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Relevant bibliographies by topics / Beat, generation, Jack, Kerouac

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Academic literature on the topic 'Beat, generation, Jack, Kerouac'

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Published: 24 April 2022

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Journal articles on the topic "Beat, generation, Jack, Kerouac"

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Amjad, Fazel Asadi, Kamran Ahmadgoli, and Saman Sadr. "Representing the Zeitgeist: A Foucauldian Reading of Jack Kerouac’s The Subterraneans." International Journal of Linguistics, Literature and Translation 3, no. 10 (October 30, 2020): 148–54. http://dx.doi.org/10.32996/ijllt.2020.3.10.17.

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This study is an attempt at reading Jack Kerouac’s “The Subterraneans” in the light of the theory of Michel Foucault. “The Subterraneans”, written in 1958, grapples with the life of Leo, the alter ego of Jack Kerouac himself. The actions and interactions of its main characters, Leo Percepied and Mardou Fox, are observed and analyzed, focusing on the political philosophy of Foucault, specifically his conceptions of power, power relations, institutions, and surveillance to shed light on the ideas of Kerouac, the spokesperson of the Beat Generation. Kerouac’s novel represents the spirit of the age of a people who sought change, difference, and disobedience; the main characters are antiheroes who challenge their prisonlike structure of the society. In contrast, the government has the upper hand by means of its distinct and overlapping institutions that not only neutralize such acts or resistances but make normal and ordinary those individuals who were themselves the promoters and examples of abnormality. Jack Kerouac’s “The Subterraneans” is characterized by unfreedom, obedience, unthinking men, individuals without individuality, and disillusionment.

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Costa, Marco Antônio Margarido. "Um painel sobre as obras de Jack Kerouac traduzidas no Brasil na década de 1980." Tradterm 12 (December 18, 2006): 247. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2006.46742.

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O objetivo do presente texto é analisar uma seleta da fortuna crítica de obras de Jack Kerouac (1922-1969) traduzidas no Brasil, na década de 1980. A saber: <em>On the road: pé na estrada, Os subterrâneos, Viajante solitário, O livro dos sonhos </em>e <em>Big Sur. </em>Resultado da pesquisa em fontes primárias, esta análise faz parte da nossa dissertação de mestrado, que, além de fornecer e analisar essa seleta, buscou mostrar o primeiro momento da recepção da obra de Jack Kerouac no Brasil, reconstituir a polêmica gerada acerca das publicações dos textos <em>beat</em> no Brasil e revelar alguns escritores brasileiros que foram influenciados pelos artistas da <em>beat generation</em>, movimento literário norte-americano ocorrido nos anos 1950, ao qual Jack Kerouac pertenceu. O presente artigo mostra, a partir de algumas críticas – ou da relação entre elas –, como Kerouac foi visto no Brasil via tradução, fornecendo assim um painel sobre sua recepção, avaliando o tratamento que lhe foi dado e reconstituindo uma visão do espaço que ocupou na imprensa brasileira.

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Hopkins, David. "To Be or Not to Bop: Jack Kerouac's On The Road and the culture of bebop and rhythm 'n' blues." Popular Music 24, no. 2 (May 2005): 279–86. http://dx.doi.org/10.1017/s0261143005000474.

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The appearance of On the Road in 1957 signalled the emergence of a new movement in American literature, soon to be called the Beat Generation (Kerouac 1957). Along with Allen Ginsberg's ‘Howl’ of 1956, Kerouac's work brought a new awareness of an intellectual counter-culture bubbling under the conservative surface of 1950s America. The content of these writers' poetry and prose, with its open and honest depiction of hetero-, homo-, and bisexual activity, drug abuse, petty crime, and social deviance was enough to create a sensation, but it is the style that gives the works their permanence and interest today. Kerouac himself used the term ‘bop prose’ to describe his efforts to reform fiction along the lines of avant-garde jazz, where immediacy of expression and technical fluency combine to open new possibilities, supposedly not present in more traditional methods of composition.

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Holton, Robert. "BROTHER SOULS: JOHN CLELLON HOLMES, JACK KEROUAC, AND THE BEAT GENERATION." Resources for American Literary Study 35, no. 1 (January 1, 2010): 406–9. http://dx.doi.org/10.2307/resoamerlitestud.35.2010.0406.

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Allamand, Carole. "La voix du paradis. La québécitude de Jack Kerouac." Études françaises 40, no. 1 (June 21, 2004): 131–48. http://dx.doi.org/10.7202/008480ar.

