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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 postmoderniteJack Kerouac's experiment of vriting is connected with wandering. Within american writers'tradition, kerouac gets through u. S. A. From east to west, and so physically to recover pioneer's mind. As an american writer, he is induced to re-think and make actual every myth of the time when space was free. Most of his readers has only read his best-seller "on the road" and just know this dimension. This thesis offers on unknown prospect of his work. Kerouac gives evidence it is nowadays completely impossible to be a "real" american man. But writing about this topic does not mean repeating the first commercial success. At the present time, the writer wanders about in the ghostly usa, haunted with remorses as he goes on writing, which means telling lies. Dialectics of motion (journey, truth) and of immobility (writing, lie) is therefore the key of this "wild parade" kerouac is describing us in his novels. As regard the formal aspect, kerouac's work may be considered as an open system. The experiment of wandering gives it periodically sense. This work is unable to be hardened to a definite style, and then foretells postmodernity which is characterized by the crisis of statements
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Pellerin, Pierre-Antoine. "La performance autobiographique et les masques du masculin dans la légende de Duluoz de Jack Kerouac (1947-1965)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030167.
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Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prixThe first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask
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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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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 promessesAmerican 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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com, johnstubley@yahoo, and John Stubley. ""the lonely and the road (novel) Whats your road, man?: my experiences with the life and work of Jack Kerouac in relation to the development of the lonely and the road (exegesis)." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20081210.120038.
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Thirty thousand feet above the Pacific Oceansomewhere between Sydney and Los Angelesthe narrator of the lonely and the road doesnt really know where he is going, or why. His is a quest written spontaneouslyon-the-go. It is a journey of uncertain motivation, of uncertain means, towards uncertain ends. From Los Angeles, to Vegas, to the Rocky Mountain states and beyond, the narrator travels with and learns from his friends, his family and even his ex-girlfriend as he searches for that which continues to elude him. But what is that exactly? Does it even exist?
While the novel details a journey, the exegesis is a phenomenological account of the intersecting of my road with that taken by Jack Kerouac. It explores my experiences with the life and work of Kerouacthe creator of spontaneous prosein relation to the development of my writing, up to and including this novel. In doing so, the exegesis is itself a quest that seeks to understand more fully the essence of Kerouacs and my own representation of the quest motif in content and in form. Both the exegesis and the novel, then, constitute part of the search for my own artistic road, and aim to assist others in search of theirs.
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King, Jeffrey Warren. "On the Road from Melville to Postmodernism: The Case for Kerouac's Canonization." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1921.
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With the publication of On the Road in 1957, Jack Kerouac became a cultural phenomenon. Crowned the "King" of the Beat Generation, Kerouac embodied the restlessness of Cold War-era America. What no one realized at the time, however, was that the movement that he supposedly led went against Kerouac's own beliefs. Rather than rebellion, Kerouac wanted to write in a way that no one had written before. Heavily influenced by, among others, Mark Twain, Fyodor Dostoevsky, Marcel Proust, Herman Melville, and, especially, James Joyce, Kerouac used the influence of his predecessors to formulate his own style of writing-spontaneous prose. The critics who label Kerouac as a cultural icon akin to James Dean fail to see Kerouac as a serious author. The removal of the cultural fanfare surrounding Kerouac shows the truth about his writing, his influences, and his influence on late-twentieth century literature, including the entire postmodern movement.
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Domingues, Maria Izabel Velazquez. "The role of the "flâneur" in Jack Kerouac's novel On the Road." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/14983.
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Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração.This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.
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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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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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Silva, Junior Sávio Augusto Lopes da. "Contracultura e contramemória em Os Subterrâneos, de Jack Kerouac." reponame:Repositório Institucional da UFOP, 2014. http://www.repositorio.ufop.br/handle/123456789/3928.
