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Szendrey, Stephen P. "Queering the Literary Landscape: Allen Ginsberg and Walt Whitman." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275685833.
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Aublet, Anna. "L'oracle en son jardin : William Carlos Williams et Allen Ginsberg." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100083/document.
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La tension analysée par Leo Marx dans son essai The Machine in the Garden: Technology and the Pastoral ideal in America (1964), entre l’Arcadie américaine comme terre de pureté naturelle et le trope de la menace mécanique, sous-tend les œuvres des deux poètes du XXe siècle que nous nous proposons ici d’étudier, William Carlos Williams (1883-1963) et Allen Ginsberg (1926-1997). Leur abondante correspondance est la trace d’une relation poétique mais aussi filiale : Pater-Son, pour jouer sur le titre du long poème de Williams. Cet échange épistolaire vient également remettre en question la périodisation des mouvements littéraires trop souvent conçue comme une série de ruptures. L’état du New Jersey, Garden State, dont ils sont tous deux originaires, jardin dévasté par la révolution industrielle, apparaît comme un terrain fertile au surgissement d’une langue unique et autochtone. Cet espace commun et métamorphique offrira également une échappatoire à l’impasse de la classification des œuvres : du modernisme à la Beat Generation. Il faudra donc revenir sur les délinéaments des tracés cartographiques pour mieux dessiner à notre tour la carte poétique de leur relation littéraire et personnelle. Au gré des passions humaines, extases et tribulations, les poètes arpentent les sillons du vers qu’ils creusent à même le sol de leur New Jersey natal, pour faire sourdre le flot autochtone d’une poésie résolument américaineThe tensions analyzed by Leo Marx in his 1964 essay The Machine in the Garden: Technology and the pastoral ideal in America, between the American Arcadia as a land of original purity and the trope of industrial threat is ghostly present throughout the works of both poets at stake in this dissertation: William Carlos Williams (1883-1963) and Allen Ginsberg (1926-1997). In this research I intend to analyze the processes by which the poets manage to claim ownership of their land in spite of the lurking mechanic apocalypse. Writing, each in his own time, both poets endeavor to reclaim the original historical and spatial meaning of their continent, by devising an autochthonous language that would provide a new “point of view” and a new “point of voice”, as means to prophesy a collective future for the nation from their personal “local” anchorage in their natal New Jersey. Striving to “make a start out of particulars” they intend to escape the vastness of the continent by focusing on the minute details surrounding them in their own garden state. The correspondence between the two poets also questions the periodization of literary movements, too often conceived as a series of breaks and schisms. The Garden State, metamorphic space covered with the remnants of industrialization provides us with a way to break free from the shackles of such categorization : from modernism to the Beat Generation
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Rotando, Matthew Louis. "Embracing Fracture: The Buddhist Poetics of Allen Ginsberg and Norman Fischer." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/228611.
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This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.
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Waggoner, Eliza K. "America Singing Loud: Shifting Representations of American National Identity in Allen Ginsberg and Walt Whitman." University of Dayton / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1336052921.
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Bellarsi, Franca. "Confessions of a Western buddhist "Mirror-Mind": Allen Ginsberg as a Poet of the Buddhist "Void"." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211366.
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Rohde-Finnicum, Robyn Renee. "Trapped between graffiti'd walls and sidewalk borders resistance, insistence and changing the shape of things /." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/rohde-finnicum/Rohde-FinnicumR0806.pdf.
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Harma, Tanguy. "From self-destruction to self-creation and back again : the paradox of Thanatos in Jack Kerouac and Allen Ginsberg." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23287/.
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My thesis investigates the antithetical movements of self-destruction and of self-creation in a selection of works by Jack Kerouac and Allen Ginsberg. In order to shed light on this paradox, I use the mythological figure of Thanatos, which is conceptualised as a principle of death within life as well as one of life within death. The figure of Thanatos will enable me to trace the ways in which various strategies in the writings both create, and destroy, the texts on multiple levels. I work with two distinct critical methods to illuminate these paradoxical movements. In the first part of the thesis, the analysis is foregrounded in a combination of French Existentialist theory with precepts from the American Transcendentalist tradition in order to define an American variant of Existentialism. This framework allows the trope of alienation, and its impact on both self and text in Big Sur [1962], to come to the fore. Big Sur is read as a novel that plays on motifs of self-destruction in an unprecedented way in Kerouac’s writing. In ‘Ginsberg’s ‘Howl’ [1956], the figure of Moloch is interpreted as a principle of nothingness in the poem. Moloch is understood in relation to various forms of engagement both Existentialist and transcendental in essence. In Part 2, Kerouac’s Tristessa [1960] is analysed from the perspective of the Kantian Sublime. In Tristessa, the narrator’s desire for the eponymous heroine emanates from the projection of a romanticised form of deathliness that channels the Sublime, and that threatens the self and the text in return, thereby conjuring the paradox of Thanatos.
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Carvalho, Samir Afonso de. "Vislumbres estéticos e mergulhos poéticos em On the Road e Howl: uma viagem histórico-literária por Jack Kerouac e Allen Ginsberg." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3050.
