Matching Items (14)
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- All Subjects: Fine Arts
- All Subjects: Women
- Creators: Hogue, Cynthia
- Creators: Norton, Kay
Description
Ranging in subject from a Tuareg festival outside Timbuktu to the 1975 "Battle of the Sexes" race at Belmont track to a Mississippi classroom in the Delta flood plains, the poems in The Body Snatcher's Complaint explore the blurring of self hood, a feeling of foreignness within one's own physical experience of the world, in the most intimate and global contexts.
ContributorsMurray, Catherine (Author) / Hogue, Cynthia (Thesis advisor) / Ball, Sally (Committee member) / Hummer, Terry (Committee member) / Arizona State University (Publisher)
Created2013
Description
Cruz del Sur is an exploration of what it means to be an outsider: as a resident, as a foreigner, from the perspective of the human eye, or from the perspective of a camera lens. An unlikely blending of voices, these poems embark the reader on a journey across a continent, and also into an interior: a mystical quest.
ContributorsMontgomery, Scott (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Hummer, Terry (Committee member) / Arizona State University (Publisher)
Created2013
Description
Black Laurel is a book-length manuscript which has at its center poems that reveal and explore issues related to Michele Poulos's identity as a Greek-American writer, discovering the connections that link the past and present of both Greece and America. These poems often work as a quest to recover identity. They explore the idea that it is her own privileged perspective as an educated Greek-American woman that both allows and in some ways prevents her seeing herself in the Greeks who today are struggling economically, emotionally, and psychologically. Many of the poems work to achieve a complex understanding of both an individual as well as a broader cultural history. These poems sometimes take on the personas of striking figures from other times and other landscapes, while others draw on materials which are somewhat more autobiographical. In one poem titled "Before My Mother Set Herself on Fire," the speaker is an imagined daughter in a modern-day Greek family. The poem, inspired by a news story about an elderly man who shot himself in the head in front of Syntagma Square in Athens to protest the austerity measures imposed on the Greek population, explores the various ways in which a national crisis may affect an individual family. Alternatively, Poulos delves into her personal family history in "When the Wind Falls," a poem about the Nazi invasions of northern Greece. At the same time, this focus on past and present Greece is only one strand in a wide-ranging manuscript woven of materials which also include a variety of subjects related to science, history, eroticism, mysticism, and much more.
ContributorsPoulos, Michele (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Hummer, Terry (Committee member) / Arizona State University (Publisher)
Created2013
Description
Throughout history composers and artists have been inspired by the natural world. Nature's influence on music is extraordinary, though water in particular, has had a unique magnetic pull. The large number of compositions dealing with water, from Handel's Water Music (1717) to Ros Bandt's and Leah Barclay's Rivers Talk (2012), reflects this continuous fascination. Since the late 1940s, composers have ventured further and brought actual sounds from the environment, including water recorded on tape, into the musical arena. Moreover, since the 1960s, some composers have nudged their listeners to become more ecologically aware. Much skepticism exists, as with any unconventional idea in history, and as a result compositions belonging to this realm of musique concrète are not as widely recognized and examined as they should be. In this thesis, I consider works of three composers: Annea Lockwood, Eve Beglarian, and Leah Barclay, who not only draw inspiration from nature, but also use their creativity to call attention to pristine environments. All three composers embrace the idea that music can be broadly defined and use technology as a tool to communicate their artistic visions. These artists are from three different countries and represent three generations of composers who set precedents for a new way of composing, listening to, performing, and thinking about music and the environment. This thesis presents case studies of Lockwood's A Sound Map of the Danube River, Beglarian's Mississippi River Project, and Barclay's Sound Mirrors. This thesis draws on unpublished correspondence with the composers, analytical theories of R. Murray Schafer, Barry Truax, and Martijn Voorvelt, among others, musicological publications, eco-critical and environmental studies by Al Gore, Bill McKibben, and Vandana Shiva, as well as research by feminist scholars. As there is little written on music and nature from an eco-critical and eco-feminist standpoint, this thesis will contribute to the recognition of significant figures in contemporary music that might otherwise be overlooked. In this study I maintain that composers and sound artists engage with sounds in ways that reveal aspects of particular places, and their attitudes toward these places to lead listeners toward a greater ecological awareness.
