Dissertations / Theses on the topic 'Burroughs, William S., 1914-1997'

William S. Burroughs, dans la Trilogie (La Machine molle, Le Ticket qui explosa, Nova Express), dont la période d'écriture s'étend de 1960 à 1968, a utilisé de multiples procédés d'écriture, dont le cut-up. Nous avons essayé de définir et d'analyser la place de ces techniques d'écriture dans le travail de Burroughs. Nous avons défini la place dans ces procédés des modèles plastiques et des techniques de collage et de montage. Nous avons également analysé ces procédés sous l'angle de l'intertextualité et de l'intratextualité. Enfin, nous avons confronté l'écriture de Burroughs à des théories qui lui sont immédiatement postérieures, comme le concept d'hétérotopie (Michel Foucault), et les théories du corps sans organe et des machines désirantes selon Gilles Deleuze et Félix Guattari, avant de saisir la politique des stratégies textuelles mises en œuvre par l'emploi du cut-up dans des textes narratifs
William S. Burroughs, in his famous Trilogy he has written from 1960 to 1968 (The Soft Machine, The Ticket That Exploded, Nova Express) has defined and used several writing techniques known as cut-up. We analyse those techniques, and their importance in Burroughs' writings. We compare the cut-up to collage, montage and plastic techniques and explain its particularities. We also compare cut-up with the different theories of intertextuality, and some concepts defined by Michel Foucault, Gilles Deleuze and Félix Guattari, in use to understand what kind of textual strategies are developed in Burroughs' writings

The outback is littered with advertising icons, cans and packets, logos fading but still readable in that harsh cinematic light. And it is littered in places with the wreckage of outlandish (or, perhaps, outbackish) vehicles, The Cars That Ate Paris and those bricoleurs' machines, the designers' as well as the characters' of Mad Max movies. There are bits and pieces of satellites, burnt almost and sometimes no doubt entirely beyond recognition on re—entry. In some places the red earth itself is radioactive. Picture the still and, perhaps, from now on perpetually smouldering ruins of the napalmed Global Village, that wide—eyed electric Utopia of McLuhan's after more than a century of electric technology we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned. Rapidly, we approach the final phase of the extensions of man — the technological simulation of consciousness, when the creative process of knowing will be collectively and corporately extended to the whole of human society, much as we have already extended our senses and our nerves by the various media (1964:11).

Cette dissertation présente une lecture sociologique de l'œuvre burroughsienne écrite entre 1953 avec la publication de Junky et 1989 avec la publication de Interzone. La littérature burroughsienne est intéressante et sociologiquement pertinente car elle traduit la tension entre les restes d'une modernité fragmentée et encore dominante et les références de plus en plus nombreuses a l'existence d'une pensée esthétique postmoderne se voulant autonome. On constate tout d'abord la présence dans l'œuvre burroughsienne de thèmes socio-politiques directement hérites de la modernité (la révolution, les progrès de l'humanité; la rationalisation). D'autre part, on découvre dans la littérature burroughsienne la présence paradoxale de thèmes postmodernes (la dissolution des identités dans l'ultra-individualisme, la fin du politique et du social. . . ) Alors qu'une logique trop strictement postmoderne et schizophrénique aurait pu placer l'individu en orbite autour de la réalité sociale, la littérature burroughsienne nous montre le chemin possible vers une socialité et une individualité nouvelles, minimales et postmodernes
This dissertation presents a sociological reading of the literary works written by W. S. Burroughs between junky in 1953 and interzone in 1989 this burroughsian literature is useful because it perfectly conveys the tension between the remain s of a fragmented modernity which is still dominant and the more and more numerous hypothesis and references which insis t on postmodern aesthetic thought. First, we note in the burroughsian narrative the presence of socio-political and cultural themes directly descending from modern thought (the revolution, the refusal of the alienation of montind from t he power of the state and from the forces of rationalization). Secondly, we discover in the burroughsian works the paradoxal presence of themes which one called postmodern such as the dissolution of identities in ultra-individualism and the growing massification of societies as well as the end and the surpassing of politicsand history. While the postmodern and schizophrenic logic could put the individual into orbit out of the social world, the burroughsian literature shows us a possible way which could lead to a new and minimal postmodern sociality and individuality

