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Brophy, Mary-Beth. "Some lost bliss : tracing the dark night of the soul in Jack Kerouac's 'Visions of Gerard', 'The dharma bums', 'Desolation angels', and 'Big Sur' : and an excerpt from the novel 'Mayor of Hollywood'." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2132.
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The research and creative portions of this thesis develop from the various responses individuals experience in the wake of a loss. The research into the evolution of faith in author Jack Kerouac's 'Duluoz Legend' and the central storyline of the novel 'Mayor of Hollywood' spring from the same well: the crossroads between death and faith. The research piece concerns itself with Kerouac's exploration of the spiritual interior in the wake of the death of his protagonist's older brother, developing a personal faith that blends Buddhism and Catholicism unfettered by formal religious practice, mirroring instead an older path of Catholic mysticism. Mayor of Hollywood explores the opposite side of the religious coin: the protagonist, Lucy Cassidy, has little compelling interest in her own spiritual existence but must address the practicalities of her partner's formal practice of Catholicism, including dietary restrictions, regular worship, moral strictures, and the religious formalization of the guilt process. At the same time, Lucy and Mark must resolve several deaths that have occurred, substituting the secular path of crime detection for the more spiritual quest to reunite with God. Linked by the shared topic of death, the two halves of the thesis address faith as a whole, exploring the interior and exterior spiritual life.
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Bherer, Audrey Jade. "Imaginaires de la pauvreté : les cas d'Hector de Saint-Denys Garneau et de Jack Kerouac." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/29546.
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Cette étude s’attache à la figure de Jack Kerouac, liée de manière inédite à celle d’Hector de Saint-Denys Garneau par le truchement du thème de la pauvreté. Prenant ainsi le relais de la discussion sur la pauvreté amorcée par Gilles Marcotte, Jean Larose, Yvon Rivard et Yvan Lamonde, cette étude s’articule en deux étapes. Elle cherche d’abord, dans un premier chapitre, à identifier des échos entre les imaginaires de Garneau et de Kerouac. Elle montre aussi comment la pauvreté peut être à la fois vocation, aspiration et même posture chez chacun d’eux. Le deuxième chapitre, quant à lui, analyse l’héritage de la pauvreté de Kerouac, à l’aide de trois de ses romans : Visions of Gerard, On the Road et Satori in Paris. Enfin, ce mémoire met également en relief l’idée qu’il y a plusieurs liens à faire entre la littérature québécoise et Jack Kerouac, mais que ces liens dépassent une simple communauté de langue et tiennent plutôt à une réflexion autour de l’identité canadienne-française et d’un héritage culturel problématique communThis study engages with Jack Kerouac’s figure, and links it to Hector de Saint-Denys Garneau’s in through the theme of poverty. Invoking theorizations of the term by Gilles Marcotte, Jean Larose, Yvon Rivard and Yvan Lamonde in relation to Québec writers, this thesis will comprise two parts. In the first chapter, this study highlights some dialogic interlinkings between Garneau’s and Kerouac’s imaginaries. The point is to explain how poverty can simultaneously be a vocation, an aspiration, and a posture (as in Jérôme Meizoz’s study) for each writer. The second chapter analyzes what Jack Kerouac’s poverty heritage entails through a discussion of three of his novels: Visions of Gerard, On the Road and Satori in Paris. Lastly, this study also highlights that they are many links to be made between Québec literature and Jack Kerouac, but that these links go beyond a linguistic community; rather, they have to do with a negotiation of both French-Canadian identity and a problematic shared cultural heritage.
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Rous, Jean-Marie. "Jack Kerouac : écrivain : mythes et culpabilités d' un écrivain américain." Paris 8, 1987. http://www.bibliotheque-numerique-paris8.fr/fre/ref/167930/180109111/.
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L' expérience de l' écriture chez Jack Kérouac est liée à celle de l' errance. Dans la tradition des écrivains américains. Dans la tradition des ecrivains americains, kerouac traverse l'amerique d'est en ouest physiquement pour retrouver l'esprit des pionniers. Son metier d'ecrivain americain le porte a reactualiser les mythes de l'epoque ou l'espace etait libre. La plupart de ses lecteurs n'ont lu que son best-seller "sur la route" et ne connaissent que cette dimension de son oeuvre. Cette these presente un aspect plus meconnu de son travail. En effet, kerouac nous raconte l'impossibilite d'etre pleinement americain dans l'amerique des annees cinquante qui inaugure l' epoque postmoderne. Mais ecrire la-dessus, ce n'est plus repeter le premier succes commercial et l'ecrivain erre a present dans une amerique fantomatique, hante par le remords de continuer a ecrire, c'est-a-dire, a raconter des mensonges. La dialectique du mouvement (le voyage, la verite) et de l'immobilite (l'ecriture, le mensonge) est donc la cle de cette parade sauvage que kerouac retranscrit tragiquement dans son oeuvre romanesque. Au niveau formel, cette oeuvre se concoit comme un systeme ou vert. L'experience de l'errance lui injecte periodiquement du sens. Elle n'arrive pas a se figer en un genre precis, elle poursuit ainsi la crise des recits inauguree par joyce qui caracterise la postmoderniteJack Kerouac's experiment of vriting is connected with wandering. Within american writers'tradition, kerouac gets through u. S. A. From east to west, and so physically to recover pioneer's mind. As an american writer, he is induced to re-think and make actual every myth of the time when space was free. Most of his readers has only read his best-seller "on the road" and just know this dimension. This thesis offers on unknown prospect of his work. Kerouac gives evidence it is nowadays completely impossible to be a "real" american man. But writing about this topic does not mean repeating the first commercial success. At the present time, the writer wanders about in the ghostly usa, haunted with remorses as he goes on writing, which means telling lies. Dialectics of motion (journey, truth) and of immobility (writing, lie) is therefore the key of this "wild parade" kerouac is describing us in his novels. As regard the formal aspect, kerouac's work may be considered as an open system. The experiment of wandering gives it periodically sense. This work is unable to be hardened to a definite style, and then foretells postmodernity which is characterized by the crisis of statements
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Agostini, Bertrand. "La notion de souffrance dans l'oeuvre romanesque de Jack Kerouac : genese et evolution." Nantes, 1991. http://www.theses.fr/1991NANT3010.
