Browsing by Author "Cooperman, Matthew, advisor"
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Item Restricted barbarous(Colorado State University. Libraries, 2010) Dempsey, Sunshine, author; Cooperman, Matthew, advisor; Beachy-Quick, Dan, committee member; Dicesare, Catherine, committee memberWhat barbarous is primarily concerned with, as a book of poetry, is a formal representation of the disintegration and recreation of the speaker’s psyche. A more stable identity, that with which the speaker begins the manuscript, is represented by a more stable form, that of the prose block, which will gradually evolve into a more “fractured” structure, that of the “spatial” or “field” work. This hybridization of form is deliberate in that it should most aptly capture the disorientation of identity, the “breakage” that occurs to the speaker when he/she loses (and attempts to regain) a sense of “wholeness.” In this manuscript, the loss of identity is also represented metaphorically by an inability to speak, or to be understood. This loss of voice is a displacement to the speaker, and is therefore furthered by fracture and negative space. When there is no voice, there is no language, no written word, and therefore the silence of the empty page.Item Restricted Bird pretender(Colorado State University. Libraries, 2014) Riley, Kaelyn Kelly, author; Cooperman, Matthew, advisor; Beachy-Quick, Dan, committee member; DiCesare, Catherine, committee memberThis collection of poems is occupied with questions about the speaking subject, speech position, romantic love, the poem as an act of willful speech, the untenable spaces between poet and poem and lover and beloved, the hope that romantic love may be a disavowal of male authority, and the fear that it may not.Item Restricted Burnley: for the noumuns(Colorado State University. Libraries, 2021) McCallum, Alick, author; Cooperman, Matthew, advisor; Dungy, Camille, committee member; Lehene, Marius, committee memberBURNLEY: for the noumuns, excavates the history of Burnley—a deindustrialised town in Lancashire in the North West of England. As a poetic rendering of autoethnography with ecopoetic leanings, the collection attempts to situate Burnley's present moment in relation to the town's geologic and anthropologic past. The North of England has been described by Neal Alexander as a hypercomplex "social space," "a meeting place" where "borders are porous and shifting." BURNLEY: for the noumuns interrogates the history of the town's hypercomplex cultural experience and asks how heterogenous cultures of Burnley's past intersect, produce, and re-emerge in the town's present world.Item Restricted Dive(Colorado State University. Libraries, 2019) Shively, Christa, author; Cooperman, Matthew, advisor; Dungy, Camille, committee member; Alexander, Ruth, committee memberThis manuscript investigates the ways in which themes such as motherhood, family history, American history, illness, addiction, ecology, war and manual labor might all be threaded together. The desire was to incorporate all of these areas of research and interest into a project that explores how these things are intertwined and part of the same body. The connections we have to others in life, as well as the connection we have with our own identity always intersects at the body. Dive a compilation of documents (found, inherited and created), poems inspired by World War II, and recorded interviews with family. There are also the oral stories, which are another kind of inheritance passed down through generations. These poems retell the stories, but also recognize the other kinds of family histories that get passed from one generation to the next, such as hereditary illnesses, addiction and national traumas (i.e. Columbine and 9/11.) The body is ultimately the place where private and public grief intersects.Item Restricted Girl descends asunder(Colorado State University. Libraries, 2019) Indermaur, Katherine, author; Cooperman, Matthew, advisor; Steensen, Sasha, committee member; Osborne, Erika, committee memberTo view the abstract, please see the full text of the document.Item Restricted Half-red(Colorado State University. Libraries, 2015) McCarroll, Gracie, author; Cooperman, Matthew, advisor; Beachy-Quick, Dan, committee member; Lehene, Marius, committee memberMy process in writing this manuscript was much different that any process I had prior: I typed all the poems on a typewriter, made edits with a pen, then retyped them again and again on the typewriter. I didn’t touch the computer until I felt each draft was as close as possible to its highest pitch. I think this process allowed for a kind of fruition of the line that I had never before experienced. I hope for this manuscript to be a demonstration of the ways I have learned how to listen to my body, my ancestral echoes, my feet, and my poems. In line with Federico Garcia Lorca's conception of duende, I tried my hardest dismantle any intellectual scaffolding that began to appear in my poems. I wanted the poems to sing themselves into being. This involved radical tracking of each sound, word, and image. More specifically, I tried to see the first draft of the poem as containing all of the answers for revision. Words repeat; however, meanings never repeat themselves. This is something the Greeks knew in their conception of metis, meaning "beautiful arrangements." Arrangement activates words, strengthens their charges. Another hope for this work is that it eliminates the binary that seems to prevalent in academia between visual and literary arts. Writing my poems drove me to action. I believe that all art should drive the creator and audience into action. So I found myself meditating on Nick Cave's notion of art being capable of "creating a form for the spirit," and in doing so, I realized that poetry wasn't a large enough vessel to contain me or my grief. I stopped reading and thinking like writer. I started reading and thinking like a spirit. I bought two wedding dresses from Goodwill and began altering them with Cave's Soundsuits in mind. I