Academic literature on the topic 'Ginsberg, Allen, 1926-1997. Kaddish'

Sphincter I hope my good old asshole holds out 60 years it's been mostly OK Tho in Bolivia a fissure operation survived the altiplano hospital -- a little blood, no polyps, occasionally a small hemorrhoid active, eager, receptive to phallus coke bottle, candle, carrot banana & fingers -- Now AIDS makes it shy, but still eager to serve -- out with the dumps, in with the condom'd orgasmic friend -- still rubbery muscular, unashamed wide open for joy But another 20 years who knows, old folks got troubles everywhere -- necks, prostates, stomachs, joints -- Hope the old hole stays young till death, relax -- March 15, 1986, 1:00 PM, Allen Ginsberg Lucky to the end, Allen Ginsberg (1926-97) achieved his first and final wish. Despite the constipation mentioned occasionally in his later poems, the anus of the grand gay father of the Beats remained relatively healthy until his death while other vital organs failed. Ginsberg, who had also described the erectile misfunction of his penis in mid-to-late career poems, died from a heart attack brought on by liver cancer. While the poet fleshed out references to the male anus in at least fifty of his poems, his "Sphincter" comprises the chronological climax in the development of both his anal and erotic verse. The poem was written just months after the beginning of the global media demonisation of Hollywood star Rock Hudson who was found in late 1985 to be both gay and to have died from AIDS complications. Ginsberg's timely "Sphincter" reflects on the poet's survival as an anally-active gay man through both the pre-AIDS and AIDS eras. While criticism of the (homo)eroticism in Ginsberg's verse ranges from utter denial to near hagiography, overall the significance of his musings on male ani has been avoided. The rather anal-retentive Thomas Merrill claims that, "even sophisticated readers of Ginsberg's poetry are apt to be put off, perhaps bored by, his obsession not only with four-letter words, but with the clinical, strikingly nonerotic descriptions of his homosexuality" (24). For the far less uptight John Tytell, on the other hand, "Ginsberg has always reveled in the divinity of his own sexuality, his homosexuality, adorning his own physical propensities and urging the life of the body on his readers" (245). However, "Sphincter" which is an intensely erotic (albeit anti-Romantic) poem, contains none of the expletives (apart from "asshole") nor divine associations used repeatedly by the poet elsewhere to represent the (homo)eroticised male body, and his anus in particular. Six decades of anal health and recovery aside, Ginsberg packs a suggestive lot into his "Sphincter" with the list of objects wielded during the pre-AIDS period as the means to his erotic end. The term "phallus" -- while suggesting the penis and allo-erotic activity -- may also mean dildoes with certain tactile qualities and anus-fitting shapes and sizes ideal for auto-erotic delight. Indeed, the "coke bottle, candle, carrot/banana & fingers" -- with their smooth to slightly rough texture, stiff to pliable constituency, hard to semi-hard density, and rounded pointedness -- offer more reliable potential for sustained anal stimulation than the occasionally tumescent penis. These objects may answer the decades-old queries in "Iron Horse" (1966): "What can I shove up my ass?" and "Oh if only somebody'd come in &/shove som'in up that ass a mine" (432). The bottle and candle are appropriated from a passage in Ginsberg's signature poem, "Howl" (1955), about the "best [male] minds" (126) of the poet's generation, "who copulated ecstatic and insatiate with a bottle of beer a sweetheart a/package of cigarettes a candle . . . and ended fainting on the wall with/a vision of ultimate cunt and come..." (128). In his "Sphincter", Ginsberg reminisces about the pleasurable insertion into his anus of such props to heterosexual romance. The coke (rather than beer) bottle signifies the contemporary product probably most commodified along with youthful images of (compulsory) heterosexuality in global mass media advertising. Through sodomy with that iconic item of American capitalist cultural imperialism, the poet's jingle valorises his rectum as one of the most fitting and wonderfully subversive "things" that "go better with coke!" As items usually for oral insertion rather than anal penetration, the carrot and banana (and bottle) here play on a subtle metaphor of "receptive"-anus-as-"active"-mouth. Allusions to the (frequently 'cock-hungry') oral-anal configuration of the anus denatus are more explicit in other Ginsberg poems. In "Journal Night Thoughts" (1961) the poet awaits as "a cock throbs I lie still my/mouth in my ass" (271). Ginsberg asks his sexual partner in "Please Master" (1968) to "make me wriggle my rear to eat up the prick trunk", and describes his anus