9,519 research outputs found
Interview with Philip Gerard
No full textInterview with Philip Gerard, author and professor of creative writing at UNCW. Here, he discusses his background and education, the founding and structure of UNCW's MFA in Creative Writing program, and the concerns of memoir and creative nonfiction
Philip Gerard, 25th Annual ODU Literary Festival
No full textPhilip Gerard has published fiction and nonfiction in numerous magazines, including New England Review, Bread Loaf Quarterly, Creative Nonfiction, Hawaii Review, Hayden\u27s Ferry Review, and The World & I. He is the author of three novels: Hatteras Light, Cape Fear Rising, Desert Kill; two books of nonfiction, Brilliant Passage...a schooning memoir and Creative Nonfiction - Researching and Crafting Stories of Real Life, and Writing a Book that Makes a Difference. His most recent book is Secret Soldiers, about the first and last battlefield deception outfit ever authorized by the U.S. Army. Gerard has written shows for public television and radio. He teaches creative writing at the University of North Carolina at Wilmington
Philip Gerard - The Persian Whitman beyond a literary reception.pdf
No full textA review by Philip Gerard in Colloquium Helveticum
(Vol. 49
Philip Gerard
No full textPhilip Gerard in an unspecified library.
Philip Gerard (1955- ) has written several books, both fiction and non-fiction. One of his best-known, "Cape Fear Rising," details the 1898 Race Riots in Wilmington, NC. He has written scripts for PBS, and has been published in numerous magazines. He has been a member of the North Carolina Arts Council, and currently chairs the Department of Creative Writing at the University of North Carolina Wilmington. There is a Philip Gerard Fellowship at UNCW awarded to a Master of Fine Arts student on the basis of literary merit
Philip Gerard : an individual /
No full textMode of access: Internet."This first and limited edition of 'Philip Gerard, an individual,' printed for the Faculty and students of Drake University, and for the personal friends of the author, consists of five hundred copies. The number of this book is 98." Signed by author
The Persian Whitman: Greybeard Sufi with something American in his Pocket
No full textA review by Philip Gerard in Colloquium Helveticum (Vol. 49
Dacey, Philip. Gerard Manley Hopkins Meets Walt Whitman in Heaven and Other Poems [review]
No full textA Review of Dacey, Philip. Gerard Manley Hopkins Meets Walt Whitman in Heaven and Other Poems
Philip Chol Gai
No full textabstract: In 1987, Philip escaped the war before it reached his village. He was tending to the cattle and the goats when he saw smoke and fire coming from the war.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 26Region: Upper NileThis picture and bio was donated to the Lost Boys Found project from The Arizona Lost Boys Cente
An analysis of the correspondence and hagiographical works of Philip of Harvengt
No full textFor every famous author of the twelfth-century renaissance, there are numerous lesser-known writers. Despite being overshadowed by more brilliant scholars or those closer to the centre of important events, their voices add depth to the study of the intellectual history of this period. A founding member of one of the earliest Premonstratensian houses; a highly-educated and prolific author, much in demand as a hagiographer; and a vigorous defender of the clerical order, Philip of Harvengt is one such writer, and a worthy subject for study. This thesis examines two bodies of Philip’s works – his letters and his hagiographical writings – analysing the predominant and recurrent concerns and ideals expressed in them, and the means by which they are expressed.
The letters are carefully crafted works, examples of the literary labour which Philip writes is incumbent upon the cleric. The first part of this thesis approaches these letters in chapters on four themes: the role of the ecclesiastical prelate; the importance of learning; the relationship between religious orders; and Philip’s use of the motif of friendship. His hagiographical works, too, are examples of literary artistry, to move as well as to educate the audience. In the second part of the thesis, these will be discussed individually, with the first chapter analysing his vita of Oda, a nun attached to his own house, whom he portrays as a martyr. The succeeding chapters consider Philip’s rewritings of earlier vitae, and show how he managed his sources in order to produce vitae depicting their subjects according to his ideal model of sanctity.