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The objective of this work is to analyze the aesthetic ideals of two writers of the Beat Generation: Jack Kerouac and Allen Ginsberg. With such an objective in mind, their two main works, On the Road and Howl, respectively, were studied comparatively. Through this study, we tried to delineate the interpretation that each author gives to these ideals they share, showing the divergences of understanding and materialization of such ideals in these two works. Besides, there is a historical trajectory. Firstly, building a strong base for the work, we analyze the historical period in America during the moment of formation of the generation. The historical focus then shifts to the private lives of each author, their cultural and linguistic influences, their intellectual itineraries. From that knowledge, it is also possible to understand the process of formation of the ideals themselves, central theme of this dissertation. We also tried to show how the next generations got hold of the ideals studied here, how the readers interpreted those artistic works in an individual way. From that, the authors’ reaction to this reinterpretation is reflected upon. In other words, this work is a deep survey of the aesthetic ideals of two artists, their formation and perpetuation. The main documents and texts used in the development of the analysis described above were: private journals to trace in time the transition of thoughts on their own artistic practices, letters exchanged between the two artists to demonstrate how their thoughts communicated and diverged in certain aspects, articles from newspapers and magazines to show the reception they had at the time and what others thought of the texts we studied, and biographies to base the text with history fundamentals.
O objetivo do presente trabalho é o de fazer uma análise dos ideais estéticos de dois autores da Beat Generation: Jack Kerouac e Allen Ginsberg. Para tal, empreendeu-se um estudo comparativo das principais obras de cada autor, a saber, On the Road (1957) e “Howl” (1956), respectivamente. Através de tal estudo, pretende-se delinear a interpretação que cada autor dá aos ideais que os dois compartilham, demonstrar as divergências de compreensão e a efetivação dos ideais nessas duas obras. Além do mais, uma trajetória histórica é traçada em alguns sentidos. Primeiramente, com o objetivo de oferecer base para o trabalho, mostra-se o momento histórico vivido nos Estados Unidos durante o período de formação da geração da qual fazer parte os autores. Também é foco de análise histórica a vida particular de cada autor, suas influências culturais e linguísticas, sua trajetória intelectual. A partir de tal conhecimento, é possível compreender também o processo de formação dos ideais estéticos, tema central dessa dissertação. Também se busca demonstrar a apropriação dos ideais estudados pela geração seguinte à dos escritores analisados: a geração leitora que interpretou as obras de maneira particular. A partir disso deseja-se investigar a reação de cada um dos autores para tal reinterpretação. Em outras palavras, trata-se de uma sondagem profunda dos ideais estéticos de dois artistas, sua formação e sua perpetuação. Os principais documentos e textos utilizados para o desenvolvimento da análise acima descrita foram: diários particulares para delinear no tempo as nuances de pensamento sobre suas próprias práticas artísticas, correspondências trocadas entre os autores para demonstrar como os pensamentos dos dois dialogavam e confrontavam um com o outro, artigos de jornais e revistas da época para desvelar a recepção que os autores tiveram e elucubrações diversas sobre os textos estudados, além de biografias para embasar os demais estudos com fundamentação histórica.
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Reynolds, Loni Sophia. "Irrational doorways : religion and spirituality in the work of the Beat Generation." Thesis, University of Roehampton, 2011. https://pure.roehampton.ac.uk/portal/en/studentthesis/irrational-doorways(87396ee2-da59-4758-9d13-dcfefe7a6073).html.
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My thesis explores the role of religion and spirituality in the work of the Beat Generation, a mid-twentieth century American literary movement. I focus on four major Beat authors: William S. Burroughs, Allen Ginsberg, Jack Kerouac, and Gregory Corso. Through a close reading of their work, I identify the major religious and spiritual attitudes that shape their texts. All four authors’ religious and spiritual beliefs form a challenge to the Modern Western worldview of rationality, embracing systems of belief which allow for experiences that cannot be empirically explained. They also assert the primacy of the individual—a major American value—in a society which the authors believed to encroach upon individual agency. Ginsberg, Kerouac, and Corso are also strongly influenced by established religious traditions: an aspect of their work that is currently overlooked in Beat criticism. Burroughs’ belief in a magical universe shapes his work. Ginsberg is heavily influenced by the Jewish exegetical tradition. Kerouac and Corso’s work contains Catholic themes. My study rectifies some tendencies in current criticism which I find problematic: a dismissal of the Beats as a countercultural phenomenon rather than a literary movement, a tendency to frame Beat religion and spirituality in vague language, and a tendency to focus solely on Buddhism within the movement. My study illustrates that the Beat authors’ work contains serious religious and spiritual content, that they take part in American religious and literary traditions, and that the authors engage with major social issues of the post-war period.
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Beaulieu, Pierre-Luc. "Transgressing the last frontier : media culture, consumerism, and crises of self-definition in the works of Allen Ginsberg, Don DeLillo, and Chuck Palahniuk." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26630.