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La notion de souffrance est un des themes fondamentaux de l'oeuvre romanesque de jack kerouac. De visions of gerard a vanity of duluoz, en passant par on the road, elle apparait comme la condition meme de l'ecriture. Apres avoir montre comment le climat social d'apres-guerre d'une part, puis l'education dans le milieu franco-americain d'autre part, ont favorise chez l'auteur une recherche systematique sur la pensee de la souffrance, cette etude se propose de cerner la genese et l'evolution de cette notion articulee autour de trois champs principaux: christianisme, existentialisme, et bouddhisme. La "legende de duluoz" est le resultat d'une errance morale axee sur le tryptyque "eros-mort-spiritualite", qui donne a penser que l'oeuvre est d'abord d'essence ontologique. Elle est une investigation sur le sens et la nature del'etre distingue de l'etant. Cette investigation ontologique va de pair avec une intense et insatiable quete spirituelle eternellement recommencee. Par consequent, l'oeuvre de kerouac ne peut s'envisager dans l'unique perspective de la litterature americaine. Elle se place resolument au point de rencontre de plusieurs sources d'inspiration et de ce fait, tend vers l'universaliteThe notion of suffering is one of the fundamental themes in the novels of jack kerouac. From visions of gerard to vanity of duluoz, via on the road, it appears as the condition of the writing. After showing how the post-xar social climate on the one hand, and education in the franco-american environment on the other hand, furthured systematic research on suffering, this study intends to define the genesis and evolution of this notion structured round three main fields: christianity, existentialism, buddhism. The "legend of duluoz" is the result of a moral wandering centered round the "eros-death-spirituality" triptych. The essence of the work is then primarily ontological. It is an investigation on the meaning and nature of the being as distinguished from the person. This ontological investigation goes hand in hand with an intense and insatiable spiritual quest eternally repeated. Consequently, kerouac's novels cannot be viewed within the single perspective of american literature. They must be looked at as the meeting point of several sources of inspiration and therefore tend toward universality
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Bizello, Aline Azeredo. "Caio Fernando Abreu e Jack Kerouac : diálogos que atravessam as Américas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7420.
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A finalidade deste estudo é analisar, do ponto de vista da Literatura Comparada, as relações existentes entre contos do escritor Caio Fernando Abreu e o romance On the Road, do norte-americano Jack Kerouac. Com o objetivo de apreender o diálogo entre os textos, a investigação desenvolve-se desde o exame do estilo de vida das personagens até as condições históricas nas quais foram produzidas as obras. Dessa forma, focaliza-se o local que ocupa a produção literária do escritor gaúcho, a partir das relações inter-literárias com a realidade cultural do seu tempo. Pretendeu-se verificar, através da Literatura Comparada, de que modo a obra de Caio absorve os influxos da obra de Kerouac. Assim, examina-se a apropriação cultural estrangeira através da recepção, em Caio, da literatura “beat”. O estudo aborda questões referentes ao sujeito, à liberdade, à introspecção, à fragmentação, à identidade, ao estranhamento, ao desejo, à autonomia, relacionando-as à construção da linguagem e à representação da visão de mundo dos autores. Para tanto, foram considerados alguns momentos históricos do final do século XX, como a Segunda Guerra Mundial, a Guerra Fria, o Macartismo e a ditadura militar brasileira. Nesse contexto, intensifica-se, de um lado, o desejo de livre arbítrio e, de outro, a imobilidade resultante da falta de esperança. A partir desses dados, analisa-se a atmosfera vivida e representada nas obras de Caio e Kerouac. Dessa forma, o trabalho desenvolve a hipótese de que Caio Fernando Abreu absorve aspectos da filosofia “beat”, assimila-os e os transforma para adaptá-los ao seu contexto histórico e cultural.
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Franco, Caroline Siqueira 1988. "Competência vetorial de Ornithodoros mimon KOHLS 1969 (Acari: Argasidae frente à infecção experimental em laboratório com cepa de Rickettsia rickettsii BRUMPT 1922." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/314370.
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Orientador: Arício Xavier LinharesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Biologia
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Resumo: A febre maculosa brasileira (FMB) é uma doença infecciosa aguda transmitida através da picada de carrapatos infectados com Rickettsia rickettsii Brumpt 1922. O carrapato Amblyomma cajennense Fabricius 1787 (Acari: Ixodidae) é um dos principais vetores no Brasil. Contudo, outras espécies de carrapatos podem ser vetores da doença e parasitar humanos. Neste estudo, procurou-se avaliar a competência vetorial de Ornithodoros mimon Kohls 1969 (Acari: Argasidae) em laboratório após ser infectado experimentalmente com a cepa Taiaçu de Rickettsia rickettsii, utilizando coelhos domésticos como modelo animal. Primeiramente, os carrapatos foram separados em grupos de acordo com seu estágio de desenvolvimento (larva, ninfa 2 e adulto). Na segunda etapa, dois coelhos foram utilizados como grupo tratamento, e foram inoculados com a Rickettsia, e um coelho foi usado como controle. Os carrapatos utilizados foram separados em lotes, de acordo com o coelho e dia em que foram alimentados. Na terceira etapa, novos coelhos sadios foram infestados com os carrapatos usados na segunda etapa, para verificar se houve transmissão. Carrapatos que tiveram contato com a bactéria foram macerados e inoculados em duas cobaias, e uma terceira cobaia foi infestada com carrapatos que foram alimentados em coelho infectado. PCR com os primers gltA e ompA (R. rickettsii), ftsZ (Wolbachia sp.), 28S (eucarioto) foi realizado, para avaliar se os carrapatos se tornaram infectados. Sequenciamento de amostras foram amplificadas com os primers ompA e 28S. Além da Reação de Imunofluorescência Indireta (RIFI), que foi realizada com o soro dos coelhos para verificar a presença de infecção. Os dois coelhos que foram inoculados com Rickettsia rickettsii apresentaram picos de febre. Um dos coelhos apresentou resultado positivo na RIFI e o outro morreu no décimo sexto dia após a inoculação. Os coelhos que foram infestados com carrapatos que foram alimentados em coelho infectado não apresentaram febre e nenhum outro sintoma da doença. As cobaias que foram inoculadas com carrapatos e a cobaia que foi infestada com carrapatos não demonstraram nenhum sintoma da doença. Das amostras amplificadas com o primer gltA apenas uma amostra foi positiva. A PCR das amostras de carrapatos usando o primer ompA não apresentou o resultado esperado, provavelmente devido a presença do DNA da bactéria Wolbachia sp. A sequência gerada, com amostras que foram amplificadas com o primer 28S, foi o DNA do carrapato. A PCR com o primer ftsZ não amplificou nenhum DNA. Portanto, conclui-se que O. mimon não se tornou infectado com a Rickettsia rickettsii, e não representa risco para a saúde pública
Abstract: The Brazilian Spotted Fever (BSF) is an acute infectious disease transmitted by the bite of ticks infected with Rickettsia rickettsii Brumpt 1922. The tick Amblyomma cajennense Fabricius 1787 (Acari: Ixodidae) is one of the main vectors in Brazil. However, other species of ticks can be vectors of this disease and parasitize humans. This study aimed to evaluate the vector competence of Ornithodoros mimon Kohls 1969 (Acari: Argasidae) in the laboratory after being experimentally infected with the Taiaçu strain of Rickettsia rickettsii, using domestic rabbits as the animal models. Firstly, the ticks were separated into groups according to their developmental stage (larva, nymph 2 and adult). Secondly, two rabbits were used as treatment group, and were inoculated with the Rickettsia, and one rabbit was used as control. The ticks were separated into batches according to the rabbit and the day they were fed. New healthy rabbits were infested with the ticks used in the second experiment, to verify the occurrence of transmission. Ticks that had contact with the bacteria were macerated and inoculated into two guinea pigs, and a third guinea pig was infested with ticks that were fed on infected rabbits. PCR with gltA e ompA primers (R. rickettsii), ftsZ (Wolbachia sp.), 28S (eukaryotic) was performed, to assess if the ticks become infected. Sequencing of the samples was amplified with the primers ompA and 28S. In addition, the Immunofluorescence Assay (IFA) was performed with serum of rabbits to verify the presence of infection. The two rabbits that were inoculated with Rickettsia rickettsii presented peaks of fever. One rabbit presented a positive result in the IFA and the other died on the sixteenth day after inoculation. The rabbits that were infested with ticks that were fed on infected rabbits, showed no fever and no other symptoms of the disease. The guinea pigs that were inoculated with ticks and the guinea pig that was infested with ticks showed no symptoms of the disease. Of the samples only one of all samples amplified with the primer gltA was positive. The PCR samples of ticks using the primer ompA did not yield the expected result, probably due to the presence of the DNA of the bacteria Wolbachia sp. The sequence generated, with samples that were amplified with the primer 28S, it was the DNA of the tick. PCR performed with the primer ftsZ did not amplify any DNA. Therefore, we concluded that O. mimon did not become infected with R. rickettsii, and do not represent risk to public health
Mestrado
Relações Antrópicas, Meio Ambiente e Parasitologia
Mestra em Biologia Animal
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Carrasco, Labbé Rubén. "The transience of experimentation in Jack Kerouac's on the road." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109928.
