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Relevant bibliographies by topics / Beat poets

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Journal articles

Academic literature on the topic 'Beat poets'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 September 2024

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Journal articles on the topic "Beat poets"

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Adebiyi-Adelabu, Kazeem, and Olalekan Oyetunji. "Resistance and Revolutionary Aesthetics in Nnimmo Bassey’s Niger Delta Poetry." Ahyu: A Journal of Language and Literature 2 (December 4, 2021): 28–39. http://dx.doi.org/10.56666/ahyu.v2i.31.

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The criticism of Niger Delta eco-conscious poetry continues to generate new insights about the plight of the region, but with greater attention to the threnodic sensibility of the poets and the degradation of the environment. This article engages with two eco-conscious collections of Nnimmo Bassey, one of the prominent voices in the campaign against environmental degradation in Nigeria, especially the Niger Delta region of the country. With insights from Marxist theory, selected eco-poems from We Thought It Was Oil but It Was Blood (2002) and I Will Not Dance to Your Beat (2011) are closely re

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Harney, Steve. "Ethnos and the Beat Poets." Journal of American Studies 25, no. 3 (1991): 363–80. http://dx.doi.org/10.1017/s0021875800034253.

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Rising from the streets of New York with his songs like Caruso or Sinatra, but in words. “Sweet Milanese hills” brood in his Renaissance soul, evening is coming on the hills. Amazing and beautiful Gregory Corso, the one and only Gregory the Herald.

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Alok Chandra. "Aspects of Ecology in the Select Literary works of American Beats: An Investigation." Creative Launcher 4, no. 5 (2019): 115–20. http://dx.doi.org/10.53032/tcl.2019.4.5.19.

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The literary products of the Beats reflect the companionship between humans and animals. Beat novelists and poets project the elements of compassion for the species and the inanimate things through their eco-sensible prose and poetry Gary Snyder, Jack Kerouac, Allen Ginsberg and Ferlinghetti are very famous literary figures of the Beat Generation. All of these Beats have raised their protest against the war and the social industrialization or establishment which was seen in America and in the other parts of the world. Beats have full appreciation for the oriental countries and their love is ma

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Castelao-Gómez, Isabel. "Beat women poets and writers: countercultural urban geographies and feminist avant-garde poetics." Journal of English Studies 14 (December 16, 2016): 47. http://dx.doi.org/10.18172/jes.2816.

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The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their mos

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Brown, James. "The Zen of Anarchy: Japanese Exceptionalism and the Anarchist Roots of the San Francisco Poetry Renaissance." Religion and American Culture: A Journal of Interpretation 19, no. 2 (2009): 207–42. http://dx.doi.org/10.1525/rac.2009.19.2.207.

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AbstractThis essay explores the political origins and implications of Beat Zen anarchism, a cultural phenomenon located in the intersection between American anarchist traditions and Zen Buddhism in the San Francisco Poetry Renaissance. Focusing on the writings of D. T. Suzuki, Alan Watts, Gary Snyder, and Philip Whalen, it shows how Beat Zen emerged not primarily from an Orientalist appropriation of “the East” but rather from an Occidentalist, Japanese-centered criticism of American materialism that followed from the complex legacy of the World’s Parliament of Religions at the 1893 World's Col

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Encarnación-Pinedo, Estíbaliz. "On Webbed Monsters, Revolutionary Activists and Plutonium Glow: Eco-Crisis in Diane di Prima and Anne Waldman." Humanities 10, no. 1 (2020): 4. http://dx.doi.org/10.3390/h10010004.

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Though green readings of Beat works are a relatively new phenomenon, the Beat aesthetic easily meets Lawrence Buell’s criteria for ecocritical texts. Indeed, many writers associated with the Beat movement, such as Diane di Prima and Anne Waldman, often use their work to give shape to environmental concerns. This article studies the development of a green poetics in the work of both di Prima and Waldman. Focusing on works spanning four decades including Revolutionary Letters (1971), Loba (1998), Uh Oh Plutonium (1982) or The Iovis Trilogy (2011), to name a few, the article analyzes the poets’ u

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MacArthur, Marit J. "Monotony, the Churches of Poetry Reading, and Sound Studies." Publications of the Modern Language Association of America 131, no. 1 (2016): 38–63. http://dx.doi.org/10.1632/pmla.2016.131.1.38.

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Engaging with and amending the terms of debates about poetry performance, I locate the origins of the default, neutral style of contemporary academic poetry readings in secular performance and religious ritual, exploring the influence of the beat poets, the black arts movement, and the African American church. Line graphs of intonation patterns demonstrate what I call monotonous incantation, a version of the neutral style that is characterized by three qualities: (1) the repetition of a falling cadence within a narrow range of pitch; (2) a flattened affect that suppresses idiosyncratic express

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Encarnación-Pinedo, Estíbaliz. "Intertextuality in Diane di Prima’s Loba: Religious Discourse and Feminism." Humanities 7, no. 4 (2018): 132. http://dx.doi.org/10.3390/h7040132.

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The last three decades have witnessed a significant increase in the academic interest in the Beat Generation. No longer seen as “know-nothing bohemians” (Podhoretz 1958), scholars have extended the scope of Beat studies, either by generating renewed interest in canonical authors, by expanding the understanding of what Beat means, or by broadening the aesthetic or theoretical lens through which we read Beat writers and poets. Among these, the transnational perspective on Beat writing has sparked careful re-examinations of Beat authors and their works that seek to recognize, among other things,

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Elizabeth Rojas, Yasmín. "The plumed horn / El corno emplumado: poetry, translation and subversion." Latin American Literary Review 49, no. 98 (2022): 13–20. http://dx.doi.org/10.26824/lalr.275.

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In this essay, the importance of translation as a means of subversion is studied through the bilingual literary magazine El Corno emplumado / The plumed horn. It was published in Mexico City in 1962 and ran for seven and a half years, until 1969. The editors and poets, Sergio Mondragón and Margaret Randall, founded, wrote, translated, and edited 31 volumes in total. It was a bilingual trimester publication —spanish/english—, of art and literature. Some of the many objectives that the editors had were to create a cultural exchange between the Spanish speaking countries and the English ones; to

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Azambuja, Enaiê Mairê. "The Zen-inflected Cosmological Imaginations of William Carlos Williams and Alan Watts." William Carlos Williams Review 40, no. 1 (2023): 51–76. http://dx.doi.org/10.5325/willcarlwillrevi.40.1.0051.

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Abstract The effervescent cultural scene of the West Coast in the 1950s—particularly regarding movements such as the San Francisco Renaissance and the Beat Generation—was influenced by Eastern thought and religious practices. These were disseminated by figures such as the Japanese scholar D.T. Suzuki and the Bay Area-based and self-proclaimed “philosophical entertainer” Alan Watts. Along with Watts, another influential figure for the West Coast poets—having even served as mentor to Allen Ginsberg—was William Carlos Williams. This essay argues that, influenced by Zen Buddhist principles, both W

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