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Ce mémoire de maîtrise démontre la continuité du mythe de la frontière dans la littérature américaine produite après la Seconde Guerre mondiale et il identifie le concept d'hyperréalité de Jean Baudrillard en tant que nouvelle frontière américaine. L’hyperréalité désigne un monde produit par la simulation et le simulacre que la population perçoit comme étant réel. J’analyserai les poèmes « Howl » (1955), « A Supermarket in California » (1955) et « America » (1956) d'Allen Ginsberg ainsi que les romans Mao II de Don DeLillo (1991) et Survivor (1999) de Chuck Palahniuk afin d’expliquer de quelles manières chacune de ces œuvres dénonce le climat socio-culturel qui produit l’hyperréalité et comment, du même coup, celles-ci récupèrent des éléments du mythe de la frontière. L’organisation chronologique des chapitres me permet d’établir que l’hyperréalité a joué le rôle de nouvelle frontière dans la psyché américaine à partir des années 50 jusqu’à la fin des années 90. L’opposition dialectique entre un Ancien Monde corrompu et un Nouveau Monde utopique, un élément fondamental du mythe de la frontière, est au cœur de chacune des œuvres étudiées. De plus, dans chacune d'elles, le ou la protagoniste parvient à redéfinir le sens de sa réalité en traversant la frontière entre l’Ancien et le Nouveau Monde ce qui évoque la fonction d’autodétermination attachée à la frontière. L’argumentaire de ce mémoire repose sur la notion que l'hyperréalité correspond à l’Ancien Monde et que celle-ci voile l’existence possible d’un Nouveau Monde. Dans les œuvres de Ginsberg, DeLillo et Palahniuk que j’ai choisi d’analyser, la société américaine est assujettie à une hyperréalité qui est omniprésente. Dans cet Ancien Monde, la population s’identifie et se définie par rapport à des images et des produits à la fois fabriqués et célébrés par les médias et la culture de masse. Les protagonistes de ces auteurs s’opposent tous à l’idéologie conformiste et déshumanisante de la société de consommation. Je définis ce rejet comme une réactualisation du mythe de la frontière puisqu’il symbolise le passage entre un Vieux Monde hyperréel et un Nouveau Monde. Dans ce nouveau paradigme, les protagonistes de Ginsberg, DeLillo et Palahniuk sont en mesure d’affirmer leur individualité.This thesis demonstrates the persistence of frontier mythology in post-WWII American literature and identifies Jean Baudrillard’s concept of hyperreality as the new American frontier. Hyperreality designates a world fabricated through simulation and simulacra that people have accepted as real. Through close-reading analyses of Allen Ginsberg’s poems “Howl” (1955), “A Supermarket in California” (1955), and “America” (1956) as well as Don DeLillo’s Mao II (1991) and Chuck Palahniuk`s Survivor (1999), I explain how the critiques of the socio-cultural climate that produces hyperreality present in each of these works recuperate elements of frontier mythology. My chapter organization allows me to establish the persistence of hyperreality as the new frontier in American consciousness from the 1950s to the late 1990s. The dialectical opposition between a corrupt Old World and a utopian New World, which is fundamental to frontier mythology, is central in each the studied works. Also, in each of them, crossing the frontier between the Old and the New World allows the protagonist to re-define the meaning of his/her reality according to his/her vision, which is evocative of the empowering function the frontier. This thesis is founded upon the idea that hyperreality corresponds to the Old World and, as such, that it veils the existence of a possible New World. The American society depicted in Ginsberg’s, DeLillo’s, and Palahniuk’s chosen works is one where hyperreality is omnipresent; in this Old World, individuals identify with images and products both fabricated and celebrated by media and consumer cultures. These authors’ protagonists all oppose the conformist and dehumanizing ideology such cultures endorse. This thesis conceptualizes their rejection as a re-actualization of frontier mythology that symbolizes their passage from the hyperreal Old World to the New World. In this new paradigm, the protagonists can then re-define themselves and their realities based on their own self-determined visions and ideals rather than on those disseminated in media and consumer cultures.
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Pojprasat, Somboon. "The role and treatment of the mind in American Buddhist poetry as depicted in some poems by Gary Snyder, Allen Ginsberg and Philip Whalen." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685208.
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The fact that American Buddhist poetry has a broad programme of matters and styles is more bewildering than clarifying. Although not apparently contradictory, this genre presents so wide a range of salient Buddhist teachings, such as karma, suffering, impermanence, emptiness and selflessness. In fact, a reader is not only engaged in these various abstruse teachings which intrinsically defy intellectual logic, but is also attuned into the different unconventional poetic prosodies. It is thus even more challenging to understand these poems. In order to equip the reader with pertinent knowledge and deepen their understanding, the fust and foremost issue lies in what the defining characteristics of this diverse genre are. This study made a thorough investigation of prominent works by three notable American Buddhist poets, namely Gary Snyder, Allen Ginsberg and Phi lip Whalen, all of whom make a significant contribution to this genre, both thematically and stylistically. The study has revealed that, with regard to poetic content, the mind among the various teachings constitutes the most central theme, and it also functions as the common underpinning among the three poets. Their constant observation of the mind is always present in their verse. While some of their poems mainly describe. the various natures of the mind ranging from its being loose and turbulent to its being still and calm, the other poems suggest their penetration into the higher truths based upon the tranquil and wise mind. Correspondingly, as far as poetic styles are concerned, the natures of the mind are instrumental in shaping and ornamenting the poems. When the mind wanders aimlessly, the poem looks less controlled witnessed by the irregularity of, or sometimes sheer absence of, line length, meter, rhythm and rhyme. That is to say, the poem isjust as fluid and free as the unstable mind. On the contrary, once the mind is focused and powerful enough to see the truths by itself, the poets' transcendental experience is deliberately conveyed in a poetics of deep consciousness of which meaning and form renders a mood of calmness, purity and epiphany. The three poets demonstrate such a change even within a single poem through a conspicuous alteration of versification: wisdom is expressed, and strictly traditional stanzaic patterns and aureate diction are then chosen. This dynamism is also characteristic of American Buddhist poems.