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The general object of study of this work is the rise and effects of competing visions in the construction of the subjective personal American landscape in 20th century North American travel literature. The research and analysis done will follow the idea that there are different visions of America present at the same time in a given text-character. These visions, when affecting and transforming the travelling experience and, when contrasted to other’s visions and compared between them, may allow for the appropriation of the landscape through the creation of a personal, intimate and polyphonic image of the same. In order to grasp this final vision characters must undergo a process with three stages that resemble an empiric scientific experiment. Is on the exploration of this experimental dimension from where we start this study.
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Santana, Josineide Siqueira de. "Entre bordados, cadernos e orações : a educação de meninas e as práticas educativas no orfanato de São Cristóvão e na escola da Imaculada Conceição (1922-1969)." Universidade Federal de Sergipe, 2011. https://ri.ufs.br/handle/riufs/4768.
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This paper discusses the education women in the catholic institutions São Cristóvão Orphanage and Imaculada Conceição School. The São Cristóvão Orphanage was founded in 1911 and aimed to accommodate abandoned girls, in 1922 due to the necessity to start a school, the institution received the Irmãs Missionárias da Imaculada Conceição da Mãe de Deus that come with the intention to manage both institutions. Its main objective was to investigate the educational practices developed in these institutions during the period 1922 to 1969, represented by two moments of great significance: the arrival of religious missionaries and change in the name of the institution that moved from São Cristóvão Orphanage to Lar
da Imaculada Conceição . The paper investigate the school culture in the teaching women catholic over 47 years, based on documents produced by the institution itself, in the Instituto Histórico Geográfico de Sergipe de Sergipe (IHGS), in Arquivo Público de Sergipe (APES),
Arquivo das Províncias Religiosas de Santa Cruz das Irmãs Missionárias da Imaculada Conceição da Mãe de Deus and Santo Antônio do Brasil dos Frades menores Franciscanos and in the memories of ex-boarders, ex-teachers and religious.O presente trabalho discute a educação feminina nas instituições católicas Orfanato de São Cristóvão e Escola da Imaculada Conceição. O Orfanato de São Cristóvão foi fundado em 1911 e tinha como objetivo o acolhimento de meninas desvalidas, em 1922 devido à necessidade de criação de uma escola, a instituição recebeu as Irmãs da Imaculada Conceição da Mãe de Deus que chegavam com o objetivo de dirigir ambas as instituições. Tem como objetivo principal investigar as práticas educativas desenvolvidas nestas instituições, no período de 1922 a 1969, por representar dois momentos de relevante importância: a chegada das religiosas missionárias e a mudança da nomenclatura da instituição que passou de Orfanato de São Cristóvão para Lar da Imaculada Conceição. O trabalho investiga a cultura escolar católica feminina no decorrer de 47 anos, com base nos documentos produzidos pela própria instituição, no Instituto Histórico Geográfico de Sergipe (IHGS), Setor de Documentação Sergipana da Biblioteca da Universidade Federal de Sergipe (BICEN), no Arquivo Público de Sergipe (APES), Arquivos das Províncias Religiosas de Santa Cruz das Irmãs Missionárias da Imaculada Conceição da Mãe de Deus e Santo Antônio do Brasil dos Frades Menores Franciscanos e nas memórias de ex-interna, ex-professoras e religiosas.
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Vézina, Raphaëlle. "Cuvée 44 ; : suivi de L'héritage de la réception d’On the Road et de la posture d'écrivain de Kerouac selon les époques." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69524.
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Ce mémoire en recherche-création se décline en deux parties; un roman et un essai. Le roman et l'essai se répondent, en traitant tous les deux de la période des années 50, qui représente le contexte du roman On the Road qui sera analysé dans l'essai, mais aussi le moteur créatif qui a inspiré le roman Cuvée 44. Le roman, Cuvée 44, s'inspire de la filiation des romans de route et de quête personnelle dont On the Road est un des précurseurs. Il relate la vie mouvementée de Francine Boudreau, une jeune femme de quinze ans qui quitte son Québec natal en 1959 pour un monde de possibilités qui s'offrent à elle aux États-Unis, durant les années 50 et 60. Le lecteur est transporté un peu partout au pays, alors que la jeune femme tente de se poser quelque part. L'essai, quant à lui, traite de la réception de l'œuvre phare de Kerouac, On the Road, afin d'observer comment elle a évolué selon les décennies. En faisant ressortir les diverses critiques du roman de l'écrivain de la Beat Generation, on peut ainsi ressortir les différentes postures qui lui sont accordées au travers des époques, pour en voir les constantes et les disparités.
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Loundagin, G. John. "Signing the blues : toward a theoretical model based on the intertextuality of psycholinguistic metonymy and jazz phraseology for reading the texts of Jack Kerouac and Langston Hughes." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897530.
