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Description
Chris Miller's Souvenirs of Sleep is as serious as it is whimsical, if this is a possibility. The "Museum of the Zoo-real" may be an equally appropriate title as animals are often in performance. In this visual and spiritual investigation, childhood, dream, and the loss of a mother to suicide

Chris Miller's Souvenirs of Sleep is as serious as it is whimsical, if this is a possibility. The "Museum of the Zoo-real" may be an equally appropriate title as animals are often in performance. In this visual and spiritual investigation, childhood, dream, and the loss of a mother to suicide are the currents. Miller's work is informed by the cinema of Werner Herzog, Andrei Tarkovsky, Robert Bresson and beyond. Miller believes in the power of implication. The poems begin with intense focus, but are often in the business of expansion. Souvenirs of Sleep is a journey toward sense-making, a search for language that might allow it.
ContributorsMiller, Christopher (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Ball, Sally (Committee member) / Arizona State University (Publisher)
Created2013
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Description
A collection of poems that explore what it means to be from the Atomic City-- a city built atop cleared-out rural communities in East Tennessee during World War II, and with the sole and secretive purpose of enriching uranium for the atomic bomb. The poems look back to the more

A collection of poems that explore what it means to be from the Atomic City-- a city built atop cleared-out rural communities in East Tennessee during World War II, and with the sole and secretive purpose of enriching uranium for the atomic bomb. The poems look back to the more isolated Appalachian culture of previous generations, discovering the identity rifts caused by such massive and rushed development. In trying to understand the poet's own cultural inheritance of both nuclear weaponry and an Appalachian hardness, the poems begin to meditate on inhabitation. They ask what it means to live in a country, a local community, a body. The poems travel far beyond the Atomic City's limits, incorporating characters that live, in some sense, at the edge of a community. As he crosses the Atlantic, the Spanish poet Jiménez wonders if either sound or vision are more trustworthy tools for perception; an aging grandmother in Tennessee realizes that she still "drives" her younger body in her dreams; an American woman becomes aroused after touring the killing fields in Cambodia; and the prophet of Oak Ridge, who supposedly predicted the Manhattan Project, considers how his baby daughter has become a thing after death. The various voices show the poet grappling with her own guilt over Hiroshima, and ultimately attempt to understand the limits of both grief and love, how one inherits a tragedy.
ContributorsSams, Sara (Author) / Hogue, Cynthia (Thesis advisor) / Ball, Sally (Committee member) / Dubie, Norman (Committee member) / Arizona State University (Publisher)
Created2013
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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

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
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Description
Mapping Intersectionality in Harlem Renaissance Women's Poetry comprises the first book-length study devoted to examining the role women's poetry played in the Harlem Renaissance, an artistic and sociopolitical movement that reached its zenith in the 1920s. This study is situated in a theoretical interdisciplinarity that complicates critical approaches to Black

Mapping Intersectionality in Harlem Renaissance Women's Poetry comprises the first book-length study devoted to examining the role women's poetry played in the Harlem Renaissance, an artistic and sociopolitical movement that reached its zenith in the 1920s. This study is situated in a theoretical interdisciplinarity that complicates critical approaches to Black women's subjectivities with respect to resistance and representation. It combines literary, race and gender theory to perform close readings of New Negro Women's poetry. Central chapters of the text theorize the poets' overshadowed engagement with the political movement via the tropes of interiority, motherhood, and sexuality; a closing chapter puts New Negro women's poetry in conversation with the Black Arts Movement. Building on the feminist sociological framework of Intersectionality, which considers the lived experience of individuals who embody multiple layers of marginalization, this dissertation works to identify and unpack sources of racialized gendered disparity in Harlem Renaissance studies. In acknowledging that self–actualization and self–articulation are central to this identity–based movement — a presupposition that informs this study's thesis — it becomes necessary to consider the gendered aspects of the writing for a more comprehensive review of the period. The analytical framework of Intersectionality provides a means to acknowledge New Negro women poets' perspectives regarding their racialized and gendered selves. In essence, Mapping Intersectionality is a concentrated effort toward unearthing evidence of their significant push against race and gender oppression. The motivation driving this study is revision and reclamation: revisionist in its concern for redefining the parameters in which the movement is traditionally perceived; a reclamation in its objective to underscore the influential, but nearly forgotten voices of the women poets of the Harlem Renaissance.
ContributorsPinkard, Michelle J., 1977- (Author) / Hogue, Cynthia (Thesis advisor) / Lester, Neal A. (Thesis advisor) / Reyes, Angelita (Committee member) / Arizona State University (Publisher)
Created2013
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Description
The Fledglings of Anani is a universe with an underlying organizing principle of desire, auspiciousness and serendipity, the veiled doors and windows of these realms serve as fugues bridging layers of time leading us through myth and landscape intimately tied to the physical intelligence of earth and character of place.

