Volume VIII 2013 Explorations The Journal of Undergraduate Research and Creative Activities for the State of North Carolina
www.explorationsjournal.com
Center for the Support of Undergraduate Research and Fellowships UNCW Honors College Randall Library, room 2007 University of North Carolina Wilmington Wilmington, NC 28403 copyright © 2013 by the University of North Carolina Wilmington
Cover photographs: Beach photo: Jeffpro57 via Flickr Creative Commons Piedmont: Hunterrrr via Flickr Creative Commons Mountain: DigiDreamGrafi xx.com via Flickr Creative Commons
ISBN: 978-1940596020
Original Design by The Publishing Laboratory Department of Creative Writing University of North Carolina Wilmington 601 South College Road Wilmington, North Carolina 28403 www.uncw.edu/writers Produced by Center for Support of Undergraduate Research and Fellowships Honors College University of North Carolina Wilmington 601 South College Road Wilmington, North Carolina 28403 www.uncw.edu/csurf/explorations.html Staff
Editor-in-Chief Katherine E. Bruce, PhD Director, Honors College and Center for the Support of Undergraduate Research and Fellowships Professor, Pyschology University of North Carolina Wilmington Visual Arts Editor Edward Irvine, MPD Associate Professor of Studio Art University of North Carolina Wilmington
Consultants William Atwill, PhD Associate Director, Honors College Associate Professor of English University of North Carolina Wilmington Michael Mills, PhD Coordinator of Major Fellowships, Honors College Lecturer of English University of North Carolina Wilmington
Layout Designer Joe Worthen Assistant Editor Department of Creative Writing University of North Carolina Wilmington
Assistant Editor Jamie Watson Department of English University of North Carolina Wilmington 2013 Board of Reviewers
Tom Allen, PhD Clayton Ferner, PhD Associate Professor of Geography Professor of Computer Science East Carolina University University of North Carolina Wilmington
Bill Atwill, PhD Elizabeth Fournier, PhD Associate Director of Honors Professor of History, Government, Associate Professor of English and Public Policy University of North Carolina Wilmington St. Augustine’s University
Steven Benko, PhD Art Frampton, Jr., PhD Assistant Professor of Assistant Professor of Biology Religious & Ethical Studies University of North Carolina Wilmington Meredith College Don Furst, PhD Mark Boren, PhD Professor of Art Associate Professor of English University of North Carolina Wilmington University of North Carolina Wilmington Candace Gauthier, PhD Robert Boyce, PhD Professor of Philosophy and Religion Associate Professor of University of North Carolina Wilmington Exercise Science University of North Carolina Wilmington Russ Herman, PhD Professor of Physics Michelle Britt, MA University of North Carolina Wilmington Lecturer of English University of North Carolina Wilmington James Hood, PhD Professor of English Michael Deckard, PhD Guilford College Assistant Professor of Philosophy Lenoir Rhyne University Jennifer Horan, PhD Associate Professor of Public & Dee Eggers, PhD International Affairs Associate Professor of University of North Carolina Wilmington Environmental Studies University of North Carolina at Asheville L. Andy Jackson, PhD Susan Fecho, MFA Professor of Psychology Professor of Art University of North Carolina Wilmington Barton College Jeanne Kemppainen, PhD Professor of Nursing University of North Carolina Wilmington Brandon Sanderson, MFA Michael Mills, PhD Assistant Professor of Art Coordinator of Major Fellowships University of North Carolina Pembroke Lecturer of English University of North Carolina Wilmington Roger Shew, MSciEd Katherine Montwieler, PhD Lecturer of Geology Associate Professor of English University of North Carolina Wilmington University of North Carolina Wilmington Scott Simmons, PhD Kemille Moore, PhD Associate Professor of Anthropology Associate Professor of Art History University of North Carolina Wilmington University of North Carolina Wilmington Vinson Sutlive, PhD John Myers, PhD Professor and Department Chair of Associate Professor emeritus Health & Exercise Science of Art History Pfeiffer University University of North Carolina Wilmington Tatiana Tagirova, PhD Suhaib Obeidat, PhD Assistant Professor of Language, Assistant Professor of Computer Science Literature, and Communications Bennett College for Women Elizabeth City State University
Hyunju Oh, PhD Julianne Treme, PhD Assistant Professor of Assistant Professor of Economics Communication Studies University of North Carolina Wilmington University of North Carolina Wilmington Sara Wrenn, PhD Fay Payton, PhD Assistant Professor of Psychology Associate Professor of Management Bennett College North Carolina State University Molly Wyatt, PhD Elizabeth Perrill, PhD Associate Provost Assistant Professor of Art History Assistant Professor of Sociology University of North Carolina at North Carolina Wesleyan College Greensboro Taek You, PhD Sharon Raynor, PhD Assistant Professor of Biology Associate Professor of English Campbell University Johnson C. Smith University
With special thanks and appreciation to the faculty mentors and volunteer reviewers.
