{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-1401"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-1401","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"The “Man Walks Outside Time Now”: Verbal Representations of Photographic Images in the Poems of Larry Levis","abstract":"The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”","abstract_html":"The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”","abstract_has_math":false,"creators":["Miner, Lauren"],"institution":null,"degree_name":"Master of Arts","degree_level":"Thesis","degree_discipline":"English","degree_department":null,"school":null,"contributors":["David Wojahn"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012-07-30T07:00:00Z","date_published":"2012-07-30T07:00:00Z","updated_at":"2026-07-24T05:53:48Z","subjects":["poet","poem","poetry","Larry Levis","Levis","ekphrasis","elegy","photograph","image","Pound","Weldon Kees","Kees","Federico García Lorca","García Lorca","Federico Garcia Lorca","Garcia Lorca","Ian Gibson","gypsies","Josef Koudelka","Koudelka","sensationalism","Granada cemetery","Lorca","Arts and Humanities","English Language and Literature"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/402"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/402","href":"https://scholarscompass.vcu.edu/etd/402","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/ZY23-0E03","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["David Wojahn"]},{"key":"dc:creator","label":"Author","values":["Miner, Lauren"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2017-08-11T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["poet","poem","poetry","Larry Levis","Levis","ekphrasis","elegy","photograph","image","Pound","Weldon Kees","Kees","Federico García Lorca","García Lorca","Federico Garcia Lorca","Garcia Lorca","Ian Gibson","gypsies","Josef Koudelka","Koudelka","sensationalism","Granada cemetery","Lorca","Arts and Humanities","English Language and Literature"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/ZY23-0E03","https://scholarscompass.vcu.edu/etd/402"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”"]},{"key":"dc:title","label":"Title","values":["The “Man Walks Outside Time Now”: Verbal Representations of Photographic Images in the Poems of Larry Levis"]}]}],"canonical_facts":{"dc:contributor":["David Wojahn"],"dc:creator":["Miner, Lauren"],"dc:date.available":["2017-08-11T07:00:00Z"],"dc:description.abstract":["The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”"],"dc:identifier":["https://doi.org/10.25772/ZY23-0E03","https://scholarscompass.vcu.edu/etd/402"],"dc:rights":["© The Author"],"dc:subject":["poet","poem","poetry","Larry Levis","Levis","ekphrasis","elegy","photograph","image","Pound","Weldon Kees","Kees","Federico García Lorca","García Lorca","Federico Garcia Lorca","Garcia Lorca","Ian Gibson","gypsies","Josef Koudelka","Koudelka","sensationalism","Granada cemetery","Lorca","Arts and Humanities","English Language and Literature"],"dc:title":["The “Man Walks Outside Time Now”: Verbal Representations of Photographic Images in the Poems of Larry Levis"],"thesis:degree_discipline":["English"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts"]},"updated_at":"2026-07-24T05:53:48Z"}