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That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify.Department of English
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Santos, Maria Clara Dunck. "A contracultura do segundo pós-guerra : um estudo comparativo entre a poesia marginal de Jack Kerouac e Nicolas Behr." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/11957.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-23T15:21:29Z No. of bitstreams: 1 2012_MariaClaraDunckSantos.pdf: 1250114 bytes, checksum: c70afeb1a3da1650be18661c835f0eb8 (MD5)
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O advento da Segunda Guerra Mundial trouxe consigo grandes mudanças no cenário artístico global. Para a compreensão da literatura produzida nesse período, é necessário tratar da Contracultura, um movimento contestador que faz oposição à cultura dominante. Esta, de caráter conservador e elitista, serve à indústria cultural, como um importante veículo de propagação e manutenção do establishment. Apesar de apoiada por uma minoria, a Contracultura é fundamental para a compreensão da literatura contemporânea, visto que, ao se popularizar, contribuiu para a formação da dominante cultural do século XXI: a pós-modernidade. Este estudo compara duas literaturas contraculturais: uma norte-americana da década de 1950, conhecida como geração beat, e outra brasileira da década de 1970, chamada de geração mimeógrafo. Afirma-se que a brasileira é epígona da norte-americana. E para contrapor tal assertiva, esta pesquisa vale-se da Teoria dos Polissistemas, aliada à análise semiótica da poética de Jack Kerouac, no caso da geração beat, e da poética de Nicolas Behr, da geração mimeógrafo. ______________________________________________________________________________ ABSTRACT
The advent of Second World War brought relevant changes in the global art scene. For understanding the literature produced during this period, it is necessary to study the Counterculture, a movement that opposes to the dominant culture, which serves the Culture Industry as an important vehicle for the propagation and maintenance of the conservative and elitist establishment. Although the Counterculture is supported by a minority, it is fundamental to the understanding of contemporary literature because its posterior popularity contributed to the formation of the dominant culture of the twenty-first century: the postmodernity. This study compares two countercultural literatures: an American in the 1950s, known as the Beat Generation, and another, Brazilian, in the 1970s, called geração mimeógrafo. It is said that the Brazilian counterculture literature is an epigone to the U.S. To prove this assertion, this research uses the Theory Polysystem allied to a semiotic analysis of the poetry of Jack Kerouac, in the case of the Beat Generation, and the poetry of Nicolas Behr, of the geração mimeógrafo.
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Pacini, Peggy. ""The Duluoz legend" : Jack Kerouac ou la mémoire franco-américaine." Paris 4, 2007. http://www.theses.fr/2006PA040091.
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Projet gigantesque, composé des romans dits de la route et des romans de Lowell, The Duluoz Legend est le reflet de la double identité de Jack Kerouac. Fils d’immigrants canadien français en Nouvelle-Angleterre, l’auteur a hérité d’un patrimoine culturel francophone dont toute une partie de son œuvre porte la trace (folklore, religion populaire, langue). Cette légende que Kerouac a voulu laisser à la postérité est le reflet d’une crise de l’identité et de la culture aux carrefours de deux mémoires. Ce dialogue interculturel met en avant une problématique autour de l’identité consentie et l’identité héritée et propose l’archéologie d’une mémoire individuelle et collective que l’auteur cherche à affirmer. En choisissant de donner à son œuvre la forme de récits légendaires, Kerouac dévoile les mythes fondateurs d’une culture populaire en déclin. Bien plus que l’histoire d’une vie, c’est la mémoire d’un peuple transplanté qu’il raconteBorn of French Canadian immigrants, Kerouac has inherited a complex heritage that his novels mirror. The Duluoz Legend, his literary odyssey, is a journey into memory and identity to find his own identity but also a national identity. His Legend fluctuates from one heritage (his French Canadian ancestry) to the other (his American identity) often in conflicting ways. Rarely considered, his Franco-American background (composed of folkloric references, linguistic issues, religious beliefs) is very much present in his work especially in his Lowell novels and is an attempt to speak not only of a golden age (his French Canadian childhood in Lowell, Massachusetts) but also of an individual and collective memory: the memory of a transplanted people. It is an immigrant vision of America that his Legend offers: Ti Jean Duluoz’s immigrant song
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Mercier, Simon. "Les générations du voyage dans A. O. Barnabooth : son journal intime de Valery Larbaud, dans Sur la route de Jack Kerouac et dans L'usage du monde de Nicolas Bouvier." Paris 10, 2004. http://www.theses.fr/2004PA100031.
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Au regard de l'histoire littéraire, la comparaison menée dans cette étude trouve son assise dans l'examen des contextes : circonstances précises qui constituent autant de modernités différentes favorisant, chacune, l'appel de l'ailleurs et l'éclosion du roman. L'ouverture de la route amène l'écrivain à se forger une expérience axée sur le mouvement, entre sensibilité artistique et déplacement géographique. Du vécu au livre, le récit déploie ensuite un itinéraire particulier, selon ses propres modalités, en fonction des potentialités et des lois de la fiction. Ayant fait le choix du départ, le voyageur et personnage évolue dans le temps, d'un lieu à un autre, investissant des espaces de natures diverses. Mais en amont du voyage qui se déroule dans l'ouvrage, intervient tout un processus de création artistique dont découle la production d'une image littéraire singulière. Plus largement, à cet "usage du monde" correspond l'expression d'un sentiment et d'une pratique métaphysique. Au final, le voyage suppose la réalisation d'un parcours qui ouvre l'individu à l'immensité universelle mais qui, simultanément, le confronte également aux limites de sa conditionFor literary history, the comparison carried out in this study finds its base in the examination of the contexts : precise circumstances which constitute as many different modernities supporting, each one, the call of elsewhere and blossoming of the novel. The opening of the road leads the writer to forge an experienced centered on the movement, between artistic sensitivity and geographical shift. From this personal experience to the book, the account deploys then a particular route, according to its own methods, according to the potentialities and laws of the fiction. Having made the choice of the departure, the traveller and character moves in time, from a place to another, investing spaces of various nature. But upstream of the voyage which rises the production of a singular literary image. More largely, to this "use of the world" also corresponds the expression of a feeling and a practice metaphysics. Finally, the voyage supposes the realization of a course which opens the individual th the universal vastness but which, simultaneously, also confronts him with the limits of his condition
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Arango, Restrepo Juan Pablo. "José María Arguedas y Rodolfo Kusch: la búsqueda de la identidad a través del “estar”." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671046.
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La presente investigación intenta hacer una aproximación a la búsqueda de la identidad latinoamericana tomando como referente el pensamiento del filósofo argentino Günter Rodolfo Kusch y la obra literaria de escritor peruano José María Arguedas. El acercamiento parte de los conceptos filosóficos “ser” y “estar”, desarrollados y acuñados por el pensador argentino para designar algo propio, vistos a la luz de los relatos, novelas y poesía del escritor peruano. El camino trazado comienza con el acercamiento a la condición postcolonial en América partiendo de la necesidad de reflexionar desde categorías epistemológicas y ontológicas americanas. En segundo lugar, se centrará la atención en la importancia del espacio como elemento fundamental en la escritura literaria y en la consolidación de un pensamiento propio en contraste al heredado por el esquema occidental europeo. Acto seguido, se plantea la definición y caracterización de las categorías o conceptos más relevantes a la hora de establecer una relación entre el pensamiento de Kusch con el de Arguedas: “estar”, “miedo”, “pensar seminal” y “hedor”. Finalmente, se pretende comparar, contrastar y demostrar si se dan cambios o matices entre las obras literarias en relación con los conceptos ya definidos anteriormente y develar la base del pensamiento americano-seminal a través de las categorías vistas desde la narración arguediana a lo largo de sus obras. Se intenta concluir que el “ser” latinoamericano se resiste a la colonización y los adelantos de las sociedades europeas y norteamericana. El hombre latinoamericano, posicionado en su “estar”, se rebela y se resiste contra la imposición científico-racional. Se trata entonces de un hombre que está buscando afirmar su estar aquí.The research tries to make an approach to the search for Latin American identity having as reference the ideas and concepts of the Argentinian philosopher Günter Rodolfo Kusch, and the literary work of the Peruvian writer José María Arguedas. The approach starts with the philosophical concepts "being" (ser) and "to be"(estar), developed and coined by the Argentinian thinker to designate s, seen in the light of the stories, novels and poetry of the Peruvian writer. The path outlined begins with the approach to the postcolonial condition in America starting from the need to reflect from American epistemological and ontological categories. Secondly, attention will be focused on the importance of geographical space as a fundamental element in literary writing and on the consolidation of one's own thinking in contrast to that inherited by the Western European structure. Then, the definition and characterization of the most relevant categories or concepts are established when establishing a relationship between Kusch's thinking with that of Arguedas: "being", "fear", "thinking seminal" and "stink". Finally, it is intended to compare, contrast and demonstrate whether there are changes or nuances between the literary works in relation to the concepts already defined above and to reveal the basis of seminal American thought through the categories seen from the arguedian narrative throughout his work. An attempt is made to conclude that Latin American "being" resists colonization and the advances of European and North American societies. The Latin American man, positioned in his “being” rebels and resists against the scientific-rational imposition. It is then a man who is seeking to affirm his being here.
