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A collection of poems concentrating on 15 small moments, tied together to explore the ardor, tensions, and fragility a relationship. Conceptions of language, teeth, domesticated dogs, and a car accident recur throughout the manuscript as a means of navigating this narrative and of questioning the role of memory in our lives.
ContributorsOpich, Sophie Aurelia (Author) / Ball, Sally (Thesis director) / Dubie Jr., Norman (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
Within the vast array of classical literature, many authors still have not been thoroughly examined. Among these, Palladas of Alexandria, a prominent epigrammatist in the Palatine Anthology, seems to import Epicurean themes. Based on the content and motifs of his poetry, I argue that Palladas leaned on Epicurean philosophy as presented in Lucretius's De Rerum Natura to salvage pagan identity in the midst of Christianity's increased popularity.
ContributorsNikpour, Rodmanned Arya (Author) / Tueller, Michael (Thesis director) / Lynch, John (Committee member) / Bing, Peter (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
Erosion: A Collection of Poems consists of ten prose poems that explore the processing of trauma through a single lens. We follow the work’s main character as she navigates recovery following a medical trauma in Peru from which she ought to have died. The pieces challenge the readers to immerse themselves within her narrative to understand the isolation that trauma ushers in, as she struggles to know her own newfound aloneness.
While the poems illustrate the complexity of one’s experience with both PTSD and its stages of recovery (e.g., emergency, numbness, intrusive/repetitive, integration), they are anchored in the sensory, the concrete. Amidst the terror of the symptoms at the most basic, raw level, she attempts to reclaim selfhood, which involves wrestling with philosophical suicide, reconciling realities, numbness and the widening of a barrier, stunning intimacies, the craving to feel, and both the desire and the need to connect authentically without being able to satiate such inclinations.
Influenced by the works of Frank Bidart, Claudia Rankine, James Longenbach, and Carolyn Forché, the pieces rely heavily upon rhythm and spacing, imagery, and associative linkages throughout the work to craft a sense of physical, intellectual, and emotional movement within the space.
The collection focuses upon the narrative of one survivor of trauma, and though traumas may be experienced differently, and while PTSD may manifest itself in profoundly diverse ways, the pieces aim to capture the shared foundation of the experience — the isolation and the pure, unadulterated pain — in order to cast a universal veil onto the exploration, providing the audience with insight into one of trauma’s most important facets.
While the poems illustrate the complexity of one’s experience with both PTSD and its stages of recovery (e.g., emergency, numbness, intrusive/repetitive, integration), they are anchored in the sensory, the concrete. Amidst the terror of the symptoms at the most basic, raw level, she attempts to reclaim selfhood, which involves wrestling with philosophical suicide, reconciling realities, numbness and the widening of a barrier, stunning intimacies, the craving to feel, and both the desire and the need to connect authentically without being able to satiate such inclinations.
Influenced by the works of Frank Bidart, Claudia Rankine, James Longenbach, and Carolyn Forché, the pieces rely heavily upon rhythm and spacing, imagery, and associative linkages throughout the work to craft a sense of physical, intellectual, and emotional movement within the space.
The collection focuses upon the narrative of one survivor of trauma, and though traumas may be experienced differently, and while PTSD may manifest itself in profoundly diverse ways, the pieces aim to capture the shared foundation of the experience — the isolation and the pure, unadulterated pain — in order to cast a universal veil onto the exploration, providing the audience with insight into one of trauma’s most important facets.
ContributorsBacon, Lauren Whitney (Author) / Ball, Sally (Thesis director) / Irish, Jennifer (Committee member) / Department of English (Contributor, Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Author's gift inscription, "To D McNaught, Esq., With best wishes of W. Stewart Ross 7th May, 1903."
ContributorsRoss, William Stewart (Author) / Looser, Devoney (Project director)
Created2017-04-16
Description
This edition includes an author's gift inscription, "To Mr. M. B. Sanford with the sincere regards of Arthur H. Nason Nov 11, 1916".
