchener & Knoch, 2010; Lee, 2004; Lee et al., 2021). Teachers provide WCF to their students in hopes that their students will benefit from it (Bitchener, 2012). Although there is much research on this topic (Brown, 2012; Chandler, 2003; Ferris, 1999, 2003, 2004; Hyland & Hyland, 2006; Lee, 2004; Lee, 2020; Lee et al., 2021) and in different ESL/EFL contexts, there are no studies on Iraqi Kurdistan teachers' views on WCF and its types. This study, therefore, aims to examine the perception and attitudes of 30 EFL teachers in Iraqi Kurdistan to understand their beliefs regarding WCF and the types of feedback they say they use and find important to give to English language learners (ELLs). A survey questionnaire was used to collect data for this investigation. Results showed that the majority of teachers who participated in this survey use WCF and believe it is useful for their students. However, there is some inconsistency in their answers regarding the types of feedback they use. Results show that they use several types of WCF depending on the context and their students' level of proficiency. Teachers' responses align to a large extent with the literature available. The results of this study can be useful for EFL teachers and researchers in Iraqi Kurdistan and other similar contexts to improve their practices related to WCF.
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    Musician (lost at sea)
    (Colorado State University. Libraries, 2023) Kneisley, John, author; Beachy-Quick, Dan, advisor; Dungy, Camille, committee member; Harrow, Del, committee member
    In Musician (Lost at Sea), I am trying to understand poetry as a mode of caregiving and companionship for those crossing over from life to death. Inspired by the Ancient Greek role of the psychopomp – a mythic guide accompanying souls to the afterlife – my poems attempt both to show and to traverse the mysterious boundary between life and whatever might follow. In doing so, rather than considering death only as an occasion for grief or loss (yet no less removed from them), my poems allow death the potential to be warm, accompanied, and a space that could give way to new life. Almost all of my poems cannot help but establish themselves in the natural world: a place where death and life are so clear in their conjunction, the way a forest fire's ashes feed new plants, or the way a rabbit's body sustains an owl. Ultimately, these poems might make a seemingly impossible claim, as the Greek philosopher Thales first did, that life and death are strangely the same thing, and that to die might also be an opportunity for the soul, or other forms of life, to continue to live or grow. The speaker of many of these poems bears witness to the transitional space between life and death, observing those close to dying or already dead. From the collection's onset, the poems remain sensitive to this space's mystery, careful not to prescribe death with any one outcome, offering instead companionship and thought to the rich change occurring. In the opening poem/prelude, "Lost Graveyard in the Appalachians," the speaker walks among gravestones made illegible with age, lichen and moss growing over their names, before saying "this place / seems no longer / for my knowing." These lines, rather than simply dismissing a human way of knowing, open up both spiritual and natural possibilities for knowing the dead, which the collection will carry forward. "This place" might not be for "my knowing," but perhaps for the lichen's instead, or perhaps also for the psychopomp guiding those buried underground elsewhere ("each grave that vanishes / vanishes / as if opening / somewhere"). The collection creates space for the speaker, the reader, and even more deeply, each poem, to be just such a psychopomp: a figure that accompanies the dead on this journey elsewhere, and in doing so, gives care. Many of the poems adopt the second person "you," a pronoun that is both self-referential of the speaker and also inviting of the reader to take part in witnessing or walking with the dead. This "you" carries a strange intimacy, allowing empathy for an occasion that is universal and familiar (death) while also one that is completely unknowable to the living. The poems give the reader close access to this occasion and to the imaginative spaces beyond it, guiding them through various beings' deaths while maintaining the same careful and warm presence befitting a caregiver. Grief and loss are no less aspects of death here, as they always are, and yet they are understood more as parts of a larger journeying process, one that affects the dead just as much as the living who feel their absence. In the poem "Planting a Future Elegy in a Holloway," for example, the "you" allows both the speaker and reader to step into an imagined landscape and manner of grieving. The speaker finds themselves in a holloway, a woodland road caved in from its surrounding land, circular in shape, formed from erosion and centuries of travel. In planting a "future elegy," "you" have come to try to "orient a grief / you have not found / a language for / yet hold / and press / in older earth," the holloway providing an ancient space with which to shelter a poem that does not know its specific purpose yet, but does know that it will grieve. To plant a future elegy here, among "an exposure