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Pellerin, Pierre-Antoine. "La performance autobiographique et les masques du masculin dans la légende de Duluoz de Jack Kerouac (1947-1965)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030167.
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Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prixThe first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask
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Domingues, Maria Izabel Velazquez. "The role of the "flâneur" in Jack Kerouac's novel On the Road." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/14983.
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Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração.This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.
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MARTINS, FILHO Neuton Vieira. "A melancolia como provocação à resistência em Tristessa e Nove noites." Universidade Federal do Pará, 2014. http://repositorio.ufpa.br/jspui/handle/2011/5876.
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Temos como principal objetivo nesse estudo analisar, enquanto narrativas de resistência, os romances Tristessa do escritor norte americano Jack Kerouac e Nove Noites do brasileiro Bernardo Carvalho. Partimos da hipótese que ambos constituem narrativas de resistência inerente à escrita (BOSI, 2012), quando a resistência não é tema da obra, mas manifesta-se na construção das personagens e no desenrolar da trama. Neste caso, o elemento utilizado como meio de manifestar a resistência é a melancolia. Pretendeu-se verificar por meio de um estudo de caso, como ambos os romances trabalham representações do sujeito em sua relação com a morte com base em processos melancólicos e como a melancolia se encontra ligada a uma atitude de resistência predominante na escrita. Assim, examina-se a melancolia enquanto patologia (FREUD, 2005) e elemento estético, assim como o processo da narrativa de resistência ao mesclar ética e estética. Para tanto foram considerados os contextos sociais nos quais as narrativas foram escritas, e como estes indicam que cada romance faz uma crítica social a uma força opressora contemporânea a sua publicação. Durante nosso estudo, por meio de análise comparativa, constatamos que temas com a perda, a morte, a ruína, o afastamento melancólico, a marginalização social e a transitoriedade do real são comuns aos dois romances.
The main object in this study is analyze as narrative of resistance, the novels Tristessa by Jack Kerouac and Nove Noites by Bernardo Carvalho. It hypothesized that both form narratives of resistance innate to writing (BOSI, 2012), when the resistance is not the theme of work, but manifested in the construction of the characters and the unfolding of the plot. In this case, the element used as a way to express resistance is melancholy. It intended to verify through a case study, how both novels work representations of the subject in its relation to death based on melancholic process and how melancholy is connected to an attitude of resistance prevalent in writing. Thus, it examines the melancholy as pathology (FREUD, 2005) and aesthetic element, as well as the process of narrative resistance merges ethics and aesthetics. For this, it considered the social contexts in which narratives were written and how they indicate that each novel does a social criticism to an oppressive force at the time of their publication. During this study, through comparative analysis, it certified that themes as the loss, the death, the melancholy remoteness, the social marginalization and the real transience are common to both novels.
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Duwa, Jérôme. "Les batailles de Jean Schuster : défense et illustration du surréalisme : 1947-1969." Paris 1, 2004. http://www.theses.fr/2004PA010629.
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Jean Schuster (1929-1995) entre dans le groupe surréaliste d'André Breton en 1947 et il en prononce la dissolution en 1969. Animateur de plusieurs revues du groupe durant cette période marquée par la domination culturelle du stalinisme, il s'efforce avec ses amis de maintenir le surréalisme dans une posture d'opposition, tant au plan artistique que politique. Mais rester fidèle à l'histoire révolue du mouvement n'est pas suffisant; il faut encore en adapter les exigences éternelles (l'amour, la poésie, la révolution) aux variations historiques. Cela génère des relectures du passé et, notamment, de l'apport de Georges Bataille, des alliances (avec Dionys Mascolo) et l'apparition de nouveaux ennemis (les situationnistes). En peinture, la préférence de Schuster pour l'automatisme place au premier plan l'exemple américain de Gorky et sa secrète filiation, ainsi que les expérimentations de Simon Hantai͏̈.
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Deshoulières, Anne. ""Les jardins de l'errance" : étude topologique de l'errance chez Jack Kerouac, J. M. G. Le Clézio, Kenneth White, Ernesto Sabato." Clermont-Ferrand 2, 2005. http://www.theses.fr/2005CLF20007.
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La rencontre de Kerouac, Sabato, White, Le Clézio éclaire les diverses facettes de l'errance contemporaine dont l'analyse topologique révèle les rapports étroits entre l'espace, le corps et l'écriture. En outre, l'errance permet de rapprocher les domaines géographiques, littéraires, humains, tout en interrogeant activement la position du sujet dans le monde moderne. A cet égard, ce dernier est assimilé à un jardin morcelé et gâché, tant la conquête intensive de l'espace a fini par altérer les liens entre l'être et le monde. Pour rétablir les communications, il faut appréhender l'espace autrement, à la manière d'un explorateur. Car c'est en quittant une situation d'enracinement et en préservant une certaine mobilité que le sujet parvient à la vérité de l'être et du lieu. Cette pratique de l'espace permet de faire l'épreuve des limites en traversant des lieux aliénants et inhospitaliers, et de transmuer ensuite les territoires entrevus en un vaste jardin où l'écriture prolonge l'errance
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Sendra, Sophie. "Réflexions philosophiques sur les réalités non-ordinaires d'une littérature de la perception : Huxley, Kerouac, Castaneda." Nice, 2007. http://www.theses.fr/2007NICE2003.
