Browsing by Subject "Poetry"
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Item 3 Jazz Collective (audio)(2008) Durawa, Ernie; Vieux, Philippe; Calderazo, Joe; Saunders, Bruce; Gaitán, Pepe; Rodriguez, Pete; Bridgforth, Sharon; Owens, Ephraim; Matthews, Paul; Morgan, Hope; Arthurs, Michael; Costa Vargas, João; Bell, Jeremy; Butler, Mitch; Chao, David; Lang, Stephanie; Witt, Kevin; Alexander, Johnathan; Cook, Korey; Schwelling, SteveItem Against against affect (again) : æffect in Kenneth Goldsmith's Seven American deaths and disasters(2014-06-11) Boruszak, Jeffrey Kyle; Moore, Lisa L.; Bennett, ChadRecent scholarship on conceptual writing has turned to the role of affect in poetry. Critics such as Calvin Bedient claim that by using appropriated text and appealing to intellectual encounters with poetry based around a central “concept,” conceptual writing diminishes or even ignores affect. Bedient in particular is concerned with affect's relationship with political efficacy, a relationship I call “æffect.” I make the case that because of its use of appropriated material, we must examine the transformation from source text to poetic work when discussing affect in conceptual writing. Kenneth Goldsmith's Seven American Deaths and Disasters, which consists of transcriptions of audio recordings made during and immediately following major American tragedies, involves a specific kind of affective transformation: the cliché. I discuss what makes a cliché, especially in relation to affect, before turning to Sianne Ngai's Ugly Feelings and her concept of “stuplimity.” Stuplimity is an often ignored and not easily articulated affect that arises from boredom and repetition. Stuplimity is critical for Seven American Deaths and Disasters, especially for the “open feeling” that it produces in its wake. This uncanny feeling indicates a changing tide in conversations about conceptual writing. Rather than focus on the affect of æffect, we should instead turn to the effect.Item Against against affect (again) : æffect in Kenneth Goldsmith's Seven American deaths and disasters(2014-05) Boruszak, Jeffrey Kyle; Moore, Lisa L. (Lisa Lynne)Recent scholarship on conceptual writing has turned to the role of affect in poetry. Critics such as Calvin Bedient claim that by using appropriated text and appealing to intellectual encounters with poetry based around a central “concept,” conceptual writing diminishes or even ignores affect. Bedient in particular is concerned with affect's relationship with political efficacy, a relationship I call “æffect.” I make the case that because of its use of appropriated material, we must examine the transformation from source text to poetic work when discussing affect in conceptual writing. Kenneth Goldsmith's Seven American Deaths and Disasters, which consists of transcriptions of audio recordings made during and immediately following major American tragedies, involves a specific kind of affective transformation: the cliché. I discuss what makes a cliché, especially in relation to affect, before turning to Sianne Ngai's Ugly Feelings and her concept of “stuplimity.” Stuplimity is an often ignored and not easily articulated affect that arises from boredom and repetition. Stuplimity is critical for Seven American Deaths and Disasters, especially for the “open feeling” that it produces in its wake. This uncanny feeling indicates a changing tide in conversations about conceptual writing. Rather than focus on the affect of æffect, we should instead turn to the effect.Item The Alchemy of the Mind and Spirit: Intersections of Science and Poetry(2016) Bastone, Gina; Cota, MitchItem And Patroclus: A Portfolio(2020-10) Pratt, LeoItem The Art of the Poetry Chapbook(2023-08-14) Bastone, GinaChapbooks – small booklets often made by hand – are essential to American Poetry. Chapbooks provide poets an inexpensive, accessible way to showcase their work in a small format, and often serve as a calling card for up-and-coming poets looking to find a publisher for their first full-length collection. Chapbooks also allow for experimentation and artistry in the book arts. The UT Poetry Center has collected chapbooks for over 50 years, and this exhibit highlights the forms, experimentation, and genre found in these little books.Item Asian American Voices in Poetry(2022) Bastone, GinaItem Being a person : a brief unpleasant history(2022-04-27) Srinivasan, Leela; Klink, Joanna, 1969-; Nye, Naomi ShihabA collection of poems inspired by music, relationships, aging, memory, and place.Item Black tongues against the dawn(2022-05-06) Abii, Chidera; Reeves, RogerThis thesis contains a collection of poems.Item Brownscale(2020-05) Sorunke, HypatiaBrownscale is a collection of three short stories and three poems about queer Black women in America. Through the understanding of intersectionality, the collection uses intergenerational relationships, heteronormative relationship structures, and identity politics to examine themes of intersectional identities, the accessibility of the American Dream, and queer relationships. In this collection, the stories work to challenge western ideas of marriage, politics of policing, and Black fatherhood. The poems are woven throughout the stories to demonstrate relationships of queer and Black idenitities to immigration, interpersonal