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Programa de Pós-Graduação em Letras. Departamento de Letras, Instituto de Ciências Humanas e Sociais, Universidade Federal de Ouro Preto.Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2014-10-09T18:55:21Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ContraculturaContramemóriaSubterrâneos.pdf: 1997006 bytes, checksum: 1537466225a27e713a232e9703aae537 (MD5)
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Este trabalho pretende analisar a obra literária Os subterrâneos, do autor norte-americano Jack Kerouac, tendo como base os termos contramemória e contracultura. A expressão contramemória foi cunhada por Aleida Assmann (2011), que observa a forma como a literatura constrói uma memória formada a partir de descartes dos arquivos da cultura oficial. Estes descartes nos remetem ao bebop, estilo de jazz muito presente na obra analisada e famoso por sua agilidade que destoa do jazz comercial. A corrente bebop, por muito tempo, foi apreciada por um público muito específico, criando assim uma forma de contracultura. O termo contracultura – cunhado por Theodore Roszak (1972) e, posteriormente, apropriado por diversas manifestações culturais – define culturas que vivem às margens da sociedade e que se opõem à cultura dominante, tida como opressora. O romance Os subterrâneos, publicado pela primeira vez em 1958, trata do envolvimento do narrador Leo Percepeid – codinome de Jack Kerouac – e Mardou Fox, integrante genuina da cultura do bebop jazz, marginalizada e de origens afro-americana. Em meio ao cenário boêmio de North Beach em São Francisco, Percepeid permeia uma cultura que lhe é estranha, visto que este é integrante da classe media branca norte-americana. As diferenças sociais e culturais do casal criam uma constante tensão, relacionada à marginalização vivida por Mardou Fox e a cultura a qual ela faz parte. Este trabalho também busca resgatar parte da herança literária de Jack Kerouac para observar a forma como o cânone se mistura à contracultura presente em seu romance. Acredita-se que essa mistura entre alta cultura e marginalização busque legitimar a contracultura, expandindo o cânone literário e inserindo-a no arquivo da contramemória. ____________________________________________________________________________________________
ABSTRACT: This study aims to analyze the literary work The Subterraneans, by the North American writer Jack Kerouac, basing on the terms countermemory and counterculture. The expression countermemory was coined by Aleida Assmann (2011), who observes how literature builds a memory containing discharges from the official culture archives. These discharges refer to bebop, a jazz style known by its agility that differs from commercial jazz and that was, for a long period, appreciated by a restrained public, so that created a counterculture form. The term counterculture – coined by Theodore Roszak (1972) and, later, suited to many culture expressions – defines cultures that exist at the margins of society and that are against the dominant culture, seen as oppressive. The novel The Subterraneans was published for the first time in 1958 and deals with the entanglement of the narrator Leo Percepeid – Jack Kerouac’s alias – and Mardou Fox, a genuine member of bebop jazz culture, marginalized and Afro-American rooted. Surrounded by the bohemian scenario of North Beach, San Francisco, Percepeid introduces himself in a culture that is strange to him, as he belongs to a North American white middle class. The couple’s social and cultural differences create a constant tension, related to Mardou Fox’s culture and marginalized lifestyle. This work also seeks to explore part of the literary heritage in Jack Kerouac and observe the way that the literary canon meddles to the counterculture. It is considered that the mixing of high and marginalized cultures aims to legitimate the counterculture, as it expands the literary canon and insert it in the countermemory archive.
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Chandarlapaty, Raj. "Kerouac, Ginsberg, Snyder: The beat generation reconsidered as postmodern literature." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/2105.
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The purpose of this thesis paper is to uncover how the major writers of the Beat Generation-Kerouac, Ginsberg, and Snyder-reflect the coming of postmodern literary theory and aesthetic principles and values. The Beats, far from being the sole territory of modernist discourse, are indications of the dismantling of cultural barriers and the introduction of postmodern commercial and visual culture into literary reality.
The paper considers and establishes the writing of the Beats within eight ideals that are found in postmodern literature, visual arts, and theory: the concept of culture as a commodity, the deterritorialization of culture, historicizing the past into the present, decentering American hegemony, deconstructing the “bourgeois ego”, deconstructing “otherness”, muti-imagistic qualities, and “schizophrenia”.
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Meyberg, Maíra Alcantara. "Movendo-se pelas estradas: a formação errante de Jack Kerouac." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7926.