Philip’s letters express concerns shared by contemporaries, reflecting anxieties surrounding roles and ideal forms of living in a period immediately following the first fervour of religious renewal. His hagiographies articulate ideals of sanctity, clarifying these when they are not made sufficiently explicit in earlier works, for the better edification of an audience pursuing this vita perfecta. Both letters and hagiographies are designed to exhort and instruct the reader or listener: above all, Philip is a teacher
The naked eye: vision and risk in the work of Gerard Manley Hopkins
No full textThis thesis takes as its subject vision and risk in the work of Gerard Manley Hopkins, 1844-1889. Because Hopkins's poetry displays so evident a fascination with the particulars of language, it is unsurprising that the critical tradition on his work has thus far been heavily dominated by matters of sound: by the verbal, the rhythmic, the musical, and the aural. However, in this thesis I move from the sounded to the seen, identifying in Hopkins's work a central preoccupation with the visual, with looking and seeing, and the possibilities and dangers inherent in each. Here was a man driven to look for beauty, yet this compulsion to look was matched only by a desperate desire to look away. I shall argue that it is this dichotomy, and the excitement of the many and various possibilities it engenders, that so characterises Hopkins's engagement with the visual world.
Born into a rapidly-changing late Victorian world, Hopkins was fascinated by sight and by the increasingly problematic act of seeing. He frequently characterises himself in explicitly visual terms, and his poetry is littered with numerous references to eyes, eyeballs, eyelashes, eyelids, and eyesight, in addition to many metaphors of sight in its various forms. He demonstrates a recurring notably obsessive anxiety over the health of his eyes and the acuity of his sight, yet repeated medical reassurance does nothing to quell his fears over his perceived loss of vision. Counter to, but inextricably linked with, this fear for the loss of sight is an intense awareness of the danger of sight. This paradox is central to Hopkins's conception of himself and of his roles as both poet and priest.
Chapter One considers Hopkins's engagement with the intensely visual Victorian cultural environment. Hopkins was a keen draughtsman and painter in his youth and for a while considered becoming a professional poet-painter like Dante Gabriel Rossetti, with whose family he was well acquainted. Although he decided to relinquish his artistic ambitions in favour of the priesthood, he remained a keen critic of art and architecture throughout his life. His diaries and journals, littered with sketches and accounts of visits to galleries and exhibitions, are fascinating for what they reveal of this intensely eye/I-driven individual, and the acute anxieties he experienced when confronted by beauty, in whatever form.
Chapter Two continues this concern with beauty and its inherent dangers, but now moves to consider Hopkins's often anxious visual encounters with other people. As a vigilant social observer, his writing ranges from delightedly detailed depictions of other individuals, particularly young men, to deeply uneasy descriptions of massed crowds and formless groups of people. This chapter shows a particular concern, as Hopkins did, with the purpose of mortal beauty, and the dangers and challenges it could pose.
Chapter Three develops the concerns of the previous chapter, by pursuing the additional dimension of people looking. In this chapter I consider a group of Hopkins's strangest and yet most celebratory poems, united by a concern with people looking at others who are themselves looking. With the uneasy concept of the voyeur never far away, this chapter raises questions about the moral, psychological and social dimensions of seeing within Hopkins's work, and thus I assess the meaning of licit and illicit sight, whether on the part of the benevolent or neutral observer, the systematic enquirer, the voyeur or the enlightened seer. This chapter argues that the dynamic nature of this relationship between perceiver and object, the seer and the seen, is central to his endlessly complex dialectic of vision and visuality. It closes by moving to consider the ultimate unseen seer, God. In the figure of Christ we find the ultimate exemplar of mortal beauty, and the chapter returns to the concerns explored in Chapter Two, now from a Christological perspective.
In Chapter Four, the concluding chapter, the concerns elicited in the previous chapters are pulled together in a discussion of Hopkins's longest and greatest symphonic poem, The Wreck of the Deutschland (1875-1876). This poem has at its heart an intense concern with seeing and the seeing of seeing, with the act of witness, and the role of the martyr, while foregrounding the reciprocal qualities of beauty and danger. The thesis concludes with a close reading of this electrifying poem about vision and sight in the many senses explored in the course of the study as a whole
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