ContributorsRichardson, Jamilyn (Author) / Feisst, Sabine (Thesis advisor) / Solís, Ted (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation addresses the representation of women in the poetry of the Irish poet Thomas Kinsella. Using a variety of theoretical approaches, including historical criticism, French feminist theory and Jungian psychoanalytical theory, I argue that although women are an integral part of Kinsella's ongoing aesthetic project of self-interrogation, their role in his poetry is deeply problematic from a feminist perspective. For purposes of my discussion I have divided my analysis into three categories of female representation: the realistically based figure of the poet's wife Eleanor, often referred to as the Beloved; female archetypes and anima as formulated by the psychologist C.G. Jung; and the poetic trope of the feminized Muse. My contention is that while the underlying effect of the early love and marriage poems is to constrain the female subject by reinforcing stereotypical gender positions, Kinsella's aesthetic representation of this relationship undergoes a transformation as his poetry matures. With regard to Kinsella's mid-career work from the 1970s and the 1980s I argue that the poet's aesthetic integration of Jungian archetypes into his poetry of psychic exploration fundamentally influences his representation of women, whether real or archetypal. These works represent a substantial advance in the complexity of Kinsella's poetry; however, the imaginative power of these poems is ultimately undermined by the very ideas that inspire them - Jungian archetypal thought - since women are represented exclusively as facilitators and symbols on this male-centered journey of self-discovery. Further complicating the gender dynamics in Kinsella's poetry is the presence of the female Muse. This figure, which becomes of increasing importance to the poet, transforms from an aestheticized image of the Beloved, to a sinister snake-like apparition, and finally into a disembodied voice that is a projection of the poet and his alter-ego. Ultimately, Kinsella's Muse is an aesthetic construction, the site of inquiry into the difficulties inherent in the creative process, and a metaphor for the creative process itself. Through his innovative deployment of the trope of the Muse, Kinsella continues to advance the aesthetics of contemporary Irish poetry.
ContributorsLeavy, Adrienne (Author) / Castle, Gregory (Thesis advisor) / Hummer, Terry (Committee member) / Hogue, Cynthia (Committee member) / Arizona State University (Publisher)
Created2013
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
The poems in The Only Living Boy in Omaha tell the story of Simon, who, after his mother dies giving birth to him, is raised on passenger trains by his father, a conductor. Set in the 1940s and '50s, the book follows Simon as he travels across the American West, back and forth between California and his hometown of Omaha, Nebraska. Along the way, Simon gets to know other passengers, falls in love with radio and California's past, befriends an inventor, and discovers the story of his miracle birth. Blending lyric and narrative, history and fable, these poems revisit a time when passenger trains were popular, and explore the unique childhood that took place there.
ContributorsLake, Shane (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Rios, Alberto (Committee member) / Arizona State University (Publisher)
Created2012
Description
This creative thesis is a work of narrative and lyric poetry. Death and Nature are two complex themes that emerge frequently in the poems and work as well across the breadth of the manuscript. The speakers' perspectives vary and are indebted to two sub-genres of poetry, namely--The Poetry of Witness, and Ekphrastic Poetry. Their psycho-analytic underpinnings are at times indisputable, and at other times, purely subjective. Many poems address political and human rights issues in the Middle East, and in the rest of the world. It is here that the poems depend and reveal flexibility with diction and varying structures. Overall, the poems reflect and investigate possible restraints and choices, both internally by the details and images, and externally by multiple experiments with free verse forms.