L’influence de l’écrivain américain William S. Burroughs (1914-1997) sur des artistes d’horizons différents, est aujourd’hui bien documentée. Peu d’artistes ont toutefois dépassé le stade de la simple influence pour véritablement travailler à prolonger son œuvre et la porter dans des directions inédites. Notre travail a consisté à étudier l’influence de William S. Burroughs sur deux artistes qui ont précisément fait ce choix : l’écrivain américain William Gibson et le musicien, « performer » et essayiste anglais Genesis P-Orridge. Nous nous sommes penché sur l’univers représenté dans les romans de Gibson et les textes programmatiques de Orridge, affirmant l’influence de l’œuvre burroughsienne sur le « Cyberpunk », sous-genre de la science-fiction, mais aussi sur la « Musique Industrielle », apparue en Angleterre et aux Etats-Unis en 1976-1977. Nous avons étudié les groupes fictionnels qui émergent de ces mondes dystopiques, ainsi que l’idée de société alternative qu’ils proposent tout en soulignant l’actualité des questions ainsi posées au lecteur (redéfinition des notions de « copyright » ou de « propriété intellectuelle »). Nous avons étudié les évocations, mentions et citations de William S. Burroughs dans les œuvres de Gibson et Orridge, en nous posant la question de leur fonction précise, et nous avons analysé les nouvelles modalités textuelles et narratives qu’ils proposent. Enfin, nous nous sommes concentré sur le sens que prend, chez Orridge, la substitution du corps vivant à la page, et chez Gibson la programmation d’un texte destiné à s’effacer au fur et à mesure que le lecteur en a pris connaissance
The influence of the American writer William S. Burroughs (1914-1997) on artists from various horizons is now fairly well documented. While many have been influenced by his work, few have actually tried to pursue it in new and original ways. Our work consists in studying William S. Burroughs’ influence on two artists who adopted this very course : the American writer William Gibson and the English musician, performer, and essayist Genesis P-Orridge. The thesis focuses on the universe represented in Gibson’s novels and Orridge’s programmatic texts, confirming the influence of Burroughs on the “Cyberpunk” genre – a variant of science-fiction – but also on “Industrial Music” that appeared in England and the United States in 1976-1977. We have studied the groups of fictional characters which emerged from these dystopic worlds and the type of alternative society that they exemplify, emphasizing at the same time the topicality of the questions thus raised to the reader (such as : the redefinition of “copyright” and “intellectual property”). We have studied the references, mentions, and quotations of and by William S. Burroughs in Gibson’s and Orridge’s work, and analyzed the new textual and narrative modalities that they offer. Finally, we investigated the way the page is replaced by a living body in Orridge’s work, and the implications of a text written and programmed by Gibson to be erased as it is being read