of roots, / moss, and quiet / mushrooms," a "rabbit's / bones," and "a worm / looping in and out / of loam" signals, like "Lost Graveyard in the Appalachians," a passing of understanding to the natural world, the land itself perhaps a more fitting agent for knowing and holding the dead. Further, by appearing at the collection's beginning, this poem suggests that the future elegy, perhaps a metaphor for understanding grief and death in general, bears out as the book progresses: an undeveloped seed that will take root in landscape, silence, and antiquity, as subsequent poems will reflect. In terms of subject matter, these poems, most of which adopt a narrative quality in describing a death or those already dead, range from the ancient to the contemporary. This variance accentuates the collection's larger motion – that of moving across narratives as a psychopomp moves alongside the dead – eventually transcending time and space despite frequently relying on Greek mythology. As the book moves, we move alongside figures like Baucis and Philemon, an elderly couple from Ovid's Metamorphoses who turn into trees; a singing fisherman who drowns at sea, two ants carrying the dead body of another ant, Orpheus's head floating down a river, patients at an Alzheimer's unit mourning their daughter, an astronomer buried on another planet, and still others. These deaths, despite being distinct, each demonstrate a continuation of a life in one way or another, the poems acting as psychopomps in carrying the souls they house elsewhere. What happens after death may still be unknowable, but the poems at least hold that death is more a transition than a fixed end point, even if that transition is a human decomposing underground while providing nutrients to grow a flower. A much smaller group of poems, placed throughout the collection, use the first person "I" to speak from the point of view of the dead. These persona poems, most of which are titled "Gravewhisper," allow the reader intimate, albeit imagined, access to voices beyond the grave. The language and syntax of these short poems (the word "whisper" capturing both their quietness and brevity), are purposefully unconventional, suggesting that speech and language, even though decipherable, function differently in the afterlife. These "Gravewhisper" poems each appear directly after more traditional narrative poems featuring a death (from which stems the "I's" identity), the proximity allowing for the living and the dead to be in conversation with one another, even though neither may know they are doing so from their vantage point. Two related poems, each titled "Whispergrave," further accentuate language that might befit the afterlife, each of them adjusted to the right margin rather than the left, formally reflecting a "Gravewhisper" on the opposite page. Together, these poems invite the reader into acts of deep listening, bringing them closer to wherever the dead may now reside, and attuning them to how a being might speak after they have died. Although different from the "Gravewhisper" poems, there is a similar strand of communication to be found in the realm of dreaming and in the unconscious mind throughout the manuscript. In the poems "Experiment in Dreaming" and "The Obsolescent Clocks," for example, the speaker (or a "you") enters dreams in which strangers, both realistic and fantastical, speak about death. In the first case, "you" dream of a fishing village, and meet a peddler selling clay vessels by the sea who mentions a drowned bird. In the second, "you" dream of an abandoned clock shop where clocks can speak, each broken and spinning according to its own, chaotic time, and labeled with the identity of someone who has died ("A grandfather clock is named / 'musician lost at sea' / while a watch, spinning violently / is 'a burned ash tree'"). Both poems suggest, by way of their playfulness in attempting dream-like thought patterns, that there is something about the unconscious mind that bring us closer to death (or to the dead), even while temporarily asleep. The space of a dream might then also be a realm in which the psychopomp can thrive, each dream perhaps a kind of spirit guide in itself, journeying us elsewhere, where language, image, and narrative operate on a level buried below our normal span of thinking. Finally, my collection's title, Musician (Lost at Sea), taken from the line referenced above in "The Obsolescent Clocks," acknowledges these layers of movement between life and death the psychopomp traverses. The title can read like an epitaph thanks to the parentheses, naming a musician and their cause of death, allowing us to conceive of the collection itself as a kind of grave marker for one who has passed into an afterlife. The word "musician," beyond denoting a musical occupation, perhaps more simply alerts us to a role being played, the poetic spirit behind the collection able to function as a musician telling a story (or many stories), adrift in uncharted waters of a kind (the idea of imagining an afterlife). Perhaps the psychopomp, at once book, speaker, and reader, is a kind of musician too (or muse), guiding us toward a poetic, and therefore musical, understanding of the dead, and what it might mean to accompany them elsewhere, a place that cannot help but be "lost" because of its intrinsic unknowability.