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Alabdullah, Nada A. A. "The Beats: The Representation of a Battered Generation." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398678807.
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Perrot, Mathieu. "Poésie et ethnographie : des marges du surréalisme à la Beat Generation (autour de Michaux, Césaire et Ginsberg)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100060.
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L’ethnographie, dans la première moitié du XXe siècle, a influencé l’écriture des poètes surréalistes, ou proches du mouvement de Breton, et ceux de la Beat Generation. Comme les ethnographes, Michaux, Césaire et Ginsberg ont rejeté la tentation de l’exotisme, et ont tenté, chacun à leur façon, de décrire des phénomènes culturels, de chercher “l’âme” d’un peuple, et de “traduire le monde” par la poésie. Nourris de lectures ethnographiques, ils ont voyagé, utilisé des documents dans leurs journaux et leurs poèmes, et ils ont exploré des cultures différentes à partir des marges sociales. Inspirés par l’ethnographie, ils l’ont aussi parodiée, en montrant ses limites, ses ambitions et ses ambiguïtés, en proposant aussi des ethnographies imaginaires, satiriques, pour inventer d’autres mœurs, d’autres logiques, d’autres possibilités de vivre ensemble. En interrogeant les méthodes et les enjeux éthiques et politiques de l’ethnographie dans l’écriture des poètes, nous posons aussi la question de l’existence d’un genre littéraire : peut-on parler de “poésie ethnographique” ?That thesis examines the influence of anthropology on the poetics of Henri Michaux, Aimé Césaire and Allen Ginsberg. In studying their writing methods, I question their poetic insights and the limits of their observations to “translate a world” so far and different from “ours.” Surrealist and Beat poets shared common ethical and political views with many ethnographers, placing value on cultures (and cultural margins) often denigrated by industrialized western countries. Like ethnographers, poets work with metaphors and documents to interpret their experience and understanding of the world. Their interest in (and parodies of) ethnography not only propose a healthy way to criticize ethnographers’ ambitions, but also can help us understand each other’s cultures: poetic license and relative brevity of form sometimes reveal accurately or more vividly a cultural pattern that researchers struggle to explain. In the midst of an interconnected world where cultural misunderstandings escalate frequently and sometimes violently, poetry can help us gain or cultivate an awareness of social and cultural prejudice, and at the same time reveal the beauty in things once thought to be irrelevant, ignoble, or even despicable
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Matrau, Alice. "Peuples allemand et américain des années 1945-1960 : regards croisés entre poésie et photographie. Comment toucher le nerf d’une époque ? René Burri, Les Allemands ; Hans Magnus Enzensberger, Landessprache ; Robert Frank, Les Américains ; Allen Ginsberg, Howl and other poems." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030063.
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Dans une Allemagne détruite et divisée qui tente de faire face à son passé nazi, et dans une Amérique aux prises avec le maccarthysme et la guerre froide, quatre jeunes poètes et photographes scrutent les soubresauts de l’histoire. René Burri dans Les Allemands, Hans Magnus Enzensberger dans Landessprache, Robert Frank dans Les Américains, et Allen Ginsberg dans Howl and other poems se font les consciences de leur époque. Ils conçoivent leur pratique artistique comme l’exercice d’une essentielle critique face à un ordre social établi qui ne l’autorise guère. A travers mots et images, ils passent au crible la pensée dominante (« american way of life », « melting-pot », « miracle économique », « culpabilité collective ») et font saillir les paradoxes et apories qui la sous-tendent. Tant bien que mal, ils tentent de dessiner les contours d’une identité à la fois collective – celle d’un peuple – et individuelle – la leur, aux prises avec une société dans laquelle ils éprouvent toutes les difficultés à s’incarner. Ils trouvent appui auprès de figures littéraires, frères de révoltes contemporains ou passés, qui les accompagnent dans leur résistance. Chacun à leur manière, ils explorent de multiples voies/voix, réelles ou imaginaires, pour échapper aux formes d’enfermement et d’aliénation qui pèsent sur eux : itinérance, voyage, anarchie, utopie, drogue, folie, dédoublement poétique. A des degrés divers, leur geste poétique ou photographique se traduit en un geste phénoménologique qui s’abreuve d’images ou de sensations aiguisant la perception. C’est par ce geste, à la fois créateur et critique, qu’ils touchent au nerf de leur époqueFour young poets and photographers trawl through the troughs and peaks of history in a divided and destroyed Germany struggling to come to terms with its Nazi past and an America grappling with McCarthysm and the Cold War. René Burri in Les Allemands, Hans Magnus Enzensberger in Landessprache, Robert Frank in Les Américains, and Allen Ginsberg in Howl and other poems are the consciences of their time. They see their artistic activity as an essential criticism of a social order which only grudgingly allows them to do so. They thoroughly examine the prevailing opinion ("American way of life", "melting pot", "economic miracle", "collective responsibility") through their words and images and in doing so cast light on the paradoxes and aporiae that underline it. Somehow, they attempt to