William Burroughs's profane life has been an affront to conventional morality, and his transgressive works have strained against the thematic and formal boundaries of literature. Although he has remained a problematic figure, he is gradually gaining recognition as a literary innovator. This thesis argues that his writings may be understood as technologies of the self, that is, the texts are tools that the writer Oses to transform himself. The Introduction outlines the problems that his writings pose for criticism; provides an overview of critical responses to his work; and demonstrates the appropriateness of Michel Foucault's theory of the technologies of the self as an approach to his texts. Furthermore, it makes a comparison between Burroughs's concerns and similar concerns evident in Foucault. The most prominent of these is a fear of control, and a desire to escape from control. It is argued that this similarity arises from the writers' shared experience of homosexuality in the twentieth century. This experience provokes them to undertake a·work of homographesis, in which they attempt to undermine the construction of identity in text, whilst simultaneously reinscribing identity in problematized autobiographical writing. Chapter One provides a corrective to the critical neglect of Burroughs's homosexuality and focuses on his sexual problematic as a key factor in the development of his literary style. It argues that the writer has an abject imagination that was precipitated by three principal traumatic experiences: his homosexuality, his addiction to opiates, and the accidental shooting of his wife. The chapter examines the way that the writer develops his unique literary style, the routine, in an attempt to express his psychic disintegration. The routine becomes the basic building block of Naked Lunch, serving both as a cathartic release of psychic anguish and as an attempt to subvert repressive social and linguistic structures. The metaphor of the anal aesthetic is introduced to describe the intersection of linguistic, psychic and political strategies in the texts. Chapter Two addresses the period,subsequent to Naked Lunch, in which Burroughs experimented extensively with the cut-up technique to develop a form of aleatory collage. The chapter argues that the writer hoped that the technique would enable him to transform himself and to~discover a new way of thinking, but suggests that its extreme nature both isolated him from his audience and intensified his psychic abjection. Chapter Three follows on from this to argue that the writer responds to the limitations of the cut-up in The Wild Boys by returning to a more intelligible form of writing. This return corresponds with an attempt to inscribe homosexual themes into his work directly. However, the combination of a homosexual agenda and the writer's defence against the identity loss of abjection leads him to assert a radical masculine identity that causes him to perceive women as the chief perpetrators of control. As a result, he rejects women from his mythological system. Chapter Four suggests that in Cities of the Red Night and The Place of Dead Roads the writer moves away from the radical queer agenda of The Wild Boys in the hope of discovering a form of ethics that avoids the traps of universalized humanism and the harsh "othering" of the queer agenda. The chapter draws a parallel between Burroughs's individualized ethics and Foucault's idea of an ethics grounded in aesthetic self-fashioning. Chapter Five examines The Western Lands, in which the writer confronts death in order to discover the nature of individual value in a normalized culture. Like Foucault, Burroughs believes that the most important task in a limited existence is the dandyistic creation of the self.

This dissertation examines the techniques and themes of William Burroughs by placing him in the American Pragmatist tradition. Chapter One presents a pragmatic critical approach to literature based on Richard Rorty and John Dewey, focusing on the primacy of narration over argumentation, redescription and dialectic, the importance of texts as experiences, the end-products of textual experiences, and the role of critic as guide to experience rather than judge. Chapter Two uses this pragmatic critical lens to focus on the writing techniques of William Burroughs as a part of the American Pragmatist tradition, with most of the focus on his controversial cut-up technique. Burroughs is a writer who upsets many of the traditional expectations of the literary writing community, just as Rorty challenges the conventions of the philosophical discourse community. Chapter Three places Burroughs within a liberal democratic tradition with respect to Rorty and John Stuart Mill. Burroughs is a champion of individual liberty; this chapter shows how Burroughs' works are meant to edify readers about the social, political, biological, and technological systems which work to control individuals and limit their liberties and understandings. The chapter also shows how Burroughs' works help liberate readers from all control systems, and examines the alternative societies he envisions which work to uphold, rather than subvert, the freedom of human beings. Chapter Four concludes by suggesting some of the implications of Burroughs' work in literature, society, and politics, and by showing the value and importance of Pragmatism to the study of American literature and culture.