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Résumé Après avoir examiné la querelle qui suivit la revendication, par certains, de Jack Kerouac comme auteur québécois, notre article propose une relecture de deux de ses romans — Sur la route (1957) et Visions de Gérard (1958) — qui rattache au mysticisme catholique et au messianisme du « Québec d’en bas », aussi bien qu’à la perte précoce d’un frère, des faits textuels communément imputés à l’idéologie naissante de la « Beat Generation ». C’est le sens du plus célèbre road trip des lettres du xxe siècle que nous voudrions en effet revoir ici, afin de montrer que la trajectoire de l’écriture de Sur la route n’est pas tant le Sud-Ouest que le Nord-Est, c’est-à-dire le Petit Canada de l’enfance de Kerouac et surtout de Gérard, dont la voix française (Gérard ne parlait pas l’anglais !) semble avoir guidé Jack le long de sa route poétique.

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Prothero, Stephen. "On the Holy Road: The Beat Movement as Spiritual Protest." Harvard Theological Review 84, no. 2 (April 1991): 205–22. http://dx.doi.org/10.1017/s0017816000008166.

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For the beat generation of the 1940s and 1950s, dissertation time is here. Magazine and newspaper critics have gotten in their jabs. Now scholars are starting to analyze the literature and legacy of the beat writers. In the last few years biographers have lined up to interpret the lives of Jack Kerouac, Allen Ginsberg, and William Burroughs, and publishers have rushed into print a host of beat journals, letters, memoirs, and anthologies. The most recent Dictionary of Literary Biography devotes two large volumes to sixty-seven beat writers, including Neal Cassady, Herbert Huncke, Gary Snyder, Gregory Corso, John Clellon Holmes, Lawrence Ferlinghetti, Philip Lamantia, Peter Orlovsky, Michael McClure, and Philip Whalen.

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Jensen, Mikkel. "Miss(ed) Generation: Douglas Coupland’s Miss Wyoming." Culture Unbound 3, no. 3 (December 21, 2011): 455–74. http://dx.doi.org/10.3384/cu.2000.1525.113455.

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This article presents a reading of Douglas Coupland’s 2000 novel Miss Wyoming. Long before this novel was published Coupland had denounced the Generation X phenomena he had started in the early nineties, and this article examines Miss Wyoming’s intertextual references to Jack Kerouac as a representative of the Beat generation, which was the previous self-labeled literary generation in North America before the Generation X of the 1990s. Taking this relationship as a point of departure, the article also explores the novel’s relationship with the Bildungsroman, and it is suggested that the novel portrays communicative and emotional immaturity especially in relation to ideas of postmodernism and irony.

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Engel, Dave. "Jack Kerouac: Novelist of the Beat Generation by Warren French, and: The Spontaneous Poetics of Jack Kerouac: A Study of the Fiction by Regina Weinreich." Western American Literature 22, no. 3 (1987): 258–59. http://dx.doi.org/10.1353/wal.1987.0096.

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Grewe-Volpp, Christa. "Raj Chandarlapaty,The Beat Generation and Counter Culture: Paul Bowels, William S. Borroughs, Jack Kerouac." Anglia - Zeitschrift für englische Philologie 129, no. 3-4 (December 2011): 550–53. http://dx.doi.org/10.1515/angl.2011.047.

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Nelson, Paul. "Projective Verse: The Spiritual Legacy of the Beat Generation." Humanities 7, no. 4 (October 22, 2018): 102. http://dx.doi.org/10.3390/h7040102.

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Allen Ginsberg’s poetry, poetics or cultural activism; Jack Kerouac’s prose, poetry and his method of composition; Gary Snyder’s environmental and Buddhist consciousness and bioregional ethos, or the opening made by the Beats for Eastern spirituality in the west are of intrinsic value and will be for generations, this paper seeks to posit that it is Michael McClure’s use of Projective Verse, that future generations of writers and readers will come to appreciate as that movement’s spiritual legacy.

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Dissertations / Theses on the topic "Beat, generation, Jack, Kerouac"

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Köhne, Karin. "La vie est d'hommage : Autobiographie und Fiktion, Tradition und Avantgarde im Erzählwerk Jack Kerouacs /." Würzburg : Königshausen & Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb391474890.

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Jenkins, Barry S. "Jack Kerouac and the "Beat" sect of American Zen Buddhism /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ34189.pdf.

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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 postmodernite
Jack 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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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 prix
The 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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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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Marculet, Stefan. "On the road di Jack Kerouac: analisi delle due traduzioni italiane." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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Il seguente elaborato presenta l’analisi delle traduzioni italiane del romanzo “On the road” di Jack Kerouac, in particolare dei capitoli 12 e 13 della prima parte del libro. Dopo una breve introduzione all’autore e alla Beat Generation, viene esaminata la ricezione dell’opera negli Stati Uniti e in Italia. Nel capitolo seguente vengono analizzate le scelte traduttive delle due versioni italiane, con particolare attenzione alle strategie source/target-oriented e alle tecniche di revisione. Le due versioni italiane vengono confrontate sia con l’originale, sia tra di loro concentrandosi sulla traduzione dei nomi propri, dei realia, del turpiloquio e sull’uso delle note del traduttore..