Table of Contents
1 Letter from the Editor Creative Work 2 The Three Horsemen of the Rockopolypse Lauren Ellerbe, University of North Carolina at Pembroke Humanities
7 An Analysis of Naturally Derived Marine Clay as a Ceramic Medium Julienne E. Beblo, University of North Carolina Wilmington
25 Earth Forms: The Boundless Art of Lonnie Vigil and Ansel Adams Michelle Lanteri, University of North Carolina at Greensboro
41 Double Identity in Jamaica Kincaid’s Lucy Janelle Martin, Johnson C. Smith University
55 “This Man Belongs to me!” : Edward Carpenter, Dracula, and Premature Sexuality Will Parshley, Guilford College
72 “Trembling grass / Quakes from the human foot” : Animal Rights Legislation, John Clare, and the Lines between Nature and Humanity Will Parshley, Guilford College Creative Work 88 Belleza Hueca Daneila Jimenez, University of North Carolina at Pembroke Mathematics, Science, and Technology
93 Comparison of Mammalian LAT1 and Bacterial BrnQ Transport Proteins Suggests Potential for Orally-Active Drug Uptake by Intestinal Bacteria Anna-Kay Edwards, Livingston College 101 Observing and Analyzing Coastal Hellenistic Fortifi cations with Remote Sensing and GIS Luke Kaiser, University of North Carolina at Greensboro
121 Porting Python Program to Android Tierra Montgomery, Fayetteville State University
129 On the Tzitzeica Curve Equation Lewis Williams, Fayetteville State University Creative Work 140 AllYou’re Worth Kayla Seedig, University of North Carolina at Pembroke Social Sciences
145 Heroic Moments: A Study of Comic Book Superheroes in Real-World Society Christian Russell, Greensboro College
161 Friendship Group Hierarchy Matthew Van Horn, Lees-McRae College 173 About the Student Authors 177 About the Faculty Mentors 180 Submission Process Letter from the Editor
e are pleased to present volume great team of students who have done the WVIII of Explorations, the Journal layout for the recent issues. This year, I am of Undergraduate Research and Creative indebted to Mr. Joe Worthen, our chief lay- Activities for the State of North Carolina. We out editor, and Ms. Jamie Watson and the are so glad to feature creative works again UNCW Honors College Media Board team this year, and hope that trend continues. I who produced the layout for Explorations. especially appreciate the assistance of Ned Thank you so much for your time! Irvine as Visual Arts Editor. I am also very appreciative of the effort This year we include 11 papers and three that the 37 ad hoc reviewers spent provid- creative pieces, selected from 18 submis- ing timely and thoughtful reviews of the sions. The topics range from literary cri- submissions this summer. tique to computer science modeling to archaeological research utilizing Google So in the spirit of the excitement that Earth. Nine different public and private fresh approaches to research and discov- schools are represented. ery bring, we offer you volume VIII of Explorations. It is useful each year to provide a bit of background about Explorations. In 2005, the State of North Carolina Undergradu- ate Research and Creativity Symposium, affectionately known as SNCURCS (pro- nounced “Snickers”) was fi rst held, and educators from all colleges, universities, community colleges, and high schools were Katherine Bruce, PhD invited to participate. Now in its 9th year, SNCURCS offers a venue for undergradu- ates to present their research and creative efforts. Explorations was the brainchild of the 2005 meeting, and we are thankful that Michael Bassman and East Carolina Uni- versity organized and published the fi rst three volumes. In 2008, the late George Barthalamus, former Director of Under- graduate Research at NCSU and the vision- ary behind our state-wide undergraduate research efforts, talked me into moving Explorations to UNCW in time to produce the 2009 volume, and we have now pub- lished fi ve volumes at UNCW. At UNCW we are fortunate to have a very successful Publishing Laboratory that developed the current look of Explorations, plus I have a
1 Explorations | Creative Work
Creative Work: The Three Horsemen of The Rockopalypse
Arist: Lauren Ellerbe Faculty Mentor: Brandon Sanderson Affiliation: University of North Carolina at Pembroke Framed Dimensions: 16 x 20” Medium: Pen and Ink
Artist Statement: The compositional basis of The Three Horsemen of The Rockopalypse is derived from Albrecht Durer’s Four Horsemen of the Apocalpse. While the composition remains essentially the same, I have removed one of the horsemen and applied contemporary concepts and content to the fi gures and background. The changes depict three genres of alternative music: rock, metal, and punk. These three categories are shown in the horsemen, who thereby bring expression and individuality through their instruments. Some consider them to be emblematic of the degradation and destruction of music. That is, the three genres are the harbingers of the musical apocalypse. However, I believe that they are modernizing and improving the discipline.
