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• 11. [Article] Antagonistic Cooperation: Prose in American Poetry

  Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ...

  Citation × Citation Citation Abstract Copy Title: Antagonistic Cooperation: Prose in American Poetry Author: LeRud, Elizabeth Year: 2017 Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. Further, for the poets considered in this study, the poetry/prose binary is generative precisely because it is flawed, offering an opportunity for an aesthetic critique. “Antagonistic Cooperation: Prose in American Poetry” uncovers a history of innovative writing that traverses the divide between poetry and prose, writing that critiques the poetry/prose binary by combining conventions of each. These texts reveal how poetry and prose are similar, but they also explore why they seem different and even have different effects. When these writers’ texts examine this binary, they do so not only for aesthetic reasons but also to question the social and political binaries of modern American life—like rich/poor, white/black, male/female, gay/straight, natural/artificial, even living/dead—and these convergences of prose and poetry are a textual “space” each writer creates for representing those explorations. Ultimately, these texts neither choose between poetry and prose nor do they homogenize the two, affirming instead the complex effects that even faulty distinctions may have had historically, and still have, on literature—as on life. By confronting differences without reducing or erasing them, these texts imagine ways to negotiate and overcome modes of ignorance, invisibility, and oppression that may result from these flawed yet powerful dichotomies. Title: Antagonistic Cooperation: Prose in American Poetry Author: LeRud, Elizabeth Year: 2017 Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. Further, for the poets considered in this study, the poetry/prose binary is generative precisely because it is flawed, offering an opportunity for an aesthetic critique. “Antagonistic Cooperation: Prose in American Poetry” uncovers a history of innovative writing that traverses the divide between poetry and prose, writing that critiques the poetry/prose binary by combining conventions of each. These texts reveal how poetry and prose are similar, but they also explore why they seem different and even have different effects. When these writers’ texts examine this binary, they do so not only for aesthetic reasons but also to question the social and political binaries of modern American life—like rich/poor, white/black, male/female, gay/straight, natural/artificial, even living/dead—and these convergences of prose and poetry are a textual “space” each writer creates for representing those explorations. Ultimately, these texts neither choose between poetry and prose nor do they homogenize the two, affirming instead the complex effects that even faulty distinctions may have had historically, and still have, on literature—as on life. By confronting differences without reducing or erasing them, these texts imagine ways to negotiate and overcome modes of ignorance, invisibility, and oppression that may result from these flawed yet powerful dichotomies. Close

• 12. [Article] The Interaction of Emotion and Gender on the Social Amplification of Risk: Why Twitter?

  Micro blogging sites such as Twitter have fundamentally changed the way that individuals communicate and spread information, with greater speed and greater representation of how affected individuals feel ...

  Citation × Citation Citation Abstract Copy Title: The Interaction of Emotion and Gender on the Social Amplification of Risk: Why Twitter? Author: Morganstern, Arielle Year: 2016 Micro blogging sites such as Twitter have fundamentally changed the way that individuals communicate and spread information, with greater speed and greater representation of how affected individuals feel about given situations. By seeking information that is available on Twitter, individuals are constructing their opinions based on a large source of data from their peers. Laypeople are now influential amplification agents during unfolding crises. Factors that amplify or attenuate perceptions of risk may have far-reaching implications for risk communication research within emerging new social media contexts. In order to explore these factors, we experimentally manipulated content about risk information, specific emotion, and emotional imagery via hypothetical Twitter community event pages and measured risk perceptions, behavioral intentions, and subjective emotions that may accompany the amplification or attenuation of risk through social media. Across three experimental studies, emotion increased the seeking and sharing of information and behavior associated with risk prevention and regulation during crisis communication via experimental Twitter feeds. Gender was a substantial factor that impacted subjective emotion, risk, and behavior. Females demonstrated higher scores than males on the majority of these dependent measures when anger and sadness were induced (Studies 1 and 2) and when only anger was manipulated (Study 3). This attests to the significant impact that gender has for processing emotion in crisis communication. Emotion and risk influenced each other recursively for information seeking and sharing behavior, and emotion content increased subjective emotion compared to information content. Spokesperson strategies effectively reduced negative emotion, information seeking and sharing, information generation, and regulatory action related to the risk event. The present research suggests that evidence-based strategies may be applicable in the domain of social media crisis management. It is imperative that we further investigate the interplay of emotion and information as underlying mechanisms in relation to how information diffusion operates in new social media, as we do not know how perceptions of risk may be generated or altered in this relatively unexplored domain. Title: The Interaction of Emotion and Gender on the Social Amplification of Risk: Why Twitter? Author: Morganstern, Arielle Year: 2016 Micro blogging sites such as Twitter have fundamentally changed the way that individuals communicate and spread information, with greater speed and greater representation of how affected individuals feel about given situations. By seeking information that is available on Twitter, individuals are constructing their opinions based on a large source of data from their peers. Laypeople are now influential amplification agents during unfolding crises. Factors that amplify or attenuate perceptions of risk may have far-reaching implications for risk communication research within emerging new social media contexts. In order to explore these factors, we experimentally manipulated content about risk information, specific emotion, and emotional imagery via hypothetical Twitter community event pages and measured risk perceptions, behavioral intentions, and subjective emotions that may accompany the amplification or attenuation of risk through social media. Across three experimental studies, emotion increased the seeking and sharing of information and behavior associated with risk prevention and regulation during crisis communication via experimental Twitter feeds. Gender was a substantial factor that impacted subjective emotion, risk, and behavior. Females demonstrated higher scores than males on the majority of these dependent measures when anger and sadness were induced (Studies 1 and 2) and when only anger was manipulated (Study 3). This attests to the significant impact that gender has for processing emotion in crisis communication. Emotion and risk influenced each other recursively for information seeking and sharing behavior, and emotion content increased subjective emotion compared to information content. Spokesperson strategies effectively reduced negative emotion, information seeking and sharing, information generation, and regulatory action related to the risk event. The present research suggests that evidence-based strategies may be applicable in the domain of social media crisis management. It is imperative that we further investigate the interplay of emotion and information as underlying mechanisms in relation to how information diffusion operates in new social media, as we do not know how perceptions of risk may be generated or altered in this relatively unexplored domain. Close