draw the outlines of an identity that is both collective – that of a people – and individual – their own, all the time battling against a society in which they have difficulty existing. They grasp at literary figures, rebellious brothers from the present or the past who give them comfort in their act of resistance. Each in his way explores several paths and voices – real or imaginary – in order to escape from the imprisonment and alienation that threatens him: wandering, traveling, anarchy, utopia, drug-use, madness or a poetical dual personality are all brought to bear. In various degrees their poetical or photographical gesture finds expression in a phenomenological gesture that feeds on living images and sensations that sharpen the sense of perception. It is with this critical gesture, at the same time both creative and critical, that they capture the spirit of their age
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Rumsey, Lacy Martin. "Rhythm & intonation in free verse form : an assessment of the contributions of phonetics, focus-to-accent theory and literary history to the understanding of nonmetrical poetry, with readings in the work of William Carlos Williams, Allen Ginsberg and Jack Kerouac." Thesis, King's College London (University of London), 2000. https://kclpure.kcl.ac.uk/portal/en/theses/rhythm-and-intonation-in-free-verse-form--an-assessment-of-the-contributions-of-phonetics-focustoaccent-theory-and-literary-history-to-the-understanding-of-nonmetrical-poetry-with-readings-in-the-work-of-william-carlos-williams-allen-ginsberg-and-ja(0a9e2904-206d-46ab-86da-8249cec90fc2).html.
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Dufourg, Frédéric. "Le voyage comme quête d'absolu chez quelques autres contemporains." Bordeaux 3, 1995. http://www.theses.fr/1995BOR30028.
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Des auteurs representatifs chacun d'une tendance et tous de la meme generation, francois-rene daillie, allen ginsberg, claude pelieu et kenneth white ecrivent des oeuvres ou le voyage tient une grande part. Si ces auteurs expriment des tendances distinctes, ils s'apparentent neanmoins par leurs influences en rejetant le rationalisme productiviste gerant notre vision de l'espace. Les oeuvres de certains refletent le malaise des annees 60 et 70 qui predispose au voyage et repandent des idees sur l'ecologie, la liberation sexuelle, sur la societe de consommation et critiquent une politique qu'ils disent spectaculaire et repressive,. Dans l'ensemble, ils montrent une societe qui genere, disent-ils, une mauvaise relation avec l'espace naturel et dont la guerre du viet-nam est l'illustration. Ces poetes possedent une perception globale d'un monde non-cloisonne. Ressentant une crise d'identite, ils se lancent alors dans une quete ontologique. La modernite, ressentie par certains comme une corruption, est rejetee en faveur de valeurs plus archaiques. Leur recherche d'un absolu se fait a travers des experiences avec des psychotropes mais aussi a travers l'ecriture, souvent influencee par le bouddhisme. Les poetes-voyageurs trouvent leur identite dans une osmose erotique avec le monde. L'investigation d'un nouvel espace les renvoie a eux-meme vers leurs experiences matricielles. Le voyage deviendrait un non-voyage s'il n'etait pas l'expression d'un desir d'alterite comme miroir. Le poete-voyageur est impressionne par un paysage quand celui-ci correspond a un espace anterieur qui aurait laisse des traces dans son psychisme. Le bonheur de l'espace n'existe donc qu'avec l'imagination ou le souvenir des sensations primordialesSome writers, each representative of a particular trend but all belonging to the same generation - francois-rene daillie, allen ginsberg, claude pelieu and kenneth white write works where travelling plays an important part. While these authors all express distinct trends, they have certain similarities through their influences and in that they reject the productivist rationalism which conditions our vision of space. The works of some of them reflect the feeling of ill-being of the sixties and seventies which predisposed to travelling, spread ideas on environnementalism, sexual liberation, the consumer society and criticize what they term spectacular and repressive policies. Altogether, they all depict a society generating, they say, bad relations with our natural environment, examplified by the vietnam war. These poets share a global perception of a non-compartimentalized world. Undergoing an identity crisis in their own countries, they set off on an ontological quest. Modernity, then felt by some as a form of corruption, is rejected for more archaic values. Their search for an absolute is carried out through the use of psychotrops but also through writing, often influenced by buddhism. The poet-traveller discovers his self in a sometimes erotic osmosis with the world. Investigating this new space makes them go back to their experiences of the womb. Travelling would be of no avail if it was not also the expression of a powerful desir for otherness, a mirror for the self. This is the price to pay for experiencing the enjoyment of space. The poet-traveller is impressed by a landscape when it corresponds to a former space that would have left traces in his mind. Therefore, the enjoyment of space can only occur through imagination or memories of primeval sensations
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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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Walker, Luke. "William Blake in the 1960s : counterculture and radical reception." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53244/.