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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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Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2017-09-14T18:59:12Z No. of bitstreams: 1 Samir_Carvalho2017.pdf: 1168334 bytes, checksum: c557cbab9c0e473faea9ae923a224291 (MD5)
Made available in DSpace on 2017-09-14T18:59:12Z (GMT). No. of bitstreams: 1 Samir_Carvalho2017.pdf: 1168334 bytes, checksum: c557cbab9c0e473faea9ae923a224291 (MD5) Previous issue date: 2017-03-20
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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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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Ortéga, Julien. "Libérer l'écriture : le projet de la Beat Generation." Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0020/document.

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La littérature américaine est en mouvement constant. Elle cherche des pistes, des issues et des histoires évoquant ou transgressant la réalité. Depuis l’arrivée des premiers colons, l’influence des auteurs européens ne s’est jamais démentie sur les futurs natifs d’une terre en pleine expansion. Progressivement voué à l’exploration et à la découverte de l’intériorité de l’homme, l’auteur décrit les multiples évolutions métamorphosant la terre et les consciences. S’affranchir des lieux communs afin de s’approcher au plus près du mythe ultime – à savoir le « Grand Roman américain » – est une manière pour les écrivains du Nouveau Monde d’entrer dans la légende en s’appropriant le langage. Grâce à Jack London et la Beat Generation, écrire est synonyme de témoignage, la langue étant perpétuellement à réinventer. Libérer l’écriture de ses entraves est bien plus qu’un simple projet, c’est en quelque sorte un moyen d’émanciper la page. Du voyage clandestin dans les wagons de marchandises à la glorification du verbe neuf, la route tient toute ses promesses
American literature is a constant flux. It is looking for new paths, exits and stories evoking or transgressing reality. Since the arrival of the first settlers, the influence of European authors on the future natives of this always-expanding country has never waned. As he progressively devoted himself to the discovery and exploration of the interiority of Man, the author has described the multiple evolutions which transformed both the land and the minds. Freeing oneself from commonplace ideas in order to get closer to the ultimate myth – that is, the “Great American Novel” – is a way for the writers of the New World to go down in history by taking full ownership of the language itself. Thanks to Jack London and the Beat Generation, writing has become a byword for testimony, as the language has continuously been reinvented. Freeing writing from its shackles is much more than a simple project, it is a way to liberate the novel. From illegal trips in freight cars to the glorification of a new Word, the road has kept all its promises

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Ekstrand, Julian. ""A Nakedness of Mind": Gender, Individualism and Collectivism in Jack Kerouac's On the Road." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100041.

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This essay focuses on gender roles, individualism and collectivism in Jack Kerouac’s classic road-trip novel On the Road. In order to put the discussion into a meaningful context, I look at the novel from a historical perspective and examine how it relates to post-war American society. I argue that the novel is, in many ways, representative of a society existing in a field of tension between individualism and collectivism, and that its notion of individual freedom, at the time revolutionary, can be seen as retrogressive with regard to the book’s portrayal and treatment of women. The essay features a discussion of what kind of individual freedom is presented in On the Road and how this freedom relates to typical American individualism as well as American post-war societal norms, the norm of the nuclear family in particular. This is followed by a brief analysis of how the novel influenced future generations, specifically in terms of sexual liberation. This analysis introduces a discussion of the way in which women are portrayed in the book and how this portrayal both represents collective progress in post- war America—women are often described as financially independent—and a phallocentric type of individualism. I then show that this individualism is connected to an unthinking optimism which, I argue, is one of the key causes of the retrogressive view of women exemplified by the book. My study ultimately demonstrates that the novel’s notion of individualism—an individualism which was highly influential for future generations and is usually viewed as progressive—can arguably be seen as retrogressive in terms of Kerouac's representation of gender roles.

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Books on the topic "Beat, generation, Jack, Kerouac"

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McKee, Jenn. Jack Kerouac. Philadelphia: Chelsea House Publishers, 2004.

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Kerouac, Jack. The portable Jack Kerouac. New York, N.Y., U.S.A: Viking, 1995.

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Kerouac, Jack. The portable Jack Kerouac. New York, N.Y., U.S.A: Viking, 1995.

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Kerouac, Jack. The portable Jack Kerouac. New York, N.Y: Penguin Books, 1996.

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Kerouac, Jack. The portable Jack Kerouac. New York, N.Y: Penguin Books, 2007.

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Behnke, Alison. Jack Kerouac. Minneapolis, MN: Twenty-First Century Books, 2007.