• 13. [Article] The Tension of the Real: Visuality in Nineteenth Century British Realism

  This dissertation begins from the problem that is built into realism as a literary genre: its commitment to capturing the unfiltered circumstances of human life will always be at odds with the artifice ...

  Citation × Citation Citation Abstract Copy Title: The Tension of the Real: Visuality in Nineteenth Century British Realism Author: Cornwall, Amanda Year: 2015 This dissertation begins from the problem that is built into realism as a literary genre: its commitment to capturing the unfiltered circumstances of human life will always be at odds with the artifice of its representational constructs and its fiction. In this study, I consider visuality as a central, productive part of this problem and seek intensely visual moments within realist novels where realism wages its own struggle with itself as it attempts to navigate its limitations and push forward its possibilities. These moments pause the narrative as they prioritize picture over action. As descriptive moments work to render visual images through words on the printed page, they are fraught with realism’s struggle to use the artifice of fiction as a means for approximating an ostensible reality. Facing this difficulty, realist practitioners take up vastly different strategies. In this project, I investigate why and how visuality is deployed so differently by those who chose to write in this mode. I seek that which is piercing in the nineteenth-century realist novel by locating moments of crisis and tension, both within the plot and also within the strategies of the stories’ delivery. These are moments where the novel becomes troubled by the visual, revealing the potential and limit of the image. In realism, visuality encompasses a broad and varied array of strategies, including instances of enargeia and ekphrasis, passages that seek to evoke a sense of place or milieu through a rich catalog of visual detail, expressive self-renderings in the dialog and inner monologs of the characters, explorations of the embodied act of seeing, and moments where perception fails or visual description exposes itself as insufficient. I consider a small group of canonical authors: George Eliot, Thomas Hardy, Henry James, and Joseph Conrad, who are of critical importance to this genre and to nineteenth century realism, as it moves towards modernism. By examining moments in their novels where descriptive imagery is at its most acute, I seek to explain how moments of intense visuality are crucial nodes where each author, using unique and distinctive methods, negotiates the problem of realist representation. Title: The Tension of the Real: Visuality in Nineteenth Century British Realism Author: Cornwall, Amanda Year: 2015 This dissertation begins from the problem that is built into realism as a literary genre: its commitment to capturing the unfiltered circumstances of human life will always be at odds with the artifice of its representational constructs and its fiction. In this study, I consider visuality as a central, productive part of this problem and seek intensely visual moments within realist novels where realism wages its own struggle with itself as it attempts to navigate its limitations and push forward its possibilities. These moments pause the narrative as they prioritize picture over action. As descriptive moments work to render visual images through words on the printed page, they are fraught with realism’s struggle to use the artifice of fiction as a means for approximating an ostensible reality. Facing this difficulty, realist practitioners take up vastly different strategies. In this project, I investigate why and how visuality is deployed so differently by those who chose to write in this mode. I seek that which is piercing in the nineteenth-century realist novel by locating moments of crisis and tension, both within the plot and also within the strategies of the stories’ delivery. These are moments where the novel becomes troubled by the visual, revealing the potential and limit of the image. In realism, visuality encompasses a broad and varied array of strategies, including instances of enargeia and ekphrasis, passages that seek to evoke a sense of place or milieu through a rich catalog of visual detail, expressive self-renderings in the dialog and inner monologs of the characters, explorations of the embodied act of seeing, and moments where perception fails or visual description exposes itself as insufficient. I consider a small group of canonical authors: George Eliot, Thomas Hardy, Henry James, and Joseph Conrad, who are of critical importance to this genre and to nineteenth century realism, as it moves towards modernism. By examining moments in their novels where descriptive imagery is at its most acute, I seek to explain how moments of intense visuality are crucial nodes where each author, using unique and distinctive methods, negotiates the problem of realist representation. Close

• 14. [Article] Islands of Castile: Artistic, Literary, and Legal Perception of the Sea in Castile-Leon, 1248-1450

  xiii, 322 p. : col. ill.

  Citation × Citation Citation Abstract Copy Title: Islands of Castile: Artistic, Literary, and Legal Perception of the Sea in Castile-Leon, 1248-1450 Author: Furtado, Michael Anthony, 1958- Year: 2012, 2011 xiii, 322 p. : col. ill. Title: Islands of Castile: Artistic, Literary, and Legal Perception of the Sea in Castile-Leon, 1248-1450 Author: Furtado, Michael Anthony, 1958- Year: 2012, 2011 xiii, 322 p. : col. ill. Close