ContributorsHassan, Eman (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Savard, Jeannine (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT
This dissertation examines contemporary U.S. women writing about war, with primarily women subjects and protagonists, from 1991-2013, in fiction, memoir, and media. The writers situate women at the center of war texts and privilege their voices as authoritative speakers in war, whether as civilians and soldiers trying to survive or indigenous women preparing for the possibility of war. I argue that these authors are rewriting scripts of war to reflect gendered experiences and opening new ways of thinking about war. Women Rewriting Scripts of War argues that Leslie Marmon Silko’s novel Almanac of the Dead juxtaposes an indigenous Story concept against a white industrialized national “Truth,” and indigenous women characters will resort to war if needed to oppose it. Silko’s and the other texts here challenge readers to unseat assumptions about the sovereignty of the U.S. and other countries, about the fixedness of gender, of capitalism, and of how humans relate to each other‒and how we should. I argue in Essay 3 that the script of “the body” or “the soldier” in military service can be expanded by moving toward language and concepts from feminist and queer theory and spectrums of gender and sexuality. This can contribute to positive change for all military members. In each of the texts, there are some similarities in connections with others. Connections enable solidarity for change, possibilities for healing, and survival; indeed, without connections with others to work together, survival is not possible. Changes to established economic structures become necessary for women in Barbara Kingsolver’s novel The Poisonwood Bible; I argue that women engaging in alternative modes of economy subvert the dominant economic constraints, gender hierarchies, and social isolation during and after war in the Congo. In Essay 5, I explore two fictional texts about the U.S. wars in Iraq and Afghanistan, Helen Benedict's novel Sand Queen and Katey Schultz’s short story collection Flashes of War. The connections in these women’s texts about war are not idealized, and they function as the antithesis to the fragmentation and isolation of postmodern texts.
This dissertation examines contemporary U.S. women writing about war, with primarily women subjects and protagonists, from 1991-2013, in fiction, memoir, and media. The writers situate women at the center of war texts and privilege their voices as authoritative speakers in war, whether as civilians and soldiers trying to survive or indigenous women preparing for the possibility of war. I argue that these authors are rewriting scripts of war to reflect gendered experiences and opening new ways of thinking about war. Women Rewriting Scripts of War argues that Leslie Marmon Silko’s novel Almanac of the Dead juxtaposes an indigenous Story concept against a white industrialized national “Truth,” and indigenous women characters will resort to war if needed to oppose it. Silko’s and the other texts here challenge readers to unseat assumptions about the sovereignty of the U.S. and other countries, about the fixedness of gender, of capitalism, and of how humans relate to each other‒and how we should. I argue in Essay 3 that the script of “the body” or “the soldier” in military service can be expanded by moving toward language and concepts from feminist and queer theory and spectrums of gender and sexuality. This can contribute to positive change for all military members. In each of the texts, there are some similarities in connections with others. Connections enable solidarity for change, possibilities for healing, and survival; indeed, without connections with others to work together, survival is not possible. Changes to established economic structures become necessary for women in Barbara Kingsolver’s novel The Poisonwood Bible; I argue that women engaging in alternative modes of economy subvert the dominant economic constraints, gender hierarchies, and social isolation during and after war in the Congo. In Essay 5, I explore two fictional texts about the U.S. wars in Iraq and Afghanistan, Helen Benedict's novel Sand Queen and Katey Schultz’s short story collection Flashes of War. The connections in these women’s texts about war are not idealized, and they function as the antithesis to the fragmentation and isolation of postmodern texts.
ContributorsStamper, Cambria A (Author) / Clarke, Deborah (Thesis advisor) / Hogue, Cynthia (Committee member) / Fonow, Mary Margaret (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project explores the cultivation of artistic methodologies centered in embodied movement practices. I worked in collaboration with dancers to inform the development of a movement vocabulary that is authentic to the individual as well as to the content of the work. Through the interplay between movement and subconscious response to elements such as writing, imagery, and physical environments I created authentic kinesthetic experiences for both dancer and audience. I submerged dancers into a constructed environment by creating authentic mental and physical experiences that supported the development of embodied movement. This was the impetus to develop the evening length work, Flesh Narratives, which consisted of five vignettes, each containing its own distinctive creative process driven by the content of each section. This project was presented January 29- 31, 2016 in the Fine Arts Center room 122, an informal theatre space, that supplemented an immersive experience in an intimate environment for forty viewers. This project explored themes of transformation including cycles, concepts of life, death and reincarnation, and enlightenment. Through the art of storytelling, the crafting of embodied movers, and the theory of Hauntology, the viewer was taken on a journey of struggle, loss, and rebirth.
ContributorsGerena, Jenny (Author) / Standley, Eileen (Thesis advisor) / Rosenkrans, Angela (Committee member) / Britt, Melissa (Committee member) / Arizona State University (Publisher)
Created2016