violence, and history, all of which exist to inform the intersections of identity. In these stories, characters deal with trauma, pain, and fear; however, they are also allowed to celebrate, explore, and love. The purpose of the multifaceted nature of the creative work is to explore the range in which queer Black womanhood can exist on American soil.Item “Ce monde qui s’écroule en nous” : Abdellatif Laâbi’s apocalyptic consciousness(2017-05) Goodstein, Liza Morrow; Grumberg, KarenThis report examines how francophone Moroccan poet Abdellatif Laâbi constructs an apocalyptic worldview in three of his poems from the early 1990s. These poems (“Éloge de la défaite,” “Le soleil se meurt,” and “Les écroulements”) rely on a double register of the word “apocalypse” that incorporates both its religious and secular connotations, which allows Laâbi to engage with questions of redemption and futility. The apocalypse manifests itself in imagery of both the disintegrating human body and the polluted environment, emphasizing the ecological interconnectedness of humanity and the non-human environment, as well as the role of the human in the planet’s destruction. I argue that this reading of Laâbi’s apocalyptic poems opens up a new understanding of his political engagement and humanism as he interrogates the possibility of a reformed humanity.Item Distant intimacies : queer literature and the visual in the U.S. and Argentina(2015-08) Francica, Cynthia Alicia; Cvetkovich, Ann, 1957-; Giunta, Andrea; Moore, Lisa; Richmond-Garza, Elizabeth; Carcamo-Huechante, LuisThis dissertation focuses on literary and visual works produced by queer/feminist Argentine press and art gallery ‘Belleza y Felicidad’ (1999-2007) and its encounter with ‘Belladonna*’ (1999-present), a U.S. reading series and publishing project. It seeks to describe the ways in which the precarious modes of production, circulation, and reception of the literary and visual artworks of ‘Belleza y Felicidad’ both enable and are enabled by local and hemispheric social networks grounded on embodied, affective approaches to aesthetic practices. I argue that those queer/feminist creative networks become embedded in works by authors such as Fernanda Laguna, Pablo Pérez, César Aira, and Roberto Jacoby. Bringing academic attention to the fragile materiality of the works produced by these authors, my research involves an effort to map, collect and register the ephemeral literary and visual archive of this crucial moment of Latin American queer cultural production. This dissertation crafts the notion of ‘distant intimacies’ to account for the formal, affective, and sensorial qualities of these works as well as for the local and hemispheric modes of queer relationality on which they are grounded. It shows that, through their investment in ‘distant intimacies,’ the literary and visual objects it studies consistently investigate experimental modes of community formation. That investigation of intimate bonds, in turn, grounds ‘Belleza y Felicidad’ chapbooks and visual artworks’ deployment of what I term ‘dystopian utopias’—queer imaginings, visuals, precarious materialities, and affectively charged performances which function to rethink radical politics at the moment of the Argentine neoliberal social crisis of the late 1990s and early 2000s. This dissertation claims that these works’ dys/utopian projections give account of the multiple ways in which recent and long histories of local and global economic, social, and political violence become enmeshed with queer affects and desires in the Argentine context.Item Elizabeth Bishop and Brazil(2014-08) Goudeau, Jessica Reese; Heinzelman, KurtElizabeth Bishop's phenomenal rise in the academic canon is due in large part to the way her writings about Brazil correlate with current critical concerns. However, U.S. scholars have relied on an inchoate understanding of Bishop's sociohistorical contexts as she performed complicated and at times contradictory Brazil(s). Using Yi-Fu Tuan's methodology of space and place and James Clifford's dichotomy of routes/roots, I delineate between four discrete Brazil(s) in Bishop's texts. Shifts between these Brazil(s) are predicated on changes in Bishop's relationship with her Brazilian partner, Lota Macedo de Soares. I explore the eleven poems of the "Brazil" section of Questions of Travel and "Crusoe in England," as well as the introductions and translations she worked on contemporaneously. Bishop's tourist poems examine the tension between her expectations of the banana-ized Brazil of the popular Carmen Miranda movies, and the reality that she discovered as she moves from a tourist-voyeur to a rooted expatriate. In her Samambaia poems, she writes from the position of insider/partner about the subaltern public sphere that Lota has created at her farm outside of Rio de Janeiro. The volatility of the Brazilian political situation, which Bishop blamed for the dissolution of her relationship with Lota, led Bishop to define the primitive aspects of Brazil that Lota disdained. Finally, I argue that her translation strategies as she writes about Brazil after Lota's death in 1967 are a nostalgic return to her earliest views of Brazil.Item Encoding embodiment : poetry as a Victorian science(2015-08) Rosen, Stephanie