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The study begins with an account of Blake, as voiced by Allen Ginsberg, taking part in a key Sixties anti-war protest, and goes on to examine some theoretical aspects of Blake's relationship with the Sixties. In Chapter One, I explore the relationship between ‘popular Blake', ‘academic Blake', and ‘countercultural Blake'. The chapter seeks to provide a revisionist account of the relationship between Blake's Sixties popularity and his earlier reception, suggesting that all three elements of Blake's Sixties reception – popular, academic and countercultural – have long been intertwined, and continue to interact in the Sixties themselves. In Chapters Two and Three, I focus in detail on Allen Ginsberg as a central figure not only in Blake's countercultural popularization, but also in the creation of Sixties counterculture itself. The first of these chapters, ‘Visionary Blake, Physical Blake, Psychedelic Blake', looks in detail at Ginsberg's 1948 ‘Blake vision' and the way Ginsberg later uses it to construct a Blakean narrative for the Sixties. I examine the significant differences between the versions of this event presented in Ginsberg's early poems and in his later prose and interview accounts, and Ginsberg's consequent attempts to develop a general theory of poetry in which the specific effects of Blake's poetry on the consciousness are compared to those of psychedelic drugs. Finally, I suggest that there are analogies between this ‘psychedelic' approach to Blake and the interest that Aldous Huxley had in using psychedelics to access Blake's own visionary state of consciousness. Chapter Three, ‘Ginsberg's Blakean Albion', analyses a selection of Ginsberg's poems, all linked to Blake's myth of Albion. I use these poems to examine the tensions present within the three-way relationship between Blake, Ginsberg and British counterculture. Particular attention is given to Ginsberg's poem ‘Wales Visitation' (1967), a work which I suggest is founded on the joint Romantic inheritance of Blake and Wordsworth, and which demonstrates the ways in which various strands of British Romanticism interact both within Ginsberg's poetry and within the broader Sixties counterculture. The final chapter of the study examines various aspects of the relationship between Blake and Bob Dylan, demonstrating the extent of Blake's influence on Dylan, but also tackling the surprisingly complicated and problematic question of the route(s) by which Blake arrives in Dylan's work.
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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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"Visões da América: A política Beat de Allen Ginsberg." Tese, Biblioteca Digital da PUC-SP, 2005. http://www.sapientia.pucsp.br//tde_busca/arquivo.php?codArquivo=1808.
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Kotze, Haidee. "Beat poetry and the twentieth century, Allen Ginsberg / Haidee Kotze." Thesis, 1999. http://hdl.handle.net/10394/16307.
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This dissertation investigates Allen Ginsberg's Beat poetry within the framework of twentieth-century literary developments, from modernism to postmodernism. It is argued that Beat writing is founded on a rejection of the detached, intellectual and formal nature of the high modernism which came to be institutionalised in the American literary practice of the 1950s. Beat poetry rejects this tradition in favour of an eclectic assemblage of ideas which may, either through direct influence or through parallel development, be linked to certain avant-garde modernist movements. All of these movements share assumptions which support and echo the personal and spiritual vision of Beat aesthetics, as well as its formal experimentation. This eclectic assemblage also involves the assimilation of the ideas of modernist movements often held to be in conflict, embodying opposing strains of modernism. This dynamic is illustrated by analysing the influence of two such opposing modernist influences on Ginsberg's Beat poetry, namely imagism and surrealism. Finally, it is argued that this double gesture of a rejection of the institutionalised form of high modernism and a simultaneous re-assessment of the avant-garde constitutes a crucial step in the development towards postmodernism. Together with the surfacing of postmodernist characteristics in Ginsberg's Beat poetry, this forms the basis for
the conclusion that Ginsberg's Beat poetry may be regarded as playing a transitional and initiating role in the literary evolution from modernism to postmodernism.Thesis (MA)--PU for CHE, 1999.
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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.
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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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Grenier, Philippe. "Le cri poétique : "Howl" d’Allen Ginsberg dans le contexte de la révolution Beat." Thèse, 2014. http://hdl.handle.net/1866/11964.