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Ce travail de recherche s’interroge sur la fonction et la signification des états de réalité non-ordinaires que l’on appelle également états de modification de la conscience. Au travers des théories philosophiques de la conscience et de la perception, nous verrons de quelle façon celles-ci ont évolué de Descartes aux sciences cognitives. Loin de nous focaliser sur une analyse liée essentiellement à la philosophie, nous inclurons dans notre recherche l’étude d’une littérature de la perception, celle-là même qui se manifesta outre-atlantique à partir de la seconde moitié du XXème siècle. En nous intéressant exclusivement aux passages les plus significatifs de certains ouvrages d’écrivains tels que Aldous Huxley, Jack Kerouac et Carlos Castaneda, nous tenterons de cerner les limites perceptives de notre conscience. Nous nous interrogerons sur la possibilité d’une philosophie ouverte et sur une éventuelle relativité de la perception au travers de ces états de réalité non-ordinairesThis research work tries to question on the function and the signification of states of nonordinary reality also called states of modification of conscience. Through philosophic theories of conscience and perception, we’ll see how they evolued from Descartes to cognitives sciences. Far from focus ourselves on an analysis tied to philosophy, we’ll include in our research a study of a litterature of perception, the american ones wich begin in the second half of the 20th century. Exclusively focusing on significatives excerpts of some books by writers like Aldous Huxley, Jack Kerouac and Carlos Castaneda, we’ll try to define the perceptives limits of our conscience. We’ll question ourselves on a possibility of a wider philosophy and on a possible relativity of perception through these states of nonordinary reality
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Brasebin, Jenny. "Road novel, road movie : approche intermédiale du récit de la route." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030088.
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Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des oeuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’oeuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes culturesAppearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac,followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literarycriticism, and recently extended by scholars to cinematographic objects. We show how road novels and roadmovies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narrativescalls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures
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Brito, João Luiz Teixeira de. "Poética beat no cinema: “Howl” e On the road." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/12650.
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BRITO, João Luiz Teixeira de. Poética beat no cinema: “Howl” e On the road. 2015. 228f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-08T11:16:58Z No. of bitstreams: 1 2015_dis_jltbrito.pdf: 3466253 bytes, checksum: 20edd3103d946df889c4ffe55c09431e (MD5)
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This paper constitutes a comparative study between the pinnacle works of the American beat generation of the twentieth century (“Howl”, by Allen Ginsberg, and On the road, by Jack Kerouac) e their filmic adaptations produced in the first decade of the twentieth first century. Our goal is to bring forth a dialogue established by these four objective elements, based on the analysis of the congress of their individual poetics, and, in light of this, to contribute to a process that appears to be contemporarily inescapable, the relations between cinema and literature. To this end, the following dissertation will consist of the study of regularities of behavior in the adaptation process presented in the corpus before us as a means of deducing and describing possible systemic norms that underlie and regulate the transpositions between the beat literary system and the contemporary cinematographic system. On the other hand, but not separately, as we understand adaptation as rounded semiotic systems, we must consider the contexts in which they are inserted and what relations they actualize within their arrival system, not only that but investigate possible analogies to the departure system, We hope to demonstrate that these different strands of the problem are intertwined and connected if we create a common filed of tension in which the art-works are able to sustain dialogue – this we endeavored to do with the stablishment of an organizing principle, the common theme of madness. Our goal is, ultimately, to try to equate the importance of the product of adaptation and its counterpart in our analysis, transforming the field of Translation Studies into something closer to Compared Studies – of Literature or Cinema, as if our objects of research were ontologically comparable entities. We base our endeavor to achieve this task in the works of Walter Benjamin (2012), Mikhail Bakhtin (2010), Itamar Even-Zohar (1990), Jacques Derrida (1995), Maurice Blanchot (1987), Michel Foucault (1989), Gideon Toury (1995), Patrick Catrysse (1992), amongst others.
Este trabalho constitui um estudo comparativo entre as produções literárias pinaculares da geração beat americana de meados do século XX (“Howl” de Allen Ginsberg e On the Road de Jack Kerouac) e as suas reescrituras fílmicas produzidas na primeira década do século XXI. Procuramos aqui trazer a diálogo as quatro obras e, fundamentando-nos em uma análise do congresso de suas poéticas, contribuir para o estudo de um processo que nos parece contemporaneamente inescapável, a relação entre cinema e literatura. Para tanto, a presente dissertação consistirá do estudo das regularidades de comportamento do processo tradutor apresentadas no corpus que nos é possível analisar de modo a deduzir e descrever as possíveis normas sistêmicas que subjazem e regulam as transposições entre o sistema literário beat e o sistema cinematográfico contemporâneo. Por outro lado, mas não separadamente, na medida em que enxergamos as adaptações como sistemas semióticos acabados, devemos considerar os contextos em que elas se inserem e que relações elas desenvolvem dentro do sistema de chegada, além de investigarmos possíveis analogias com os contextos e sistemas de partida. Esperamos demonstrar que estes lados do problema se interligam se criarmos um campo tenso comum em que as obras possam dialogar, o que buscamos fazer através do estabelecimento de um princípio organizador, o tema comum da loucura. Nossa proposta é, finalmente, tentar igualar a importância do produto da tradução e do elemento de partida em nossa análise, transformando o campo dos estudos da tradução em algo mais próximo dos Estudos Comparados – de Cinema ou Literatura, como se nossos objetos fossem seres ontologicamente equiparáveis. Pautamo-nos, para realizar esta tarefa, nos trabalhos de Walter Benjamin (2012), Mikhail Bakhtin (2010), Itamar Even-Zohar (1990), Jacques Derrida (1995), Maurice Blanchot (1987), Michel Foucault (1989), Gideon Toury (1995), Patrick Catrysse (1992), entre outros.
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Shi, Xiaoxiao. "Romans de la quête multiple : "La montagne de l'âme" (Gao Xingjian) et "Sur la route" (Jack Kerouac)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20010.