Suzanne; Cvetkovich, Ann, 1957-; MacDuffie, Allen, 1975-; Moore, Lisa L; Baker, Samuel; Pinch, AdelaThis dissertation is a study of poetry by major nineteenth-century British writers--Elizabeth Barrett Browning, Christina Rossetti, and Algernon Charles Swinburne--in the context of major nineteenth-century scientific questions. I analyze how these poets were intellectually connected to contemporary discussions of scientific epistemology, human sensation, and species evolution, respectively, and how their innovations in poetic form constituted one mode of investigating such phenomena. My close readings of major poems--Browning's "An Essay on Mind," Rossetti's "Goblin Market," and Swinburne's "Hermaphroditus"--draw from formalist methods that are attentive to historical forces, and cultural studies methods that are attentive to materiality, thus developing a practice of reading poetry as the product of experimental making. This approach is extended in the companion digital project to this study: an online edition of Rossetti's "Goblin Market" in which users may explore the poem’s irregular rhyme in an interactive interface. This study offers new methods and new texts to scholarship of the mutual influence of Victorian science and literature. It furthermore traces connections between the scientific theories in Victorian poetry and those in more recent critical theory, including especially feminist materialisms, affect theory, and transgender studies. Chapter One reads Browning's understudied 1826 epic poem "An Essay on Mind" to reframe her career-long engagement with debates on scientific method and her particular critiques of scientific materialism. Chapter Two argues that Rossetti's 1861 "Goblin Market" uses irregular rhyming patterns to study the ways in which the relative orientations of its characters may affect each other's experience, a topic of interest to her as a religious educator. Chapter Three argues that Swinburne's poetry plays with words as historically evolved forms capable of unpredictable change and that his sonnet sequence "Hermaphroditus" recognizes the body as capable of similar transformations. Chapter Four examines the potential for poetic form to inform the coding practices used to translate print poetry into digital editions, providing theoretical context for my interactive edition of "Goblin Market."Item Epic Imaginings(2018-08) Bastone, GinaItem Everything ends by coinciding(2020-05-08) Spector, Hannah Jean; Lucas, Kristin, 1968-When somebody we love gives us a gift, it becomes a shared skin. We can move in this skin—we can touch and feel our loved one through a common surface. Whether it be object, clothing, or a note, the potency of our beloved’s imprint fills a once empty slate with meaning. Everything has the potential to become this shared third skin—something I can touch to generate a deeper understanding of my longings. My work questions underlying power dynamics within language and seeks to frustrate common assumptions about reality. I use poetic imagery to disrupt our static conceptions of language. This poetic action challenges our assumed conceptual structure. Using ideas gathered from object theater, the language of film, and linguistic inquiry, I create dreamlike situations that utilize sound, text, and image reconstruction to form nonlinear narratives.Item The evolved radical feminism of spoken word : Alix Olson, C.C. Carter, and Suheir Hammad(2013-05) Rozman, Rachel Beth; Moore, Lisa L. (Lisa Lynne)Radical feminism is often associated with the 1970s and 1980s in the United States. Although powerful in its goals of solidarity and coalitions, the movement is often criticized for its lack of attention to intersecting systems of power. However, several contemporary feminist spoken word poets are reconceptualizing radical feminism in their political projects, using the theories and activist strategies while paying attention to race, class, and sexuality. This piece traces some of the history and literature of radical feminism, Woman of Color feminism, contemporary Islamic feminism, and spoken word poetry. Using these frameworks, I close-read three poems: "Womyn Before" by Alix Olson, "The Herstory of My Hips" by C.C. Carter, and "99 cent lipstick" by Suheir Hammad to discuss the manner in which each uses coalitions. Olson's poem provides an analysis of the performative and textual aspects of the poem as a way to envision an activist project grounded in old social movements. Carter's poem connects history and archives, using a Woman of Color framework, and through Hammad, the structural critiques of an unjust system that disadvantages minority youth are seen through lenses of Women of Color and Islamic feminism. While these poets gain some knowledge from radical feminism, they interpret it in their poetry in ways that address the intersections of identity.Item Excerpt from "Poetry Portfolio"(2020) Ahern, KyleItem Farm Life(2011-08) Balazic, Todd Daniel; Whitbread, Thomas B. (Thomas Bacon), 1931-; Cable, Thomas M.Collection of poetry.Item The father of Rochester(2005-05-21) Batterton, Susan Jane; Harris, Elizabeth, 1944-A short fiction and poetry collection written by the author over the course of her three years of study while attending the James A. Michener Center for Writers at the University of Texas at Austin