Arts and Humanities Commons^™

Full Issue

Inscape

No abstract provided.

White Clouds Leave No Trail, April Liu

Whittier Scholars Program

This work could be called a performance piece and video installation, which for me, means that it is not a Play. There is no plot, no character development, and no dialogue in the traditional theatrical sense. I am attempting to tell a narrative through visual poetry, gestures, and sounds. I am by no means working to dictate meanings to the audience. Instead, I hope the audience will draw their own connections and meanings The audience is a translator of events just like the artist. There is no hierarchy of who is telling the story. Since the nature of the piece …

When Winter Dies, N. Andrew Spackman

Inscape

No abstract provided.

The Fruitcake I Bury In My Backyard Each January, Q. Woodward

Inscape

No abstract provided.

Breakfast Catechism, Jared Pearce

Inscape

No abstract provided.

Man Silently To His Wife At The Meat Counter, Alma Christl Call

Inscape

No abstract provided.

From A River Road, Dixie Partridge

BYU Studies

No abstract provided.

Writing And Reading In Philosophy, Law, And Poetry, James Boyd White

Book Chapters

In this paper I will treat a very general question, the nature of writing and what can be achieved by it, pursuing it in the three distinct contexts provided by philosophy, law, and poetry.

My starting-point will be Plato's Phaedrus, where, in a wellknown passage, Socrates attacks writing itself: he says that true philosophy requires the living engagement of mind with mind of a kind that writing cannot attain. Yet this is obviously a paradox, for Socrates' position is articulated and recorded by Plato in writing. How then can we make sense of what Plato is saying and doing? What …

Rafael Lapesa Y La “Raíz Hispánica” De Garcilaso De La Vega Cincuenta Años Después, Aurora Hermida-Ruiz

Latin American, Latino and Iberian Studies Faculty Publications

RAFAEL LAPESA Y LA " RAIZ HISPANICA "DE GARCILASO DE LA VEGA CINCUENTA ANOS DESPUES Avirora Hermida-Ruiz University of Richmond Misas por mi alma se digan mill Garcilaso de la Vega Este verano llegue a Madrid, entre otras cosas, con la intention de conocer en persona a Rafael Lapesa y de hablar con el. En la Real Academia de la Lengua, una empleada, que se confesaba cercana al critico, me disuadio pronto de mi proyecto. "Lapesa —me dijo— esta muy mal. Acaba de pasar un arrechucho que nos ha hecho temer a todos lo pedr. Ademas, hablar con el no …

Biblical Terrorism: With A Platonic Deconstruction, Howard P. Kainz

Philosophy Faculty Research and Publications

No abstract provided.

A Voice Restored: Louise Labé'S Impersonation Of Sappho, Phyllis Brown

English

Ever since the publication of her Œuvres in 1555, Louise Labé's name and poetic voice have been closely linked with the name, voice, and identity of the ancient Greek poet Sappho. Labé's contemporaries called her the "Sappho Lyonnaise," and Labé names and alludes to Sappho at several points in her writings. For example, in Labé's first elegy the persona specifies that Apollo has given her the lyre which was accustomed to sing about lesbian love and which would at the same time cry about hers.

Born And Made: Sisters, Brothers, And The Deceased Wife's Sister Bill, Elisabeth Rose Gruner

English Faculty Publications

We are--almost all--born into families, born into relationship. Like Mary Ann Evans, I was born a little sister--but had I encountered her "Brother and Sister" sonnets at twelve, I might have thrown the book across the room. George Eliot's fantasy of a perfected brother-sister relationship in these sonnets rings hollow and yet resonates profoundly with me. As a little sister myself, I wonder what could make the relationship--so often fraught with competition, envy, and neglect, yet potentially so richly rewarding--seem so powerfully right, so important to and adult woman's self-identification? For the narrator of the sonnets is certainly an adult …

Lights And Shadows - 1999, University Of North Alabama

Lights and Shadows

Art and Literature Magazine

Imagining Machines: Time & Image In The Shorter Poems Of William Carlos Williams, Stuart Campbell

Theses : Honours

A discussion of time and image in the shorter poems of William Carlos Williams. The particular focus is Williams' short poems published between the Great War and World War II. The relationship between the form of the poems, and Williams' theories on poetry, as expressed in Spring and All, and The Wedge is examined. In turn, Williams' theories are viewed in the context of Imagism, Objectivist poetics, and the modernist machine aesthetic. Williams' application of these theories is seen to create a poetic form that generates images in the reader's imagination in synchrony with the moment.

Old Mcdonald [Had A Farm], Joseph Anthony Hunt

Inscape

No abstract provided.

Hors D'Œuvre, Alma Christl Call

Inscape

No abstract provided.

1995-08-10, Susan E. Gunter

BYU Studies

No abstract provided.

Pecan Grove Review Volume 4, St. Mary's University

Pecan Grove Review

Creative writings by students, faculty, and staff of the St. Mary's University community.

Vol. Xxxv, No. 5: A Form Of Patience: The Poems Of John Haines, Henry Taylor

The Hollins Critic

No abstract provided.

Disconnected, Lorna Van Gilst

Pro Rege

No abstract provided.

For Jill Who Died On March 1, 1998, Jeri Schelhaas

Pro Rege

No abstract provided.

At Dusk, David Schelhaas

Pro Rege

No abstract provided.

Elder Brother, Mike Vanden Bosch

Pro Rege

No abstract provided.

Submission, Lorna Van Gilst

Pro Rege

No abstract provided.

Treasures I Should Not Have, Lorna Van Gilst

Pro Rege

No abstract provided.

Worldview, Lorna Van Gilst

Pro Rege

No abstract provided.

Lament For Bert, Mike Vanden Bosch

Pro Rege

No abstract provided.

To Robinson Jeffers, Mike Vanden Bosch

Pro Rege

No abstract provided.

War Games, Mike Vanden Bosch

Pro Rege

This poem appeared in the 1998 edition of Lyrical Iowa, a publication of the Iowa Poetry Association.

Naked Ladies, David Schelhaas

Pro Rege

No abstract provided.