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    Open Access
    Multimodality across the curriculum
    (Colorado State University. Libraries, 2023) Mangialetti, Tony, author; Palmquist, Mike, advisor; Amidon, Tim, committee member; Balgopal, Meena, committee member
    This thesis explored the connection between multimodality and writing across the curriculum (WAC) to learn what characteristics of multimodal activities, documents, and pedagogy could be used to increase the effectiveness of a WAC program. The thesis is based on a study during which 46 participants were surveyed and 16 of those participants were interviewed. Two leading WAC programs' websites were analyzed to determine the role multimodality played in each program. The surveys and interviews were analyzed using a grounded approach. The research supporting this study looked at WAC pedagogy—specifically writing to learn, writing engage, and writing in the disciplines—to learn what skills students are being asked to learn. Scholarship from WAC was also used to learn what WAC programs are currently doing with multimodality. From this research and study, seven principles were developed for WAC programs that seek to incorporate and implement multimodality.
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    Open Access
    Training at Colorado community corrections centers: understanding and evaluating varied training approaches in the corrections environment
    (Colorado State University. Libraries, 2023) Dunlap, Makayla, author; Jacobi, Tobi, advisor; Doe, Sue, advisor; Gingerich, Karla, committee member
    Most depictions of the justice system suggest an environment that is strictly punitive. However, Community Corrections, as the last step before individuals reenter their community, is uniquely situated to be responsible for building agency in and actively communicating with those who have been incarcerated. This approach requires staff to be trained differently than others in the Corrections ecosystem so that they might interact with clients in a different, more humanitarian way. The current research aims to examine existing training for Community Corrections employees using the lens of Activity Theory (Engestrom, Vygotsky) and Design Justice (Costanza-Chock, Design Justice Network). To conduct this analysis, in an IRB-approved study, 24 participants, all of whom are practitioners of training or maintain some official role in the training ecosystem, were recruited from nine Community Corrections facilities across the state of Colorado and asked about their experiences with Community Corrections training. After the interviews were conducted, a critical content analysis of the qualitative data from the interviews was done, examining how the current training aligns with the six components of Activity Theory and the ten principles of Design Justice. In doing so, Activity Theory illuminates the complex and rapidly changing Community Corrections environment that staff are being trained in, while alignment with Design Justice principles helps measure the relative success of training. This project found that Community Corrections practitioners are aware of and, to some degree, are effective in applying Design Justice principles to their work even as structural challenges impede full effectiveness. However, current Design Justice principles did not fully capture the complexity of the institution. Activity Theory additionally revealed the complexity of Community Corrections organizationally and further amplified the need for structural changes that might influence overall effectiveness. This study shows that, moving forward, both Community Corrections itself and Design Justice principles can grow and improve.
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    A version
    (Colorado State University. Libraries, 2023) Wesely, Nicolas D., author; Beachy-Quick, Dan, advisor; Cooperman, Matthew, committee member; Jazz Harvey, Madeline, committee member
    At surface level "a version" enacts a poetic exploration of form and its myriad influences on creative intent and execution, with particular interest in that mysterious echo of formal play—the sestina. A deeper investigation of the thesis reveals the intricate movement of how poetic self might be realized through the navigation of these various, highly active, literary lineages, which themselves arrive as echoes of past, present, and future writings, experiences, and hopes, here largely circling military history, myth, family, physical body, and love. This thesis exhibits the movement toward, and simultaneously away from, the constraints of form, asking how it is that creativity enters into free flowing abundance through formal parameters; highlighting those moments when repetition deviates from defined meaning and achieves a polyvocality of authorial lineage; a version of a version that has always been and never been before. Here the sestina is pushed into sprawling forays of liturgical praise and negation. It assumes forms and roles meant for other times and spaces, and by so doing, shows its adaptability (and so too our own) toward an immediate presence of modern poetics.