2 Lauren Ellerbe
The Three Horsemen of the Rockopalypse, Lauren Ellerbe 2013
3 4 Art and Humanities
5
An Analysis of Naturally Derived Marine Clay as a Ceramic Medium
Julienne E. Beblo University of North Carolina Wilmington Faculty Mentor: Aaron Wilcox University of North Carolina Wilmington
Abstract This project was conducted to evaluate the use of marine clay as a ceramic medium. Samples of the clay were collected from Kure Beach and analyzed using workability tests, mineralogi- cal analysis, and a chemical analysis. The clay shrank 15.63% after air drying and 17.75% after being fi red. Porosity was 26.0% and plasticity was identifi ed by handling the material. It contained 27.43% sand, 55.08% silt, 1.06% clay and also had high concentrations of aluminum and iron. Organic content was 15.79%. The marine clay did exhibit plasticity, was able to be thrown on a wheel and withstood fi ring. However, the small amount of actual clay present made the material more diffi cult to control and even after fi ring, it maintained a certain degree of fragility. The plasticity is likely a result of the high organic content. The clay is not ideal for functional studio work but it can perform as a ceramic medium.
eramic clay has been widely used and those are defi ned, and what properties of the Cstudied for thousands of years. As a collected material infl uenced its usability in result, there is a comprehensive understand- the ceramic studio. The composition of the ing of the material and standards for evalu- collected material was analyzed and its func- ating its potential as a functional ceramic tionality was evaluated using existing stan- medium. But even as these standards are dards in ceramic studio practice. currently used, the fi eld continues to change as new processes are utilized and the materi- Defi nitions of Clay als are pushed to new extremes. In addition, much of the ceramic making process is still Clay is a naturally formed material derived determined by the preferences of the potter. from igneous rock. Interestingly, clay can The purpose of this project was to examine refer both to a particle size and to specifi c the use of naturally derived marine clay as compositions of natural materials. Any sedi- a ceramic medium. It predominantly en- mentary particle that is <2μm is considered compassed the production of creative pieces, clay. In addition, clay minerals are defi ned but with an emphasis on understanding the by their similar crystal structures and range characteristics of the collected clay, how of chemical compositions. Because of the
7 Explorations | Art and Humanities small particle sizes and chemical composi- clay similarly exhibits coarse particles and tion of clay minerals, the material exhibits organic-rich content. certain properties that have made it useful Marine and aquatic clays are also known in ceramics. Clay particles have a strong af- to create clay balls. These sedimentary for- fi nity for water and when the two substances mations occur when the fi ne particles of clay combine, the material swells. This helps the suspended in the liquid are rolled back and particles remain adhered to one another and forth due to wave and current action. The gives them the ability to retain a stable form particles naturally adhere to one another when wet. Kaolinite, for example, is a com- when water is present so the formation can mon clay mineral. It has a two-layered, hex- become signifi cant, forming lumps or balls of agonal shape with a diameter ranging from material. These formations will occasionally 0.3 μm-0.01 mm and a general thickness of roll up on shore and often exhibit relatively 0.05 μm. This particular structure has a high homogenous contents. surface area that is able to interact with water Generally, any kind of raw clay used in molecules. The interaction between water the studio can be categorized into fi ve dif- and clay particles actually gives the material ferent groups: china clay, ball clay, fi re clay, the characteristics that make it usable as a ce- stoneware clay, and surface clay. China clay ramic medium. is formed at the base of mountains and has A clay’s origin and whether it has been minimal impurities. It is rare, exhibits mini- transported from the spot in which it formed mal plasticity, and is also the most refractory, affect its properties. Clays that are found at or resistant to heat. Ball clay exhibits the their origin are considered “residual” while highest plasticity and has always been moved those that have been moved by natural by water from its primary spot of formation. forces-water, wind, erosion, etc.