as his "hairmouth" (494). In "Sweet Boy, Gimme Yr Ass" (1974) he desires a young man's "soft mouth asshole" (613). While containing "phallus" and "fingers", there is no tongue nor other oral referent in the rather clean "Sphincter". By contrast, "Iron Horse" (1966) includes the growly request: "Sweet Prince --/open yr ass to my mouth" (433-4). Ginsberg's Pre-AIDS poems frequently celebrate the joining of the uncondomed penis, anus and body fluids in sensational detail. In "This Form of Life Needs Sex" (1961) "joy" comes to mean the very act of joining male anus with penis: "You can joy man to man but the Sperm/comes back in a trickle at dawn/in a toilet on the 45th floor" (285). "Please Master" (1968) includes the demand, "fuck me more violent ... & throb thru five seconds to spurt out your semen heat over & over" (495). In "Love Comes" (1981) the period of the sex act and whether condoms are used is not stated: "I relaxed my inside/loosed the ring in my hide ... He continued to beat/his meat in my meat" (11). The memorial "'What You Up To?'" (1982) recaptures his most scatological unsafe copulation: "That white boy ... one night in 1946/he fucked me naked in the ass/till I smelled brown excrement/staining his cock" (29). While "Sphincter" marks the chronological peak in the development of Ginsberg's erotic poetry, the unbroken line, "unashamed wide open for joy", comprises the structural and thematic climax within the poem itself. This current of anal-erotic joy traces back to "Howl" (1955) with its passage about those men, "who let themselves be fucked in the ass by saintly motorcyclists/and screamed with joy" (128). Ginsberg has said that he wrote "joy" here instead of the expected "pain" as a reaction to the "James Dickey film Deliverance where [receptive anal sex] is supposed to be the worst thing in the world" (Young 103). In the inter-male rape scene in the 1972 film version of Dickey's 1970 novel, actions indicate that one man uses his penis to penetrate the anus of another who is held at gunpoint and ordered to squeal like a pig throughout the assault. Prior to this the raped man is taunted with female names. The consensual 'safe' gay anal joy exhibited by Ginsberg's "Sphincter" counters such homo-, gyno- and porcine-phobic violence. While the anal-erotic jouissance in poems that preceded "Sphincter" was overshadowed at times by non-reproductive aims and scatological themes, "Sphincter" delivers the explicit message that consensual protected anus-around-penis eroticism (particularly for actively "receptive" men) creates penultimate emotional and physical pleasure. The "phallus/coke bottle, candle, carrot/banana & fingers" leave any specified penis out of the pre-AIDS picture. By contrast, "Now" as Ginsberg states "[in the mid-Eighties age of] AIDS", at a time when auto-eroticism, digital/dildo stimulation and other penetrations without penis mean the safest anal sex, the poet himself celebrates contact with the safe sex penis -- "the condom'd/orgasmic friend" -- for which he is "unashamed wide open for joy". The preceding phrase, "out with the dumps", refers to the expulsing of two combined types of "dumps". Firstly, the mental depression about the end of skin-to-skin anus-penis sex and secondly, defecated matter which brings not only physical relief but an anus open to penetration. Unlike "Sphincter", later poems do not specify whether sexual encounters are 'safe' or 'unsafe'. In "The Guest" (1992) the question of whether condoms are used is open but the consensual status of the encounter is stressed: "I ask permission, he says 'yes,'/I pull his hips up, hold his breast,/spurt my loves deep in his bum" (78). Other poems such as "Violent Collaborations" (written with Peter Hale, 1992) humorously relish sadomasochistic and coprophilic pleasure: "Fuck me & fist me/in your army enlist me/Poop on me when you're at ease" (92). Again there is no specification that condoms are used nor that there is 'unsafe' contact. With its "shy" but "eager" anus and "condom'd/orgasmic friend", "Sphincter" marks not so much an end to 'unsafe' sex as an end to the specification of 'safe' sex in Ginsberg's poetry. No Ginsberg poem specifically addresses his penis (and/or testicles) in the way that "Sphincter" is devoted to his anus. In his poetry he does not epitomise himself as any libidinous body part other than his anal hole. In "Please Master" (1968) the poet conflates his anus with his selfhood when exclaiming: "touch your cock head to my wrinkled self-hole/... please please master fuck me again" (494-5), and "Please call me ... a wet asshole" (495). In Ginsberg's "Sphincter" moreover, his anus synecdochically represents not only his whole person but a type of gay Everyman. His sphincter is "active" and "receptive", "old" and "young", "shy" and "unashamed", and "rubbery" and "muscular". These antithetical qualities also