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Como consequência da experiência histórica, as formas de dominação ganharam cada vez mais espaço na produção literária, até se constituírem num dos principais temas do romance ao longo de todo o século XX. Vários escritores configuraram esteticamente o problema do poder, desenvolvendo uma narrativa cujo tema central é a dominação; dominação essa perpetrada pelos totalitarismos de direita e esquerda. Mas é na obra do escritor norte-americano William S. Burroughs (1914-1997) que os mecanismos de dominação ganharão um novo estatuto, em especial na obra Almoço Nu (1959), na qual aparecem configurados os novos modos de dominação que emergiram a partir da Segunda Grande Guerra: monopólios, burocracias, estruturas de controle, etc. Outras características formais, não menos relevantes, acompanham a emergência das novas temáticas, principalmente os signos de dissolução e aleatoriedade que percorrem o livro de Burroughs, abolindo em definitivo qualquer exigência de unidade configuradora ao instaurar uma nova combinação entre forma de expressão e forma de conteúdo. De qualquer modo, um estudo do romance de Burroughs que leve em consideração todas essas particularidades exige um aparato conceitual apropriado. Neste sentido, a obra de Gilles Deleuze (1925-1995) fornece alguns elementos teóricos para a análise de Almoço Nu, a exemplo da noção de sociedades de controle, retirada da obra de Burroughs. Assim, o presente estudo busca apreender de que forma o romance Almoço Nu nos aponta as transformações temáticas e composicionais no romance da segunda metade do século XX correspondentes à experiência histórica na qual o problema da dominação veio a ocupar lugar de destaque nas produções literárias
As a consequence of historical experience, forms of domination have gained more space in the literary production, even if they constitute one of the main themes of the novel throughout the twentieth century. Several writers have shaped the aesthetic problem of power, developing a narrative whose central theme is domination, domination perpetrated by the totalitarian regimes of right and left. But it is the work of American writer William S. Burroughs (1914-1997) that the mechanisms of domination will gain a new status, especially in the work Naked Lunch (1959), in which they appear set new modes of domination that emerged from the Second World War: monopolies, bureaucratic structures, control, etc. Other formal features, not less relevant, accompanying the emergence of new themes, especially the signs of dissolution and randomness that run through the book of Burroughs, ultimately abolishing any requirement to establish a unit set up by combining new form of expression and form of content. In any case, a study of the Burroughs novel that takes into account all these specific requires a conceptual apparatus appropriate. In this sense, the work of Gilles Deleuze (1925-1995) provides some theoretical elements for the analysis of Naked Lunch, like the notion of societies of control, withdrawal from work of Burroughs. Thus, this study seeks to learn how the novel Naked Lunch points out the thematic and compositional changes in the novel of the second half of the twentieth century, corresponding to the historical experience in which the problem of domination came to occupy a prominent place in literary productions

Créée en 1959 par William S. Burroughs et Brion Gysin, la technique du cut-up repose sur le découpage et le réagencement de fragments de textes d’origines diverses. Burroughs l’applique notamment dans la « trilogie Nova », composée de The Soft Machine (1961), The Ticket That Exploded (1962) et Nova Express (1964). Ce procédé de collage littéraire, qui donne à lire un texte extrêmement fragmenté, met en jeu des questions d’ordre esthétique, poétique et politique, révélatrices des évolutions socioculturelles occidentales. Ce travail consiste en une lecture historique du cut-up, qui permet d’éclairer les mutations du collage littéraire au XXe siècle. Ainsi, le cut-up trouve ses origines dans les collages de Tristan Tzara, T.S. Eliot et John Dos Passos, mais s’en distingue à bien des titres, soulignant les caractéristiques du collage littéraire moderniste. Par ailleurs, cette technique d’écriture s’apparente, notamment sur le plan de la réflexion politique, aux travaux de ses contemporains lettristes et situationnistes dans les années cinquante et soixante. Enfin, l’émergence de prolongements du cut-up dans les années soixante-dix et quatre-vingt, aussi bien en Europe qu’aux Etats-Unis, s’observe dans des champs allant de la musique populaire à la littérature, en passant par la poésie sonore. Le cut-up s’inscrit donc dans des espaces intermédiaires, entre le pictural et le littéraire, le modernisme et le postmodernisme, l’avant-garde et la contre-culture, l’Europe et les Etats-Unis. Par les questions qu’il pose, le cut-up apparaît également comme une réflexion sur le langage et plus généralement, comme une nouvelle image de la pensée : en ce sens, il révèle ses affinités conceptuelles avec les philosophies de Jacques Derrida et de Gilles Deleuze
Pioneered in 1959 by William S. Burroughs and Brion Gysin, the cut-up technique consists in cutting and rearranging text segments from various sources. Burroughs uses this technique most notably in The Nova Trilogy composed of The Soft Machine (1961), The Ticket That Exploded (1962) and Nova Express (1964). This literary collage process, which results in an extremely fragmented text, challenges issues of an aesthetic, poetic and political nature, and reflects the Western socio-cultural evolutions.This dissertation consists in a historical analysis of the cut-up technique, highlighting how collage methodologies used in literature have evolved during the 20th century. The cut-up method is inspired by the collage techniques used by Tristan Tzara, T.S. Eliot and John Dos Passos, but differs from them in many ways, showcasing the attributes of modernist literary collage methods. At the same time, this writing technique is related to the works by the contemporary Lettrist and Situationist movements from the fifties and the sixties, especially from a political point of view. Finally, the emergence of an extension of cut-up techniques during the seventies and the eighties, both in Europe and in the United States, can be observed in various fields, from popular music to literature, including sound poetry. Therefore, this writing technique takes its place in intermediary areas, between the pictorial and literary worlds, modernism and postmodernism, avant-garde and counterculture, Europe and the United States. Through the questions it raises, the cut-up technique also appears as a reflection on language and, more generally, as a new image of thought, and thus it reveals some of its conceptual affinities with Jacques Derrida’s and Gilles Deleuze’s philosophies