- to another This sedimentary clay has a fi ner particle size depositional area are considered “sedimen- that results in a high amount of shrinkage. tary.” Transportation of sedimentary clays Fire clay is found in mountain or desert areas increases the potential amount of impurities and has varying, coarse particle sizes. It is a present. This difference in composition may strong clay that has good standing strength change the plasticity and color of the ma- and is usually colored beige, red, gold, or terial. A high level of organic matter also red-brown when fi red. Stoneware exhibits tends to increase plasticity and occasionally properties similar to both ball and fi re clay. the stickiness of a clay. These characteristics make it a very work- Marine clays are likely the most common able material that also fi res to a high density. source of sedimentary clay. Generally, they Surface clay is the most prevalent. Because form when fi ne clay particles found in fresh- it has experienced years of movement, the water systems are deposited in brackish wa- level of impurities is high which increases ter. The clay particles absorb various impuri- the workability of the material. It tends to ties as they are transported from their place fi re a rust-red color, but this can change de- of origin by water movement. Marine clays, pending upon the presence of various metal- like most sedimentary clays, exhibit a higher lic oxides. Surface clay is also the material level of homogeneity and tend to have a high most commonly used by indigenous cultures percentage of organic content. They can be to create ceramic ware. grouped into three different categories based Raw clay exhibitis characteristics that are upon their location in various marine habitats. indicative of its origin and its qualities when Pelagic clay is found in deep water and tends wet. The creative process, however, usually to have very fi ne particles. Littoral clay is involves additional steps such as fi ring and found between the high and low watermarks glazing. Fired clay becomes ceramic ware of a shore and contains coarse particles with a and it exhibits specifi c properties that infl u- high percentage of organic matter. Estuarine ence its utility and its aesthetic. Ceramic
8 Julienne E. Beblo ware is generally categorized into three sepa- estimate the size at which the piece needs to rate groups. Earthenware is very porous and be created when wet so as to be the desired lightweight. It fi res at a low temperature size after being fi red and glazed. range and has commonly been used among Porosity refers to the percentage of empty tribal societies. It will absorb 10-15% of its space, called pores, found in the material. unglazed weight in water. Stoneware is a This characteristic is important because the very hard and durable clay that holds liquids number and size of pore spaces infl uence the and is not easily broken. It will absorb 2-5% hardness of the clay and its ability to vitrify. of its unglazed weight in water. Porcelain is Porosity can also be indicative of the type a dense and vitreous clay. It is known for of clay body being used. Porcelain clay has its generally white color and translucency. It 0-3% porosity while stoneware has 1-6% and will absorb 0-1% of its unglazed weight in earthenware has 4-10%. Measuring porosity water. Since the collected material was as- is diffi cult because some of the pore spaces sessed as a ceramic medium, understanding are sealed within the clay. To overcome this the categorization of clay and ceramic ware obstacle, testing the percentage of water ab- was necessary for describing the collected sorption is one of the most common meth- clay and for comparing it to other clays com- ods for testing porosity. This measures the monly used in the studio. amount of water absorbed by a bisque-fi red piece of clay. There are multiple procedures, Workability Defi nitions including some that require the bisque-fi red clay to be boiled for various time periods and The quality of clay used in the studio is a others that soak the clay overnight. somewhat ambiguous characteristic that can- Plasticity is an interesting characteristic of not always be easily identifi ed. Most often clay because there is no quantifi able measure- it is based upon a potter’s specifi c prefer- ment for it. Although potters will generally ence or upon the qualities needed to produce agree that plasticity is an important character- a particular piece of work. Even so, certain istic, it is predominantly determined by a pot- properties have been identifi ed that generally ter’s preference. Even so, there are multiple indicate the workability of clay when used in methods to determine if it is present. Simply a studio setting. Fortunately, most of those working with the clay to assess if it can with- have been given a quantifi able method of stand pressure, stretching, and a combination measurement. Shrinkage, porosity, and plas- of the two while still maintaining its shape ticity are three of the most