characterise the male body idealised in gay culture (in reaction to media images of decaying 'plague victims') during the AIDS-era. This body is sexually 'versatile' (as both 'bottom' and 'top'), boyish-looking but sexually mature, introspective but assertively 'out', and physically toned but flexible. The "rubbery muscular" qualities of Ginsberg's anus are focal, because -- apart from the "blood" and "hemorrhoid" which evoke colours and shapes -- "Sphincter" contains no other physical representations of his anal orifice nor any of the myriad hyperbolic metaphorisations found in his earlier visceral verses. Anal-roseate associations appear in "A Methedrine Vision in Hollywood" (1965) and "Hiway Poesy" (1966). In the first there is wind of the floral: "one-eyed sparkle, giant glint, any tiny fart/or rose-whiff before roses were/Thought Impossible" (381). In the second, the anus-as-flower manifests through ambiguous layers. The word "rose" may be read as noun, adjective or verb: "Oh that I were young again and the skin in my anus folds/rose" (386). "Kaddish" (1959) draws on topographical metaphors: "a mortal avalanche, whole mountains of homosexuality, Matter-/horns of Cock, Grand Canyons of Asshole" (214). Manifestations of the anus as a cosmic portal or eye appear in several poems, but not in "Sphincter". Ginsberg draws on Yogic beliefs to cast the anus as the source of the enlightening kundalini in "Iron Horse" (1966): "Muladhara sphincter up thru/mind aura/Sahasrarapadma promise/another universe" (435). In the only reference to the anus in the copious footnotes to his Collected Poems, the editors explain 'Muladhara Sphincter' simplisticly as "anal chakra (one of seven bodily centers of spirit energy in Orient [sic] yoga practice)", while 'Sahasrarapadma' is described in detail as "Seventh chakra, 'thousand-petal lotus' at skulltop" (781). Ginsberg, however, seems to have placed his stress on these first and last chakras more equally or in reverse. In "Scatalogical Observations" (1997) he declares, "The Ass knows more than the mind knows" (85-6). In "Journal Night Thoughts" (1961) the poet's anus comprises a universal 'third eye' through which he comes to 'know' and 'see'. This anus/eye in the formulation of "the eye in the center of the moving/mandala -- the/eye in the hand/the eye in the asshole" (267) is later eroticised as "I prostrate my sphincter with my eyes in/the pillow" (271). As we have seen, Ginsberg's erotic poetry frequently features imagery of the sexual orifice that is beyond any man's individual scope and culturally most proscribed from public view. While many passages in his verse evoke the male anus as a subject worthy of versification and visualisation, Ginsberg's "Sphincter" comprises an ode which literally and literarily presents the poet's anus to the audience as a poetic vision in itself. The succinctly anti-analphobic and anti-homophobic "Sphincter" finely balances critical aspects of the ars poetica. Devoid of signature tropes such as the anus/mouth, anus/I and anus/eye, "Sphincter" with its relative lack of euphemism and clever mix of metonymy and metaphor nonetheless merges antithetical themes to relay a profound spiritual message. The poet's ode to his ageing anus matter-of-factly and humorously revels in memories of auto- and allo-erotic 'phallo-morphous' perversity and celebrates the anal-erotic joy in being 'fucked safely' as a personal and political act. As this millennium closes, we could do worse in our 'anal-retentive' culture than following one of the century's wisest poetic ends: "till death, relax". References Deliverance. Dir. John Boorman. U.S.A.: Warner Bros., 1972. Dickey, James. Deliverance. Boston, MA: Houghton Mifflin, 1970. Ginsberg, Allen. Collected Poems 1947-1980. New York: Viking Penguin, 1985. ---. Cosmopolitan Greetings: Poems 1986-1992. London: Penguin, 1994. ---. Death and Fame: Poems 1993-1997. London: Penguin, 1999. ---. White Shroud: Poems 1980-1985. New York: Harper and Row, 1986. Merrill, Thomas F. Allen Ginsberg. Boston, MA: Twayne, 1988. Tytell, John. Naked Angels: The Lives and Literature of the Beat Generation. New York: McGraw-Hill, 1976. Young, Allen. "Allen Young Interviews Allen Ginsberg." 1973. Gay Sunshine Interviews. Ed. Winston Leyland. San Francisco: Gay Sunshine Press, 1978: 96-128. Citation reference for this article MLA style: Simon-Astley Scholfield. "A Poetic End: Allen Ginsberg's 'Sphincter'." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/sphincter.php>. Chicago style: Simon-Astley Scholfield, "A Poetic End: Allen Ginsberg's 'Sphincter'," M/C: A Journal of Media and Culture 2, no. 8 (199x), <http://www.uq.edu.au/mc/9912/sphincter.php> ([your date of access]). APA style: Simon-Astley Scholfield. (1999) A poetic end: Allen Ginsberg's "Sphincter". M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/sphincter.php> ([your date of access]).