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Dittman, Michael J. Jack Kerouac: A biography. Westport, Conn: Greenwood Press, 2004.

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Tom, Clark. Kerouac's last word: Jack Kerouac in Escapade. Sudbury, Mass: Water Row Press, 1986.

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Understanding Jack Kerouac. Columbia: University of South Carolina Press, 2000.

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Pasquereau, Daniel. Tombeau de Jack Kerouac. Paris: L'Incertain, 1994.

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Book chapters on the topic "Beat, generation, Jack, Kerouac"

1

Melehy, Hassan. "Jack Kerouac and the Nomadic Cartographies of Exile." In The Transnational Beat Generation, 31–50. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137014498_3.

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2

Quinn, Richard. "Jack Kerouac, Charlie Parker, and the Poetics of Beat Improvisation." In Reconstructing the Beats, 151–67. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9781403982100_11.

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3

Daw, Sarah. "The Beat Ecologies of Allen Ginsberg and Jack Kerouac." In Writing Nature in Cold War American Literature, 129–68. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430029.003.0005.

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Chapter Four develops the previous chapter’s investigation into the substantial influence of translated Chinese and Japanese philosophical writing on presentations of an ecological Nature in Cold War American literature. However, it differs in its countercultural focus, exploring the influence of Americanised translations of Chinese and Japanese literature and philosophy on the work of the Beat Generation writers Allen Ginsberg and Jack Kerouac. Ginsberg and Kerouac’s extensive correspondence reveals the two writers’ developing interest in Taoist and Zen Buddhist thought, and their co-development of their own Americanised and highly inauthentic ‘Beat Zen’, which was heavily influenced by Dwight Goddard’s A Buddhist Bible (1932). Taking these letters as its starting point, the chapter reveals that translated Taoism and Zen Buddhism informed each writer’s ecological depictions of the human relationship to Nature in some of their most famous contributions to Beat literature, including Kerouac’s The Dharma Bums (1958) and Ginsberg’s “Howl” (1956).

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4

Lawlor, William. "Were Jack Kerouac, Allen Ginsberg, and William S. Burroughs a Generation?" In The Cambridge Companion to the Beats, 23–35. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316877067.002.

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5

Gosetti-Ferencei, Jennifer Anna. "Into One’s Own, or on “Finding” Oneself." In On Being and Becoming, 216–25. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913656.003.0015.

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This chapter takes up the popular notion of finding oneself, thematized in literature from the nineteenth-century Bildungsroman to the fiction of Jack Kerouac of the beat generation and the poetry of Robert Frost. It considers Socrates’s call to “know thyself” in light of existentialist criticism. It considers especially Sartre’s criticism of the idea of the self as an inner core or essence that determines who we are, and that could be thought to be “found” in self-seeking. It examines Nietzsche’s notion of self-becoming and the phenomenological rendering of the self as transcendence toward possibility.

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Tierney, Dolores. "Revolutionary Road Movies: Walter Salles’ Diarios De Motocicleta (Motorcycle Diaries 2004) and On The Road (2012)." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0008.

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This chapter explores how Walter Salles’ Diarios de motocicleta and On the Road use road movie conventions to forward their political agendas. It establishes the interconnectedness of the near contemporaneous journeys recounted in the two films by Cuban revolutionary Ernesto ‘Che’ Guevara and author of the seminal novel On the Road (1957) Jack Kerouac and how these are linked to the genesis of the road movie genre. It goes on to analyse how both films use the political strategies of the road movie (rebellion) to (re)explore and update the beginnings of the interconnected social, cultural and political revolutions (the Cuban Revolution, the Beat Generation and their links to the counter culture in the United States). In keeping with the broader aims of the book, this chapter is also about defending the political potential of the genre film and how it is used to address rather than ‘gloss over’ the political history of the continent.

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7

Hemmer, Kurt. "Jack Kerouac and the Beat Novel." In The Cambridge Companion to the Beats, 110–22. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316877067.008.

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8

Coupe, Laurence. "‘Go moan for man’: Jack Kerouac and the beatific vision." In Beat Sound, Beat Vision, 56–76. Manchester University Press, 2012. http://dx.doi.org/10.7228/manchester/9780719071126.003.0003.

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9

Coupe, Laurence. "‘Vision music’: Bob Dylan via Jack Kerouac and Allen Ginsberg." In Beat Sound, Beat Vision, 79–118. Manchester University Press, 2012. http://dx.doi.org/10.7228/manchester/9780719071126.003.0004.

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10

"Bibliographie sélective." In Kerouac et la Beat Generation, 295–310. Presses Universitaires de France, 2012. http://dx.doi.org/10.3917/puf.duval.2012.01.0295.

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