started by sewing over 200 fake rose petals on each sleeve of one dress all by hand. This idea was prompted by Sappho's fragment "with arms like roses." I had in mind to create a dress that was the embodiment of romantic stage of a relationship. So I adorned the dress with fake ornaments until fabric started to rip. This was over a process that took about 6 months, as I did not own a sewing machine and the matter of using my hands to attach these objects seemed important for my body to understand the way the dress would function. For the second dress, I meditated on the disillusionment of a relationship and its dismantling. I sewed around a hundred glass test tubes from campus surplus store onto the wedding dress with fishing wire. This process took about 3 months. But to state the symbolic life of each dress is to belittle them and their potential. I am simply showing the evolution of my thought as concisely as possible. In truth, I did not know each dress would function as they did until I activated them but putting them on and videotaping myself. This activation made their function apparent as I began to let the ground and the dress move my body. I took many hours of video that I deleted, as I figured out you can just put something weird on and move around. You must craft gesture as you craft a line in a poem. My intention in the introduction is not to explain what the video work means to the manuscript or what the manuscript means to the video. I simply want to put them side by side and allow the audience to experience them (see my website http://www.graciemccarroll.com to watch the video; it is also important that you read the essay on the site that accompanies the video—the video and essay can be found under the "performance" tab; I very much want to video to be included in our defense conversation). I can only thank you all, from the sincerest part of my heart, for the faith, understanding, teaching and work you have done to help me become a better person, and therefore, a better artist. I hope you enjoy what follows.Item Restricted Scholia on vireos: a field guide to the family Vireonidae(Colorado State University. Libraries, 2024) Helzer, Aiden Grant, author; Beachy-Quick, Dan, advisor; Cooperman, Matthew, advisor; Thomas, Adam, committee memberUsing birds as image bearers, Scholia on Vireos: A Field Guide to the Family Vireonidae is a bird book of poems. The poems are foremost an experiment in the form and music of contemporary poetry. Each genus of the family has a particular form which was developed to represent it, and the syllable count of the lines was often inspired by the individual species's song. There is at least one poem for each species of bird. The poems also experiment with multiple languages (Ancient Greek, Latin, the Romance Languages, especially French and Italian) and with grammar and linguistics. Aside from the family of birds, the poems take inspiration from religion, philosophy, and mythology.Item Restricted Some dark matter(Colorado State University. Libraries, 2011) Martinez, Susan Rebecca, author; Cooperman, Matthew, advisor; Steensen, Sasha, committee member; Bernasek, Alexandra, committee memberThis book of poems is characterized by postmodern lyric, experimentation and exploration of forms, and a braided, if at times frayed, narrative. Some Dark Matter has as its subjects: violence against women and global violence, dark and atomic matter, and the archetypical narrative structure of 'overcoming the monster.' It exists within the period of rebuilding after trauma, as eight female characters look to each other for support after rape, abuse, periodic substance abuse, self harm and mental illness. It pulls dark matter and atomic matter, especially the formation of the atomic bomb during the Manhattan Project in Los Alamos, New Mexico, into the braid, investigating the nature and forms of violence, matter, and the violence of matter. Formally, the poems manifest across a wide spectrum (as do methods for recovery from trauma), from received forms such as the sonnet, sestina, and pantoum to free verse, procedural, litany, and epistolary forms. Movements from 'victim' to 'survivor', from 'home violence' to 'global violence,' and from 'hero' to 'villain' are the primary explorations of this book.Item Restricted The somatic wager(Colorado State University. Libraries, 2015) George Bagdanov, Kristin, author; Cooperman, Matthew, advisor; Steensen, Sasha, committee member; MacKenzie, Matt, committee memberThis collection of poems explores what it means to be a body in the Anthropocene.Item Restricted The tender organs(Colorado State University. Libraries, 2023) Janecek, Carolyn Eugenia, author; Dungy, Camille T., advisor; Cooperman, Matthew, advisor; McShane, Katie, committee memberThe Tender Organs is an ecopoetic coming-of-age narrative that explores embodiment and inheritance. Taking on hybrid forms, these poems reach beyond the binaries of male and female, human and animal, history and present, visibility and invisibility. Each section situates itself in a different time of the speaker's life: grappling with puberty and cultural miscommunication as a dual citizen; grieving one's friend and mentor; investigating the medicalizing, patriarchal gaze of U.S. healthcare; and finally, exploring the possibilities of rapture and relationships outside of the societal binaries.Item Restricted We grow cold together(Colorado State University. Libraries, 2015) Hill, Mary, author; Cooperman, Matthew, advisor; Beachy-Quick, Dan, committee member; McKee, Patrick, committee memberWe Grow Cold Together is a book of poems inspired by my time working as a live-in caregiver for a man with Parkinson's. On the broadest level, the manuscript is thematically engaged with the nature and representation of trauma, both the trauma of witnessing another's illness and death as well as the trauma of acutely realizing one's own mortality. We Grow Cold Together also seeks to trouble the boundaries between life and death, self and other, absence and presence, & reality and imagination.