ContributorsNason, Arthur Huntington (Author) / Looser, Devoney (Project director)
Created2017-03-15
Description
In September of 1540 Garcia Lopez de Cardenas, while being led by Hopi Natives, came across something no European had ever seen before. One can only imagine what must have gone through his mind as he discovered the world’s largest canyon, 18 miles across and close to 6,000 feet deep. Over the course of three days, Garcia and his scouts made attempts to enter into the canyon and to taste of its river, but, after many failed attempts, they had to make their way back to their main camp for fear of dehydration and it was left unvisited by any Europeans for over 200 years.
Now I wasn’t the first one to discover the canyon, but I remember a time when I was in the fourth grade. When I stepped out of a bus that I had been in for close to four hours and took forty footsteps to end up at a small brick wall that came close to calf-height which was meant to keep me safe. I don’t know why it didn’t hit me until this point, because I had seen pictures of its grandeur and “experienced” the so called “majesty” of the Grand Canyon through the medium of the National Geographic and tasted of the beauty of one of the natural wonders of the world through the photographs of others before, but standing face to face with a five-thousand-foot cliff humbled me and brought a fear in to me that I can’t describe. Especially when a friend of mine had violently jerked me while I was close to the edge. I remember hearing fear in my father’s voice as I got a little too close to the edge for his comfort. He wanted me to be safe, but I wanted to look this canyon in the eye.
I find it really interesting though, that both my father and I feared ME getting close to the edge. I guess it’s because we both didn’t fully trust my young and feeble knees to keep me stable while I was that close to a fall that would’ve meant sure death for me. Or maybe it was because a couple of months before this, he had seen on the news that some kid was playing too close to the edge and had fallen to his death. Or maybe, it was because, for the first time, death was actually close enough to grasp something he profoundly loved. Either way, I won’t ever forget the loving strain in his voice as he sternly said “Grant! Step a little bit further back from the edge Son.”
It’s really a shame that no one knew. Or at least that no one said anything if they did know. Especially because this New canyon I stood looking face to face with was thousands of feet deeper than the one I had been close to the edge of ten years before, and had the authority to not just kill me once, but twice, if I fell.
Now I wasn’t the first one to discover the canyon, but I remember a time when I was in the fourth grade. When I stepped out of a bus that I had been in for close to four hours and took forty footsteps to end up at a small brick wall that came close to calf-height which was meant to keep me safe. I don’t know why it didn’t hit me until this point, because I had seen pictures of its grandeur and “experienced” the so called “majesty” of the Grand Canyon through the medium of the National Geographic and tasted of the beauty of one of the natural wonders of the world through the photographs of others before, but standing face to face with a five-thousand-foot cliff humbled me and brought a fear in to me that I can’t describe. Especially when a friend of mine had violently jerked me while I was close to the edge. I remember hearing fear in my father’s voice as I got a little too close to the edge for his comfort. He wanted me to be safe, but I wanted to look this canyon in the eye.
I find it really interesting though, that both my father and I feared ME getting close to the edge. I guess it’s because we both didn’t fully trust my young and feeble knees to keep me stable while I was that close to a fall that would’ve meant sure death for me. Or maybe it was because a couple of months before this, he had seen on the news that some kid was playing too close to the edge and had fallen to his death. Or maybe, it was because, for the first time, death was actually close enough to grasp something he profoundly loved. Either way, I won’t ever forget the loving strain in his voice as he sternly said “Grant! Step a little bit further back from the edge Son.”
It’s really a shame that no one knew. Or at least that no one said anything if they did know. Especially because this New canyon I stood looking face to face with was thousands of feet deeper than the one I had been close to the edge of ten years before, and had the authority to not just kill me once, but twice, if I fell.
ContributorsWallace, Grant Winslow (Author) / Mirguet, Francoise (Thesis director) / Delacruz, Julian (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / Department of Economics (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
A collection of poems centered around identifying the humanitarian an economic issues with capitalism. Drawing on several resources, including economic research papers, articles, and peer reviewed material, the collection presents a critique on our current economic system and a platform for future reform. Twelve total pieces with diverse mediums and structure to provide an engaging and digestible form of economic ideas and their consequences.
ContributorsGoin, David (Author) / Dombrowski, Rosemarie (Thesis director) / Orion, Shawnte (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor)
Created2022-05