The Fledglings of Anani is a universe with an underlying organizing principle of desire, auspiciousness and serendipity, the veiled doors and windows of these realms serve as fugues bridging layers of time leading us through myth and landscape intimately tied to the physical intelligence of earth and character of place. It is a voice that comes to know itself first as being, then in correspondence to nature and her elements, enters into the rhythm of human connection and ultimately circles back to comprehend itself as all these things, varying only in degree. The poems travel further and further toward an allusive center with a contemplative inner eye that embraces the complexity and vitality of life.
ContributorsPoole, Heather Lea (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Savard, Jeannine (Committee member) / Arizona State University (Publisher)
Created2012
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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

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
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Environmental Justice Witnessing in the Modernist Poetry of Lola Ridge, Muriel Rukeyser, Gwendolyn Brooks, and Elizabeth Bishop analyzes the poetic forms used by four modernist American women poets to trace depictions of social oppression that are tied to specific landscapes. My focus is on what I term "environmental justice witnessing,"

Environmental Justice Witnessing in the Modernist Poetry of Lola Ridge, Muriel Rukeyser, Gwendolyn Brooks, and Elizabeth Bishop analyzes the poetic forms used by four modernist American women poets to trace depictions of social oppression that are tied to specific landscapes. My focus is on what I term "environmental justice witnessing," which I define as accounts that testify to experiences of injustices that affect humans and the environments they inhabit. Integrating theories of witnessing, which to date have focused exclusively on humans, with environmental justice criticism, I fashion a lens that highlights the interconnectedness of social and environmental problems. In this way, I theorize the study of texts of witness and how they document the decay, disease, and exploitation of urban and rural landscapes in the twentieth century. In this dissertation, I focus on Lola Ridge's "The Ghetto" (1918), Muriel Rukeyser's "The Book of the Dead" (1938), Gwendolyn Brooks' "In the Mecca" (1968), and poems about Brazil from Elizabeth Bishop's Questions of Travel (1965) and New Poems (1979). I argue that these women poets depict environmental injustices as an inherent facet of social injustice and do so by poetically connecting human bodies to environmental bodies through sound, diction, figurative language, and imagery.

In Environmental Justice Witnessing, I expand arguments made by environmental scholars about the exchange of environmental elements among humans, animals, and landscapes to include the way poets reflect this transfer poetically. The poetry of Ridge, Rukeyser, Brooks, and Bishop allows me to investigate the ways the categories of race, gender, and class, typically thought of as human qualities, are integrally tied to the geographic, national, and cultural bounds in which those categories are formulated. This argument has clear implications on the study of poetry and its environmental contexts as it invites discussions of the transnational conceptions of global citizenship, examinations of the relationships among communities, the environment, and overarching power structures, and arguments surrounding the ways that poetry as art can bring about long-term social and environmental awareness.
ContributorsGrieve, Sarah (Author) / Hogue, Cynthia (Thesis advisor) / Adamson, Joni (Committee member) / Clarke, Deborah (Committee member) / Arizona State University (Publisher)
Created2015
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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,

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
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Description
Abstract The Space Between Us is a poetic project about the grieving process. Formally, the piece is seven sections of prose couched within a crown of seven sonnets. The first-person sections of prose allow for personal discussion in the confessional tradition of my own lived experience of grief, while the

Abstract The Space Between Us is a poetic project about the grieving process. Formally, the piece is seven sections of prose couched within a crown of seven sonnets. The first-person sections of prose allow for personal discussion in the confessional tradition of my own lived experience of grief, while the sonnets are a fictional conversation between David Bowie and Stephen Hawking in 1973. The claim of this piece is that death creates space. When a loved one passes away, what we inherit is a gap. What is the role of this gap in the world? How do we interact with it, see it, interpret it, or touch it? Can we put our hands on its form? Can we put it into words? And if the exploration of this space does lead us to words, should they be shared? The round form of the sonnet crown echoes the cyclical motion of questioning, and its allegorical themes: grieving as a black hole, the boundaries of language, the subjectivity of conversation, the limits of space, the dehumanization of obsession, the space between you and who you are perceived to be, and the clash between artistic desires and scientific discoveries.
ContributorsVan Slyke, Laura Marie (Author) / Hogue, Cynthia (Thesis director) / Ball, Sally (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / Department of English (Contributor)
Created2015-05
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Description"Heirloom" is a short collection of fourteen poems.
ContributorsLaLone, Skyler Elizabeth (Author) / Ball, Sally (Thesis director) / Hummer, Terry (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2014-05