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O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a “escrita automática” dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético.
The main subject of this research is the narrative technique called cut-up, developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the automatic writing by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the Beat Generation, an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle.

Se donnant pour cadre chronologique les années 1950 à 1970, période de réactualisation de l’avant-garde historique de l’avant-guerre, cette thèse analyse les enjeux du collage et du montage dans l’œuvre de Bohumil Hrabal (1914-1997) au regard des pratiques analogues dans l’œuvre de Claude Simon (1913-2005) et au sein de la poésie expérimentale, en particulier du cut-up développé par les artistes américains Brion Gysin (1916-1986) et William S. Burroughs (1914-1997). Sans négliger les importantes différences séparant les contextes socioculturels de la « post-avant-garde » en Tchécoslovaquie et de la « néo-avant-garde » occidentale, ce travail se concentre avant tout sur les enjeux mémoriels et historiques du collage et du montage, primordiaux dans le contexte de l’œuvre de Bohumil Hrabal. Hérités de l’avant-garde et dotés d’une grande force subversive, les collages et les montages mettent en évidence le développement de l’avant-garde de l’après-guerre, brisée par la Seconde Guerre mondiale. Les réflexions philosophiques sur la ruine de la civilisation occidentale vont de pair avec la remise en question profonde de l’art mimétique. Relevant de l’intermédialité, le collage et le montage sont ici analysés dans le contexte plus large des arts plastiques, démarche essentielle pour la recherche sur leurs enjeux. La thèse révèle comment les procédés du collage et du montage se trouvent au cœur de ces débats majeurs esthétiques, voire éthiques
This thesis concerns the 1950s-1970s, a period of renewal of the avant-garde practices after the Second World War. It focuses on the analyses of collage and montage in the works of Bohumil Hrabal (1914-1997) in comparison with those of Claude Simon (1913-2005) and of experimental poetry, particularly that of Brion Gysin (1916-1986) and William S. Burroughs (1914-1997)’s cut-up. Without neglecting the different sociocultural contexts of the ‘post-avant-garde’ in Czechoslovakia and the western ‘neo-avant-garde’, this work mainly concentrates on the aspects of memory, history and destruction, the major features of the collages and montages of Bohumil Hrabal. Coming from an avant-garde heritage and infused with subversive power, these collages and montages elucidate the development of the avant-garde after the Second World War that profoundly changed the development of art. Since collage and montage can transcend the boundaries of different art forms, taking into account works of art in the concerned period is an integral part of the analysis. In this period the practice of collage and montage goes hand in hand with the philosophical and ethical reflections on the ruin of western civilization