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A proposta deste trabalho é analisar o romance On the Road, do escritor Beat Jack Kerouac em diálogo com a tradição da Literatura de Viagem. O estudo baseia-se em duas perspectivas em especial: a escrita de si e a escrita do outro. No que diz respeito a esta última, observamos os tons etnográficos e historiográficos que aparecem no romance e remetem à tradição. No que tange a escrita de si, observamos como a obra se comporta em relação ao caráter de Romance de Formação muito comum em relatos de viagem. Por conclusão, sugerimos que a obra por vezes dá continuidade, por vezes rompe com essas vertentes. On the Road e seu autor estariam, portanto, sempre em movimentoThis studys aim is to analyze the novel On the Road, by the Beat writer Jack Kerouac, in relation to Travel Literature tradition. The study is based in two specific perspectives: self-writing and writing about the Other. Concerning the latter, we focused on the nuances of ethnography and historiography that show up in the novel and might be linked to the tradition. About self-writing, we analyze the novels relation to the concept of Novel of Development, very common in travel writing. As a conclusion, we suggest that the book either follows the trends, or rebels, depending on the point of view. On the Road and its author could be considered, therefore, always on the move
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Jäderlund, Christer. "The Beat Goes On : Discourse, Power and Identity in Jack Kerouac’s On the Road." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7226.
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McClay, Emily. "Parker, Kerouac, and Innovative Sound: The Rhythms of Bebop in Beat Writing." Wittenberg University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1242756894.
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Okun, Kirsten. "Unbegrenzte Möglichkeiten : Brinkmann, Burroughs, Kerouac : Sexualität, Geschlecht, Körper und Transgression als Subversion dualistischer Denkmuster /." Bielefeld : Aisthesis Verl, 2005. http://catalogue.bnf.fr/ark:/12148/cb39282937x.
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Diss.--Kiel--Christian-Albrechts-Universität, 2003. Titre de soutenance : Ästhetik der Grenzüberschreitung als Subversion dualistischer Denkmuster : die Amerikanisierung der deutschen Literatur durch die Beat-Generation.Bibliogr. p. 305-326.
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Santos, Maria Clara Dunck. "A contracultura do segundo pós-guerra : um estudo comparativo entre a poesia marginal de Jack Kerouac e Nicolas Behr." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/11957.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-23T15:21:29Z No. of bitstreams: 1 2012_MariaClaraDunckSantos.pdf: 1250114 bytes, checksum: c70afeb1a3da1650be18661c835f0eb8 (MD5)
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O advento da Segunda Guerra Mundial trouxe consigo grandes mudanças no cenário artístico global. Para a compreensão da literatura produzida nesse período, é necessário tratar da Contracultura, um movimento contestador que faz oposição à cultura dominante. Esta, de caráter conservador e elitista, serve à indústria cultural, como um importante veículo de propagação e manutenção do establishment. Apesar de apoiada por uma minoria, a Contracultura é fundamental para a compreensão da literatura contemporânea, visto que, ao se popularizar, contribuiu para a formação da dominante cultural do século XXI: a pós-modernidade. Este estudo compara duas literaturas contraculturais: uma norte-americana da década de 1950, conhecida como geração beat, e outra brasileira da década de 1970, chamada de geração mimeógrafo. Afirma-se que a brasileira é epígona da norte-americana. E para contrapor tal assertiva, esta pesquisa vale-se da Teoria dos Polissistemas, aliada à análise semiótica da poética de Jack Kerouac, no caso da geração beat, e da poética de Nicolas Behr, da geração mimeógrafo. ______________________________________________________________________________ ABSTRACT
The advent of Second World War brought relevant changes in the global art scene. For understanding the literature produced during this period, it is necessary to study the Counterculture, a movement that opposes to the dominant culture, which serves the Culture Industry as an important vehicle for the propagation and maintenance of the conservative and elitist establishment. Although the Counterculture is supported by a minority, it is fundamental to the understanding of contemporary literature because its posterior popularity contributed to the formation of the dominant culture of the twenty-first century: the postmodernity. This study compares two countercultural literatures: an American in the 1950s, known as the Beat Generation, and another, Brazilian, in the 1970s, called geração mimeógrafo. It is said that the Brazilian counterculture literature is an epigone to the U.S. To prove this assertion, this research uses the Theory Polysystem allied to a semiotic analysis of the poetry of Jack Kerouac, in the case of the Beat Generation, and the poetry of Nicolas Behr, of the geração mimeógrafo.