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Ce mémoire s’intéresse aux transformations littéraires et poétiques mises en œuvre par le mouvement de la Beat Generation au milieu du vingtième siècle en Amérique du Nord. En me penchant sur le recueil de poésie « Howl and Other Poems » du poète Allen Ginsberg, le texte emblématique de cette révolution littéraire, je montre comment le mouvement des Beats représente une transformation dans la tradition littéraire et poétique américaine, occidentale, en ce qui concerne à la fois la forme, les sujets abordés et la pratique d’écriture. Dans un premier temps, j’étudie l’histoire de ces changements en examinant la réception de « Howl », qui a bouleversé les attentes du milieu littéraire de l’époque à cause de son approche inclusive qui accueille tout dans la représentation. Mon deuxième chapitre se penche sur la vision du poète, la vision poétique. Je montre comment la perspective du poète face au monde change chez Ginsberg et les Beats. Au lieu de concevoir la transcendance, l’universel, comme quelque chose d’éloigné du particulier, comme le véhicule la tradition poétique occidentale, les Beats voient l’universel partout, dans tout. Enfin, je m’intéresse à la place du langage dans l’expression de cette nouvelle vision. J’observe comment Ginsberg et les Beats, en s’inspirant de la poésie de Walt Whitman, développent un langage spontané ne relevant plus de la maîtrise de soi.This study investigates the literary and poetic transformations set in motion by the Beat Generation literary movement in mid-twentieth-century North America. In focusing on "Howl and Other Poems" by the poet Allen Ginsberg, the iconic text of this literary revolution, I show how the Beats represent a transformation in the American and Western literary and poetic tradition, with regard to form, theme and writing practice. In the first place, I study the history of these changes by examining the reception of "Howl," which upset the expectations of the literary establishment of the time because of its approach that includes everything, without distinction, in the representation. My second chapter focuses on the poet’s point of view, the poetic vision. I show how the poet’s perspective vis-à-vis the world changes with Ginsberg and the Beats. Instead of conceiving transcendence, the universal, as something far-removed from the particular, as presupposed by the Western poetic tradition, the Beats see transcendence everywhere, in everything. Ultimately, I turn to the place of language in expressing this new vision. I observe how Ginsberg and the Beats, inspired by the poetry of Walt Whitman, develop a spontaneous language no longer emanating from self-mastery.
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Eliáš, Petr. "Jan Zábrana - překladatel a básník. Inspirace beatnckou poezií a její překlady." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-311126.
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The diploma thesis Jan Zábrana, translator and poet - translating poetry while inspired by it? examines the relationship between the original works of Jan Zábrana and his translations, taking into account the similar thematic and formal inclinations of all the authors and the sociocultural context, preventing Jan Zábrana from publishing his own poetry. Based on the analysis of three variants of Zábrana's poem collections Utkvělé černé ikony, Stránky z deníku and Samosoud and his translations of poems by Allen Ginsberg, Lawrence Ferlinghetti, Gregory Corso and Kenneth Patchen, the thesis aims at finding the tendencies and models present both in Zábrana's original poems and his translations.
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Jen, Chien Shu, and 錢淑真. "Postmodernism in Allen Ginsberg's Poetry." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/42764509557727369780.
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碩士中國文化大學
英國語文學研究所
88
ABSTRACT This thesis attempts to present and discuss the Postmodernism in the poetry of Allen Ginsberg (1926-1997) and his avant-garde poetics. These postmodern characteristics are reflected in the theories of twenty postmodern critics. Among the thirty postmodern characteristics of Allen Ginsberg’s poetry, eleven of them are deconstructive. The deconstructive postmodern characteristics include qualities that are indeterminate, discontinued, negative, exhausted and depthless; while the nineteen reconstructive ones include qualities that are ironic, mixed, calnivalized, acted, participated, constructed and inward adjusted. These characteristics appear in Allen Ginsberg’s poetry with various features; for example, the meretriciousness of Charles Newman, combined with Orientalism of Edward Said, becomes Chinese Zen and Japanese haiku in Ginsberg’s poetics and poetry. Ihab Hassan’s carnivalization gets complete freedom in Ginsberg’s drug poetry. Ginsberg is one of the major figures of the Beat generation. The term ‘Beat’ suggests the jazz improvisation, the notion of beatitude, and the standpoint of the rebellious hispster who is beaten, outcast, and alienated. Ginsberg’s confessional poetry represents a radical and anti-establishment consciousness. Howl is the poem that made Ginsberg famous on the birth night of San Francisco Renaissance in 1955. Another important long poem Kaddish, the name of Death, is an elegy for Ginsberg’s mother Naomi who had been tortured by insanity for almost her whole life. The topic of Chapter Two is the Resistance of Mainstream Ideology and Culture and Delegitamation of Knowledge. Paul Hoover sees Postmodernism as an ongoing process of resistance to mainstream ideology and culture (Hoover xxv). Jean-Francois Lyotard argues that the postmodern condition itself is characterized by the delegitimation of knowledge (Lyotard 189). Ginsberg has his own poetics. According to Jerome Mazzaro, self-definition is the feature of avant-garde art (Mazzaro viii). Linda Hutcheon also believes that Postmodernism takes the form of self-consciousness, self-contradictory, and self-undermining (Hutcheon 1-2). They support to identify all the