Los vínculos entre la literatura estadounidense y la obra de Roberto Bolaño han sido objeto de numerosas reseñas y artículos. Sin embargo su estudio hasta la fecha no ha cristalizado en un trabajo monográfico. «La otra América: influencias de la literatura estadounidense en Roberto Bolaño» tiene entre sus objetivos construir un mapa literario que dé cuenta del diálogo entre textos y autores. El corpus de la tesis se ha extraído de las más de cien menciones explícitas a escritores y libros estadounidenses que el poeta y novelista chileno inserta en sus obras principales. En las siguientes páginas se propone una lectura posnacional de Roberto Bolaño como marco de referencia para un estudio comparativo. Asimismo se plantea una revisión de su poética a partir de la influencia de William Burroughs y la experimental Nova Trilogy. Ambos escritores combinan la invitación al lector a unirse a su particular mitología, una común disposición del fragmento narrativo que incluye la repetición literal de elementos y la similar concepción de la obra literaria como un todo interconectado. El análisis de los vínculos entre Bolaño y la literatura estadounidense se estructura a partir de los rasgos formales y los motivos intertextuales del escritor chileno. En primer lugar se destaca la importancia de los autores de ciencia ficción de la New Wave (Alice Sheldon, Fritz Lieber o Theodore Sturgeon) con la perspectiva que adquieren los narradores de Bolaño. Seguidamente se vincula el componente biográfico de muchas de sus novelas a la creación de álter egos y ambigüedad autobiográfica de Tropic of Cancer de Henry Miller o de On the Road de Jack Kerouac. En tercer lugar, el estilo de Bolaño se analiza explorando la oralidad como rasgo influenciado por Mark Twain y algunos de los novelistas de la generación Beat. Además se estudia cómo la prosa de Bolaño está marcada por la figura de poetas como William Carlos Williams o Ezra Pound. Uno de los rasgos menos estudiados del escritor chileno, el humor, ha sido analizado en cuarto lugar junto a los trabajos de Alfred Bierce o Hunter S. Thompson. Por último, se compara la estructura narrativa de algunas obras de Bolaño con aquellos trabajos que han merecido el calificativo de Great American Novel, clásicos como Moby Dick de Herman Melville o The adventures of Huckleberry Finn de Mark Twain y novelas del siglo XX como The crying of lot 49 de Thomas Pynchon. Una vez revisadas las cuestiones formales, se analiza el amplio espectro que conforman los motivos de Bolaño y sus posibles intertextualidades con la narrativa estadounidense. Primeramente, se lleva a cabo una revisión crítica del pasado en Estrella distante similar a la de Slaughterhouse-Five de Kurt Vonnegut. Más adelante se descifran recurrencias temáticas para Bolaño como la enfermedad, el sexo y la literatura a través de ejemplos como la presencia de The narrative of Arthur Gordon Pym de Edgar Allan Poe y At the mountains of Madness de H.P. Lovecraft en Amuleto. En un tercer epígrafe, la representación del mal, ampliamente estudiada en Bolaño, se vincula en una nueva lectura a obras como Blood Meridian de Cormac McCarthy y American Psycho de Brett Easton Ellis. Para concluir, se estudia el carácter inmaduro, casi infantil, de muchos protagonistas de novelas de Bolaño a partir de algunos de los textos mencionados y las similitudes existentes con The Catcher in the Rye de J.D. Salinger.
The relationship between Roberto Bolaño’s works and the US Literature has been the target of countless articles and papers. However, academia is yet to produce a monographic study on the subject. The other America: influence of US Literature in Roberto Bolaño, aims, inter alia, to establish a literary map of the dialogue between authors and texts. The corpus, which my study is based on, comes from the more than one hundred explicit citations extracted from his most acclaimed works. In the following pages a post-national vision of Bolaño’s work is suggested as a framework for its comparative study with US Literature. I also propose a new approach to the Chilean writer’s poetics through the influence of William Burroughs and the narrative experiment of Nova Trilogy. Both writers combine a disposition of the narrative fragment, an invitation to the reader to engage with their particular mythology and a common vision for their work as a closed and inter-linked universe. The analysis has been structured using the formal aspects of Bolaño’s work and the intertextual motifs he shares with US narrative. First, I outline the importance of Science Fiction writers from the New Wave (Alice Sheldon, Fritz Lieber and Theodore Sturgeon) in the perception of Bolaño’s narrators. Second, the biographical ambiguity and the creation of the alter egos of Henry Miller’s Tropic of Cancer and Jack Kerouac’s On the Road are linked with Bolaño’s The Savage Detectives. Third, Bolaño’s style is examined and compared —in its orality— with Mark Twain and some of the Beat novelists. Furthermore, it is explored how Bolaño’s prose is influenced by poets such as William Carlos Williams and Ezra Pound. Fourth, the humour, which is one of Bolaño’s most significant features, is researched in conjunction with the work of Alfred Bierce and Hunter S. Thompson. As a conclusion, the narrative structure of Bolaño’s novels is compared to some of those works, which have achieved the label of The Great American Novel: e.g. Moby Dick and The adventures of Huckleberry Finn and XXth century examples such as Thomas Pynchon’s The Crying of Lot 49.