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Painter, Holly. "Wanderlust : a poetry collection : a thesis submitted to the University of Canterbury in partial fulfilment of the requirements for the degree of Master of Fine Arts in Creating Writing /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/2743.
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Sawczuk, Tomasz. "A Reading of Selected Works by Jack Kerouac: The Lacanian Perspective." Phd thesis, 2017. http://hdl.handle.net/11320/5765.
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The thesis is a modest attempt to bring close the apparently incompatible worlds of the Beat Generation writer, Jack Kerouac, and the French psychoanalyst, Jacques Lacan, with a view to finding points of convergence between the standpoints which at first glance could be easily recognized as mutually exclusive. The existing body of Kerouac studies already includes the use of psychoanalytic theories, which is as much beneficial as problematic. Having adopted classical Freudian way of psychoanalytic interpretation, many scholars fell into the trap of either providing a now longtime-discredited psychobiography or offering a mosaic treatment of the subject matter. The dissertation is the response to a call for a more comprehensive psychoanalytic reading of Kerouac’s oeuvre which would make use of modern psychoanalytic theories. As arguably the most pertinent and developed form of psychoanalytic literary criticism up to date, the Lacanian body of work fits perfectly well to serve such task. The introductory chapters of the thesis first investigate into the major events of and the rationale behind the development of psychoanalytic thought on the American soil to further discuss key terms in the Lacanian thought and delve into the intricacies of spontaneous text production and text processing in the fields of Lacanian psychoanalytic practice and Beat poetics. The closing parts of the dissertation aim at a close Lacanian reading of selected novels by Jack Kerouac. As this study attempts to demonstrate, despite the diversities in their idioms, discourses, and milieux, Kerouac and Lacan might be considered silent partners in a
number of ways. First, Lacan helps to better understand Kerouac’s turning away from the American clinic. Also, the psychoanalyst’s reflections on spontaneous free-association – the key to the unconscious desire and identifications –prove its correspondence to Kerouac’s (as well as other Beats’) literary tactics. Finally, the Lacanian thought helps one to notice and highlight the problematic status of the (symbolic) father figure in the American writer’s oeuvre.Zasadniczym celem rozprawy była próba zbadania na ile wybrane dzieła Jacka Kerouaca rezonują z psychoanalitycznymi teoriami Jacquesa Lacana. Jak odnotowano we wstępie dysertacji, twórczość amerykańskiego pisarza była niejednokrotnie przedmiotem krytycznych ociekań wykorzystujących myśl Freuda, jednakże analizy te uciekały się głównie o dyskredytowanej psychobiografii, bądź też ujmowały temat mozaikowo. Dysertacja postuluje inne, szersze ujęcie problemu, wykorzystując bardziej rozwinięte narzędzia do literackich badań psychoanalitycznych, oferowane przez myśl lacanowską. We wstępnych częściach pracy, stanowiących ekspozycję kluczowych dla poruszanego tematu kontekstów i zagadnień, omawiane są kolejno rozwój psychoanalizy w Stanach Zjednoczonych, podstawowe założenia myśli Jacquesa Lacana oraz jej pokrewieństwa z estetyką pisarzy spod znaku Beat Generation. Trzy rozdziały zamykające rozprawę to analiza wybranych utworów Kerouaca w świetle omówionych wcześniej koncepcji teorii Lacana. Poddane krytycznemu namysłowi nieoczywiste relacje pomiędzy twórczością autora „W drodze”, a myślą „francuskiego Freuda” pozwalają, po pierwsze, lepiej zrozumieć niechęć Kerouaca o kształtu psychoanalitycznej kliniki Ameryki drugiej połowy XX-go wieku, a po drugie, odsłaniają paralele pomiędzy sposobami pracy na materią spontanicznie powstającego tekstu. Ponadto, lacanowska teoria naświetla niepoddany dotąd solidnej interwencji krytycznej kluczowy motyw pisarstwa Kerouaca, jakim jest figura nieobecnego ojca, przybierająca w duchu Lacana formę „ojcowskiej metafory”
Wydział Filologiczny
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Šedivá, Barbora. ""Tvůj cíl je tam, odkud jsi vyšel": Transformativní význam motivu cesty v románech Jacka Kerouaca." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404666.