Full textAbstract:
Cette thèse consiste en une étude comparée de La Montagne de l’âme de Gao Xingjian et Sur la route de Jack Kerouac ayant « la quête » comme problématique centrale. Bien qu’à première vue les deux œuvres apparaissent fort différentes, selon l’esprit de la littérature comparée, elles méritent une confrontation minutieuse et nous estimons qu’elles possèdent quantité de points communs : Premièrement, il s’agit de deux romans foisonnants qui englobent bon nombre de genres romanesques et semblant relever simultanément de plusieurs catégories : roman autobiographique, roman-géographe, roman de pèlerinage, roman picaresque, roman de mœurs, roman de méditation, et enfin roman « froid » et « sans-isme ». Par leurs différents aspects, ces deux œuvres peuvent satisfaire aux attentes de divers lecteurs. Deuxièmement, au plan stylistique, La Montagne de l’âme et Sur la route sont deux romans insolites. L’innovation de La Montagne de l’âme se manifeste par la pratique d’un mode de narration inédit, la particularité linguistique, la singularité dans la structure, l’hétérogénéité du matériau romanesque, bref par une grande originalité formelle. Quant à Sur la route, sa nouveauté se manifeste d’abord par sa création fondamentale, à savoir la prose spontanée. Elle s’exprime aussi par la particularité de la construction romanesque, l’originalité de l’écriture et la singularité du contenu. Troisième parenté fondamentale : La Montagne de l’âme et Sur la route se présentent comme deux quêtes de l’espace. Montagne, chemin et maison sont trois motifs récurrents communs à ces deux romans qui sont également deux odes aux grands espaces. Les protagonistes relatent les itinéraires parcourus en Amérique et en Chine et l’on peut voir dans ces livres deux odes aux cultures nées dans les grands espaces. À l’intérieur de ces deux œuvres, les paysages romanesques se recommandent par leur caractère pictural et polysensoriel. L’espace typographique du texte est également aménagé avec art : les deux romans sont à la fois découpés et cousus. Enfin, considérés sous l’angle de la spiritualité, La Montagne de l’âme et Sur la route peuvent être dits romans de l’âme : de nombreuses questions spirituelles y sont intégrées, posées et approfondies. L’un et l’autre traitent la quête du sens de la vie, plus précisément, la quête de l’ego (identité, soi), la quête d’un mode de vie (fondé sur le présent, la liberté) et la quête métaphysique (destin, mort, croyance). Ces quatre similitudes correspondent à quatre quêtes que les deux oeuvres déploient à leur façon : la recherche d’un genre romanesque, d’une stylistique originale, d’un espace romanesque et enfin d’un sens de la vieThe thesis is about the comparative analysis which concern about the main concept of quest where from soul mountain of Gao Xingjian and On the Road of Jack Kerouac. Although these two books seem quite unlike, by the spiritual of comparative literature, they totally worth to be comparative studied carefully, and we think they have quite much in common.First, these two novels are both rich in connotation, they cover many of the novel categories, such as autobiographical novel, geographical novel, pilgrimage novel, picaresque novel, novel of manners, novel of meditation, the “cold” novel and non socialist novel. In different aspects, these two works can meet the needs of different readers.Secondly, in the stylistics, the soul mountain and on the road are two unusual novels. The innovation of the soul mountain is the practice of singularity of narration, the singularity of language characteristic, the singularity of structure, the heterogeneity of the material, the singularity of the form. As for on the road, the creativity of the novel based on many aspects, namely the spontaneous prose, also the singularity of characteristic of the construction, the way of writing, and the uniqueness of content.The third, the soul mountain and on the road two novels both relate as they quest the idea of space. Mountain, road and house are three common recurrent motifs which show up in these two novels, which are also odes of wide open spaces. The protagonists narrate the travel through America and China. We can discover from the two books both contain odes which point to the cultures cultivated from the spaces. In these two works, the narrations about landscapes are both pictorial and also polysensoriel. Spaces typographic of the two novels are also rearranged with art: both cut and sewn. Finally, from the perspective of the spiritual, the soul mountain and on the road can be regarded as novels of the soul: many spiritual questions are quested and thoroughly researched. The two novels both deal with the quest for the sense of life, and more specifically, the pursuit of the ego, (identity, soi), the quest for the way of life (present, liberty), the quest for the metaphysical (destiny, death, religion).These four similarities are corresponding to the four quests of these two novels: the quest of novel categories, stylistics, space, sense of life
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Jacob, François. "La beat generation : à la croisée des chemins de l'art et de la littérature (1944-1975)." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10149.
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Cette étude explore les relations entre la "Beat Generation" et l'art. Elle se penche principalement sur les oeuvres plastiques de William S. Burroughs (1914-1997), Jack Kerouac (1922-1969) et Allen Ginsberg (1926-1997). La période choisie pour cette recherche débute en 1944 et se poursuit jusqu'en 1975, c'est-à-dire de la formation du groupe à la fin de l'idée de contre-culture. L'analyse ne se limite pas à la constatation d'un va-et-vient entre le mot et l'image, mais démontre que les écrivains de la "Beat Generation" sont en prise direct avec l'art de l'époque et vont explorer toutes les techniques plastiques pour exprimer en dehors de leur œuvre littéraire. En abordant l'aventure artistique, les trois "Beats" sont confrontés à la notion d'"ekphrasis": ils prolongent un long héritage à travers des disciplines artistiques différentes: la peinture, le croquis ou la technique du collageThis study exlpores the relationship between art and the "Beat Generation". It mainly focuses on the plastic works of William S. Burroughs (1914-1997), Jack Kerouac (1922-1969)and en Ginsberg (1926-1997). The field of research covers the period from 1944 to 1975, i.e. from the formation of the Group to the end of the idea of counterculture. The analysis does not limit itself to the description of the back and forth movements between literature and the arts. The "Beat Generation" writers were in fact directly connected to the art of their time and explored all kinds of plastic techniques to express themselves independently from their lierary works. In addressing the adventures of the artistic experience, the three "Beats" were confronted with the notion of "ekphrasis" and obviously prolonged an old legacy through different artistic disciplines like painting, drawing or collage
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Chassaing, Irène. "Figure de l'écrivain et écriture personnelle : Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre et Jack Kerouac." Paris 3, 2008. http://www.theses.fr/2008PA030080.
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L’objectif de cette recherche est de comprendre les origines, le processus et les différentes implications de la crise traversée par différents personnages d’écrivains, tels qu’ils sont représentés dans les oeuvres d’écriture personnelle de Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre et Jack Kerouac. Plus spécifiquement, notre but est d’examiner la mise en cause par l’écrivain de son statut social et de ses fonctions auctoriales, ainsi que son rejet de la littérature, niée tant dans sa valeur (esthétique, politique, commerciale) que dans son efficacité (sa capacité à agir sur le monde). Nous affirmons que cette mise en cause et ce rejet témoignent, dans leur association, d’une tentative de rénovation du positionnement de l’écrivain par rapport à son oeuvre, à la société, à la communauté littéraire, ainsi qu’à lui-même et à sa définition d’être humain. Afin de parvenir à ces conclusions, nous avons structuré notre recherche autour de trois figures mythiques associées à l’artiste : Prométhée, Narcisse, et Dédale. Nous envisageons ainsi : avec Prométhée, l’entrée en littérature d’un écrivain se concevant à la fois comme exclu et tout-puissant ; avec Narcisse, les problèmes que génère ce mode d’investissement de la littérature ; avec Dédale, la tentative de repositionnement de l’écrivain au sein de l’humanité ordinaire. Notre dernière partie examine l’écho rencontré par cette tentative de repositionnement dans différentes oeuvres de la postérité où sont représentés les auteurs de notre corpusIn this project, I develop a comparative reading of a series of "personal narratives" produced by Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre and Jack Kerouac. My purpose is to analyze how these writers all question their own social status and function as authors, while denying literature’s value and efficiency in aesthetic, politic, and commercial terms. Scrutinizing different figures of these writers which their works offer, I argue that all these literary works are converged in an attempt at defining their positions as writers within their works, societies, and at characterizing their way to exist as human beings. This thesis thematically refers to three great mythical figures often associated with the figure of the artist: Prometheus, Narcissus, and Daedalus. Through Prometheus, I examine the status of writers that think themselves endowed with an almighty speech; through Narcissus, I examine the problems that such a way of investing literature with power generates; through Daedalus, I examine the attempts made by the writers to access a new status within ordinary humanity. In my conclusions, I examine how these writers’ attempt at reforming their authorial status while denying the efficiency of literature, and for this purpose I consider a variety of later literary and visual works in which London, Céline, Sartre and Kerouac are represented
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Leandro, João Gonçalo Ribeiro. "Continuity ou continuità : o debate entre Reyner Banham e Ernesto Rogers na década de 1950." Master's thesis, 2016. http://hdl.handle.net/10316/32898.