Dans la Littérature Européenne et Américaine du XXe siècle, il est possible de mettre en évidence un nombre d'auteurs pour lesquels la corporalité a occupé un rôle essentiel dans l'organisation de leurs œuvres, pour lesquels les expériences corporelles ont contribué à la création des formes innovatrices de narration, ou encore, l'évolution de styles et poétiques. En choisissant Marcel Duchamp et William Seward Burroughs, j'ai formulé un contrepoint entre leur biographie et leur bibliographie dont le but a été démontrer comment à une certaine expérience du corps est suivie une précise organisation de l'œuvre d'art. Pour ce faire, j'ai pris pour modèle les travaux de Roger Shattuck et les critères biographiques que Marcel Schwob a délinées dans les Vies imaginaires. En ce qui concerne Duchamp, j'ai spécialement remarqué comment la passion pour les échecs ainsi que le désir de liberté ont été fondamentaux à la rédaction de ses Notes grâce auxquelles il a crée le poème de la La mariée mise à nu par ses célibataires, même. Chez Burroughs, j'ai montré que la toxicomanie a fonctionné comme que métaphore du pouvoir et que l'adoption de mécanismes littéraires comme les cut-ups et \esfold-in ont été une stratégie permettant de se soustraire à la coercition du susdit pouvoir. Pour ces deux auteurs, la thématique de la dénudation a joué un rôle fondamental au cours de leur production et la déshumanisation du processus créatif a été la conditio sine qua non pour atteindre la vérité dans le texte et dans le corps
In the XX Century European and American Literature it is possible to highlight a number of writers for whom the body invested a major relevance in the organization of their works: the physicality of their experience became the base of which they created new narrative ways of expression. By opting for Marcel Duchamp and William Seward Burroughs, I formulated a counterpoint between the biography and the bibliography. My aim was to show how to certain experiences of the body corresponded a precise organization of their art. In order to do so, I took as an example Roger Shattuck's and Marcel Schwob's criteria. For what concerns Duchamp, I demonstrated how his passion for the chess game and his desire of freedom were fondamental to the edition of the Notes after which he created the Large Glass poem. For what concerns Burroughs, I showed how his addiction worked as a metaphor of power and therefore the use of literary mechanisms such as the "cut-ups" and the "fold-ins" provided him a strategy to exceed any coercion. I also highlighted how the thematic of denudation played a predominant role along their production and was the condition sine qua non to achieve a truth within the text and the body