postmodern characteristics of Ginsberg’s poetry listed in this chapter. There are four sections in this chapter, namely, Section 1. Challenging Literary Conventions, Section 2. Erasing Social Thought, Section 3. Opposition to Bourgeois Model of Consciousness, Section 4. Self-definition, Self-contradictory, and Self-undermining. Section 1 consists of five items, 1.) Resistance to East Coast Dominating Literary Tradition — San Francisco Renaissance, 2.) Disapproval of Composition via Attention and Familiarity — Spontaneous Approach, 3.) Refusal to Rigid Mechanic Form — Experimental Form, Oral Emphasis and American Idioms, Breath-conditioned Poetry and Long Lines, 4.) Violating the Ban of Obscenity — Homosexuality, 5.) Erasure of Meters and Rhymes — Jazz Sense of Measure and Improvisation. The topics of sections and items give a trace of content of this chapter. The main concern of Chapter Three is Indeterminacy and Depthlessness in Form and Material, together with Immanence, Carnivalization, Action and Participation, Collage and Pastiche. Ihab Hassan calls the Age of Postmodernism as the Age of Indeterminence, that is indeterminacy plus immance (Hassan 276). Ginsberg’s forms and materials are aleatory and improvised and are therefore indeterminate. His experimented forms are transformed, shapeless or even amorphous which Irving Howe used to described the society in 1950s (Howe 420). Ginsberg uses transgressive and personal materials. Antony Easthope and Kate McGowan mentioned ‘depthlessness’ in Postmodernism as an arguable point while Fredric Jameson sees ‘a new depthlessness’ as one of the constitutive features of the postmodernism(Jameson 317). ‘Depthlessness’ in form and material is perhaps a fatal weakness in Ginsberg’s Postmodernism. In the final chapter, Allen Ginsberg’s postmodern characteristics are discussed in three aspects as conclusion. First of all, two arguable points are presented — the author is not dead, and modernism is in postmodernism. Then, I pick out some idiosyncratic features and get to understand Ginsberg better. Finally, the merits and faults of Allen Ginsberg’s Postmodernism are discussed. The merits are critical attitude, the spirit of renewal, the courage to act, egalitarianism, drawing poetry closer to prose and to life, and the inward adjustment. The inward adjustment of immanence is at a premium as it values the present time, accepts the split selves, receives life without selectivity, claims popular arts and makes the Beats unbeaten. There are also faults in Allen Ginsberg’s postmodernism. Too much empty sign, exhaustion, no future, self-contradiction, and self-undermining altogether weigh upon my thinking. I can not but ask this question, “Where is the literature?”
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Longo, Maria Luisa. "L`India nell`immaginario occidentale." Thèse, 2010. http://hdl.handle.net/1866/4575.
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L`Inde a constitué un lieu de voyage pour beaucoup d`écrivains occidentaux, en particulier, pendant les années 60-70, pour cinq intelllectuels éuropéens et americains, qui ont voyagé et écrit différents textes. Pasolini, Moravia, Paz, Ginsberg et Duras ont parlé de l`Inde en utilisant différents languages pour décrire leur réncontre avec l`Autre au délà des catégories binaires occidentales.India in the 60 and 70 has been the destination of the journey of five European and American writers who have stayed and wrote about it. Pasolini, Moravia, Ginsberg, Paz and Duras wrote of India using different languages from the travel documents, to the notes, to the essay, to the diaries up to the cinematic language. They described their encounter with the Other trying to go over the exotic stereotypes of western discourse into a space opaque and fragmented.
L’India ha costituito negli anni sessanta e settanta la destinazione dela viaggio di cinque scrittori europei e american che vi hanno soggiornato e ne hanno scritto. Pasolini, Moravia, Ginsberg, Paz e Duras hanno scritto dell’India e sull’India usando linguaggi diversi che vanno dal racconto di viaggio agli appunti al diario al saggio fino ad arrivare al linguaggio cinematografico. Attraverso questi multiformi linguaggi essi descrivono il loro incontro con l’Altro andando al di là dello stereotipo e delle categorie binarie del pensiero occidentale, captando l’Altro attraverso un discorso che diventa opaco e frammentario.
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Longo, Maria Luisa. "L'India nell'immaginario occidentale." Thèse, 2010. http://hdl.handle.net/1866/4575.
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L'Inde a constitué un lieu de voyage pour beaucoup d`écrivains occidentaux, en particulier, pendant les années 60-70, pour cinq intelllectuels éuropéens et americains, qui ont voyagé et écrit différents textes. Pasolini, Moravia, Paz, Ginsberg et Duras ont parlé de l'Inde en utilisant différents languages pour décrire leur réncontre avec l'Autre au délà des catégories binaires occidentales.India in the 60 and 70 has been the destination of the journey of five European and American writers who have stayed and wrote about it. Pasolini, Moravia, Ginsberg, Paz and Duras wrote of India using different languages from the travel documents, to the notes, to the essay, to the diaries up to the cinematic language. They described their encounter with the Other trying to go over the exotic stereotypes of western discourse into a space opaque and fragmented.
L’India ha costituito negli anni sessanta e settanta la destinazione dela viaggio di cinque scrittori europei e american che vi hanno soggiornato e ne hanno scritto. Pasolini, Moravia, Ginsberg, Paz e Duras hanno scritto dell’India e sull’India usando linguaggi diversi che vanno dal racconto di viaggio agli appunti al diario al saggio fino ad arrivare al linguaggio cinematografico. Attraverso questi multiformi linguaggi essi descrivono il loro incontro con l’Altro andando al di là dello stereotipo e delle categorie binarie del pensiero occidentale, captando l’Altro attraverso un discorso che diventa opaco e frammentario.