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Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da Faculdade de Ciências e Tecnologia da Universidade de Coimbra.O presente trabalho tem como principal objeto de análise explorar as interpretações da palavra “Continuidade” quando perspetivada no período da década de cinquenta. Não obstante a importância do Pós-Guerra para abordar estas interpretações, este período viria a constituir uma premissa para a arquitetura realizada no resto do século XX. Neste sentido, o principal motivo para esta análise será a compreensão do contributo dos lados inglês e italiano para com a revisão do Movimento Moderno e qual o seu ponto de partida e influência. Deste modo focar-se-á o debate protagonizado pelas duas linhas de pensamento no final da década de cinquenta, como episódio essencial desta revisão. Ao contrário da Primeira Grande Guerra, a Segunda não possui a proclamada mística tão efusivamente defendida por Antonio Sant`Elia, onde a fábrica e a hidroelétrica representavam o modelo de evolução arquitetónica, mas sim uma crise de valores humanos que por certa via viriam a constituir uma mudança na forma de pensar em geral. Na arquitetura, a resposta à crise de valores dá-se por intermédio de várias frentes. Por um lado, a oposição Italiana a uma crise moral, cultural e de emergência, protagonizada pelo arquiteto Ernesto Rogers; por outro lado, a necessidade de continuidade pela tecnologia em Inglaterra descrita e teorizada por Reyner Banham e tornada realidade pelas mãos de Peter e Alison Smithson e James Stirling. O tema encontra a razão para o seu estudo na noção de que a arquitetura resulta de um conjunto de pensamentos alargados, onde a sua mutação requer a consciência do que antecede.
The ongoing thesis main focus is to analyse the theme inherent to the word “Continuity”, when applied to the fifties of the XX’s century. Regardless the still present Post-war importance in this period, this decade would become an important mark for the rest of the Architecture in the XX century. In this way, the primary motive for its analysis is the comprehension of the relationship that both sides, the English and the Italian, have towards the Modern Movement, and in this case understand the point of origin and its influence through time. Also, another aim is to study the debate held by the two movements at the final stages of the fifties decade. The Second World War, as opposite to the First World War, does not hold the same mystique so strongly defended by Antonio Sant’Elia, where the factory and the hydroelectric represent the model to the evolution of architecture, but a crisis of human values which would tend to a change the way of thinking. The answer to the human values crisis is given by the intermediate of two fronts. On one side, the Italian opposition to a moral, cultural and emergency crises embodied by Ernesto Rogers; on the other side the necessity of imposing a change in England, described and theorised by Reyner Banham, and turned reality by the hands of Peter and Alison Smithson and James Stirling. The theme finds reason for its study in the notion that architecture results on a set of extended thoughts, where its mutation requires a conscience on what comes before, becoming only then possible to choose from rupture or continuity.
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Gonçalves, Ana Maria do Nascimento 1969. "Tapeçaria contemporânea portuguesa (1969-2002) : antecedentes e protagonistas do século XX." Master's thesis, 2016. http://hdl.handle.net/10451/25868.
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A historical contextualization is made of the products, manufacture and consumption of raw
materials and textiles in Portugal, until the early years of the twentieth century. There is talk
about the theme of education concerning the textile during the first half of the twentieth century
in technical education domain. Illustrates the experience at the School of Fine Arts of Lisbon
that, in the 1950s, did not include the practical teaching of tapestry. It presents mapping of
Contemporary Portuguese Tapestry between 1969 and 2005, which include, upholsterers,
exhibitions, cultural agents and artistic movements that occupied the disclosure of
Contemporary Tapestry Portuguese. The time interval (33 years) was determined to speak of
Contemporary Tapestry Portuguese, it had the discretion to choose the year in which the
Portuguese sculptor born in Spain – Maria Flávia de Monsaraz (1935) – made his first tapestry
(1969) and the year when some upholsterers that integrated the associative movement – Group
3.4.5. (1978) - consider the Group to end its activities (2002). This artistic group was the ersatz
Association ARA (1975-1977) which had been founded by eleven women, among them were
Maria Flavia de Monsaraz and Gisella Santi (1922-2006) – Italian painter and ancient tapestry
restorer who became the great proactive of the Group 3.4.5. (1978) and, consequently, of
Contemporary Portuguese Tapestry
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Cloutier, Jean-Christophe. "Archival Vagabonds: 20th-Century American Fiction and the Archive in Novelistic Practice." Thesis, 2013. https://doi.org/10.7916/D80K280Z.
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My research explores the interplay between the archival and aesthetic sensibilities of novelists not typically associated with archival practices--Claude McKay, Richard Wright, Ralph Ellison, and Jack Kerouac. In juxtaposing their dual roles as public novelists and private archivists, I expose how their literary practices echo with core concepts in archival theory and position the novel as an alternative and superior site of historical preservation. Drawing on my experience as an archivist, I argue that the twentieth-century American novel's concern with inclusivity, preservation and posterity parallels archival science's changing approach to ephemera, arrangement, and diversity. The role of the archive in my work is both methodological and thematic: first, my own research incorporates these authors' cache of research materials, correspondence, drafts, diaries, and aborted or unpublished pieces, obtained during my visits to their various repositories. Second, I extricate the role of the archival in their fictions, and trace how their research, documentation, and classification practices inform their experiments with the novel form. I propose that all these vagabond masters of novelistic craft throw into relief the archive's positivist fallibility while also stressing its creative mutability.
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"Visions of enlightenment: aspects of Buddhism in Jack Kerouac, Allen Ginsberg and Gary Snyder." 2011. http://library.cuhk.edu.hk/record=b5894698.
Full textAbstract:
Chan, Tsz Shan.Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 100-102).
Abstracts in English and Chinese.
Introduction --- p.1
Chapter 1. --- Jack Kerouac and the Concept of Emptiness --- p.20
Chapter 2. --- Gary Snyder and Autonomous Nature --- p.43
Chapter 3. --- Ginsberg and the Sunyata Consciousness --- p.70
Conclusion --- p.95
Bibliography --- p.100
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Travers, Jessica D. "Caution ��� ideological mechanisms at work : interpellation and the melancholic turn in Jack Kerouac's On the Road and Ernest Hemingway's The Garden of Eden." Thesis, 2012. http://hdl.handle.net/1957/35610.
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In this thesis I examine the ideological mechanisms that work to constitute, construct, and maintain subject identity. Such mechanisms include repetition, performativity, identification, and interpellation. I incorporate structuralist, post-structuralist, and psychoanalytic theories as a means to discuss the ways in which gender, sexuality, and identity are performative masquerades. Furthermore, these ideological mechanisms and heteronormative paradigms have the paradoxical power to produce both incurable melancholia and unrealized possibilities alike. Given this conversation, I turn to theorists such as Louis Althusser, Slavoj ��i��ek, and Judith Butler; these theorists employ different theoretical approaches and consequently their explanations regarding how and why identity is manufactured frequently differ. From this productive point of difference, I apply the theories to a literary analysis of Jack Kerouac's On the Road and Ernest Hemingway's The Garden of Eden. Paired together, the critical theories and literary works act to complicate and nuance each other, and collectively introduce valuable insights regarding who or what is subject.Graduation date: 2013