L’analyse des processus de création de l’écrivain américain William Burroughs et de l’artiste brésilien Cildo Meireles construit deux figures exemplaires de l’artiste en tant que sujet politique. Les choix faits par ces deux artistes pendant le processus de réalisation de leurs œuvres déclarent en effet leur position face à la littérature, à l’art et à la réalité. Ils les construisent en tant que sujets-artistes et produisent des rencontres qui (re) configurent l’espace artistique. Ils renouvellent les pratiques de création. Nous étudions ces processus avec pour outils différentes notions théoriques. Outre celle de la politique, qui, selon Jacques Rancière, est le processus de l’égalité ; celle du sujet, définie par Alain Badiou, comme une construction qui se produit quand un événement arrive ; et celle de choix qui, selon Slavoj Zizek, ne laisse pas intacte la subjectivité du sujet. Nous essayons ainsi de définir le caractère politique des choix faits par ces deux artistes et de mettre en évidence l’idée de l’art et de la politique que leurs œuvres mobilisent.Nous étudions le processus de création de Burroughs, de son premier roman jusqu’à la découverte du cut-up et l’écriture de son texte Last Words. Nous analysons le processus de création des œuvres de Meireles : Insertions dans les circuits idéologiques, œuvre qui se constitue dans un processus en marche ; et Le sermon sur la montagne : Fiat lux. Construction d’une situation : transformation d’un espace en une bombe potentielle.Malgré leurs différences, ces œuvres ont une procédure de réalisation similaire, une sorte de travail tabulaire, de collage d’éléments hétérogènes
The analysis of the creation process of both Americain writer Willam Burroughs and Brazilian artist Cildo Meireles construct two exemplary figures of the artist as political subject. The choices made by these artistes during the process of realization of their works declare indeed their position on literature, art and reality. Their choices construct them as artists-subjects and produce encounters that (re) configure the art space. They renew the creative practices. We study these processes with some theoretical tools: such as the notion of politics which according to Jacques Rancière, is the process of equality; the notion of subject, defined by Alain Badiou as a construction that is produced when an event happens; and the notions of choice which, according to Slavoj Zizek, does not leave intact the subjectivity of the subject. Thus we try to define the political nature of the choices made by these artists and to highlight the idea of art and politics that their works mobilize. We study the process of creation of Burroughs, from his first novel until his discovery of cut-up technique and the writing of his text Last Words. We analyze the process of creation of Meireles’s works: Insertions into Ideological Circuits, a work that is established as a running process and The Sermon on the Mount: Fiat Lux that is the construction of a situation. It is the transformation of a space into a potential bomb. Despite their differences these works have a similar implementations procedures a kind of a tabular work, a collage of heterogeneous elements

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 collage
This 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

Bibliography: p. 313-324.
xii, 324 p., [31] leaves of plates : col. ill. ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, 2005

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in Engiish.
This dissertation grapples With the activity of critical production. It answers not to an interpretation which would constitute the writer within the institutionalised category of effect and object of knowledge, but rather to an explosion, a proliferation of critical paths at the limit of the doxa: a veritable labyrinth. The terms of my title open up a methodological field within which I enact the play of associations, contiguities, relations among four texts: The Name of the Rose, lost. in the Funhouse, The Naked Lunch and 'The library of Babel'. The terms themselves disseminate across the text argument in citations, references, echoes. The labyrinth is used throughout as a trope which deconstructs its own performance within the text. Legends are myths, inscriptions on maps, legenda or "things for reading" (through an etymological supplement), "lesser libraries." Barthes cites the biblical words of the man possessed by demons: "My name is Legion for we are many" and demonstrates how the demonlacal plural brings with it fundamental changes in reading strategies. The notion of the demoniacal plural is used to problernatlse the debates around subjectivity. The belief in unitary, rational selfhood is debunked and the subject is Seen to be plural, irreducible, heterogenous. Subjectivity is further problernatlsed by demonstrating the slippage among the labyrinthine multiplicity of discursive positions occupied by readers: the monoloqlcal models of meaning developed from each reading position constantly shift. The discursive position recuperated and sanctioned by the Law or the institution is impossible to maintain as Subjects are seduced by language into confrontation with other positions through their continuous renarnings of each other. Subjectivity and discursive positioning form .their own labyrinthine intentionality. The argument then moves towards an exploration of the current calculation of the subject for the writer. (Distinctions between author and critic begin to collapse here since meaning is shown to be governed by neither). The reading\writing subject strolls in a vast labyrinth of text - a postmodern flaneur who frustrates the work of exegesis by enacting the play of the signifier. The line traced by this hypothetical traveller does not engender a definitive theoretical or discursive map of the domain but rather a contingent and highly provisional, backward turning path. The demoniacal plural is also used to problematise notions of an original and innovative critical voice which "speaks" the dissertation. The logic regulating the argument is the already-written, The dissertation plavs with each text (both critical texts and fictions) looking for a practice which reproduces them but in another place. My imagined (ideal?) reader wmtreat the argument as that Which. lt was not simply meant to be,will. follow.the argument and be seduced by it: an echoing. structure with dead ends, wrong turns, false entrances fictitious exits; misleading threads and deceptive lines,
AC 2018