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The aim of the present study is to account for the significance of mobility in American culture and its reflection in literature. In order to reach this goal, the thesis observes the role of mobility in the history of the United States, its transformation in the twentieth century, and the manifestation of this motif in the works of Jack Kerouac. Through the analysis of his novels, including On the Road, The Dharma Bums, Desolation Angels, Lonesome Traveler, and Big Sur, the thesis identifies some of the recurrent themes associated with the motif of journey and further interprets them in the context of postwar America. With the support of an array of secondary literature, this research approaches mobility as a constitutive part of the American identity and Jack Kerouac as one of its most ardent advocates. The introduction probes the contemporary preoccupation with space and the necessity of interrogating its intersection with time. While incorporating both of these dimensions, movement is identified as a manifestation of this intersection and it is distinguished from mobility as lacking the meaning acquired through culture. In order to explain this process of acquiring meaning, the link between mobility and narrative is established and its presence in literature observed. It is subsequently argued...
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Ebrahimi, Aghigh. "To a different beat the poetics and politics of Jack Kerouac /." 2007. http://purl.galileo.usg.edu/uga%5Fetd/ebrahimi%5Faghigh%5F200705%5Fma.
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Carmona, Christopher. "Keeping The Beat: The Practice Of A Beat Movement." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-08-11509.
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The literary movement of the Beat Generation continues to be a truly influential movement in our current society. From the popularization of hitchhiking across America to the rebel without a cause of James Dean, the Hippie movement of the 60s, and the explosion of poetry readings in coffee shops, the Beats have been influential to much of the social change in the last half-century. Commonly the architects of the movement are referenced as Jack Kerouac, Allen Ginsberg, and William S. Burroughs. However, the Beat Generation was much bigger than six "white" men who wrote novels and poetry about disenfranchised youths of the 1950s. The Beat Generation had at its center several women and artists of color who have helped to redefine the movement, such as Joan Vollmer, Bob Kaufman, Raul Salinas, and Anne Waldman. This project troubles the categorization of the Beat Generation as a static movement in postwar America, and redefines it as an adaptive ideology that continues through today's Beat Movement. In this dissertation, I have broken down the three most prominent rhetorical elements that have kept the Beat Movement operating for over sixty years. The first element is the Beat desire to write for the underclasses of America and eventually to produce writers to write from the underclasses. The second is the importance placed on performance in their poetry and how that has changed the face of poetry over the last half century. The third is the ability to build a community through small presses and magazines, while at the same time pushing the boundaries of gender roles, queer relationships, and interraciality.
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Juarez, David Ryan. "Haunted by you : a study of the real and psycho-literary space of Jack Kerouac’s Lowell." Thesis, 2014. http://hdl.handle.net/2152/28516.
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This report argues that through his lived experiences of growing up in his hometown of Lowell, MA, and the joys and traumas he accrued from early childhood and into early adulthood, Jack Kerouac began to rewrite, reimagine, and reconstruction Lowell in several different works and iterations to attempt to address and exorcise the ghosts of his past. For my argument, I study several of Kerouac’s works: Visions of Gerard (1963), Doctor Sax: Faust Part Three (1959), Visions of Cody (1972), and Book of Dreams (1960). Pulling from the fields of Beat studies, literary criticism, childhood studies, psychology, geocriticism, and American cultural history, I attempt to highlight the translation and transformation of Lowell in Kerouac’s texts into a psycho-literary space.text
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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.