Censorship has often been regarded as the archenemy of artists, thinkers and writers. But has this always been the case? This research paper proposes that censorship is not a total evil or adversarial force which thwarts and hinders twentieth-century writers, particularly those who were part of the artistic, aesthetic, philosophical and intellectual movement known as Modernism. Though the word “censor” originally means a Roman official who, in the past, had a duty to monitor access to writing, the agents of censorship – particularly those in the modern times – are not in every case overt and easy to identify. Though Modernist writers openly condemn censorship, many of them nevertheless take on the role of censors who not only condone but also undergo self--censorship or censorship of others. In many cases in Modernist literature, readership and literary production, the binary opposition of victim and victimiser, as well as of censored and censor, is questioned and challenged. This research paper offers an analysis of the ways in which Virginia Woolf (1882–1941), Allen Ginsberg (1926–1997), Czesław Miłosz (1911–2004) and Bohumil Hrabal (1914–1997) lived and wrote by negotiating with many forms of censorship ranging from state censorship, social censorship, political censorship, moral censorship to self-censorship. It is a study of the ways in which these writers problematise and render ambiguity to the seemingly clear-cut and mutually exclusive division between the oppressive censor and the oppressed writer. The selected writers not only criticise and compromise with censorship, but also thematise and translate it into their works.

La tension analysée par Leo Marx dans son essai The Machine in the Garden: Technology and the Pastoral ideal in America (1964), entre l’Arcadie américaine comme terre de pureté naturelle et le trope de la menace mécanique, sous-tend les œuvres des deux poètes du XXe siècle que nous nous proposons ici d’étudier, William Carlos Williams (1883-1963) et Allen Ginsberg (1926-1997). Leur abondante correspondance est la trace d’une relation poétique mais aussi filiale : Pater-Son, pour jouer sur le titre du long poème de Williams. Cet échange épistolaire vient également remettre en question la périodisation des mouvements littéraires trop souvent conçue comme une série de ruptures. L’état du New Jersey, Garden State, dont ils sont tous deux originaires, jardin dévasté par la révolution industrielle, apparaît comme un terrain fertile au surgissement d’une langue unique et autochtone. Cet espace commun et métamorphique offrira également une échappatoire à l’impasse de la classification des œuvres : du modernisme à la Beat Generation. Il faudra donc revenir sur les délinéaments des tracés cartographiques pour mieux dessiner à notre tour la carte poétique de leur relation littéraire et personnelle. Au gré des passions humaines, extases et tribulations, les poètes arpentent les sillons du vers qu’ils creusent à même le sol de leur New Jersey natal, pour faire sourdre le flot autochtone d’une poésie résolument américaine<br>The tensions analyzed by Leo Marx in his 1964 essay The Machine in the Garden: Technology and the pastoral ideal in America, between the American Arcadia as a land of original purity and the trope of industrial threat is ghostly present throughout the works of both poets at stake in this dissertation: William Carlos Williams (1883-1963) and Allen Ginsberg (1926-1997). In this research I intend to analyze the processes by which the poets manage to claim ownership of their land in spite of the lurking mechanic apocalypse. Writing, each in his own time, both poets endeavor to reclaim the original historical and spatial meaning of their continent, by devising an autochthonous language that would provide a new “point of view” and a new “point of voice”, as means to prophesy a collective future for the nation from their personal “local” anchorage in their natal New Jersey. Striving to “make a start out of particulars” they intend to escape the vastness of the continent by focusing on the minute details surrounding them in their own garden state. The correspondence between the two poets also questions the periodization of literary movements, too often conceived as a series of breaks and schisms. The Garden State, metamorphic space covered with the remnants of industrialization provides us with a way to break free from the shackles of such categorization : from modernism to the Beat Generation

Ce mémoire de maîtrise démontre la continuité du mythe de la frontière dans la littérature américaine produite après la Seconde Guerre mondiale et il identifie le concept d'hyperréalité de Jean Baudrillard en tant que nouvelle frontière américaine. L’hyperréalité désigne un monde produit par la simulation et le simulacre que la population perçoit comme étant réel. J’analyserai les poèmes « Howl » (1955), « A Supermarket in California » (1955) et « America » (1956) d'Allen Ginsberg ainsi que les romans Mao II de Don DeLillo (1991) et Survivor (1999) de Chuck Palahniuk afin d’expliquer de quelles manières chacune de ces œuvres dénonce le climat socio-culturel qui produit l’hyperréalité et comment, du même coup, celles-ci récupèrent des éléments du mythe de la frontière. L’organisation chronologique des chapitres me permet d’établir que l’hyperréalité a joué le rôle de nouvelle frontière dans la psyché américaine à partir des années 50 jusqu’à la fin des années 90. L’opposition dialectique entre un Ancien Monde corrompu et un Nouveau Monde utopique, un élément fondamental du mythe de la frontière, est au cœur de chacune des œuvres étudiées. De plus, dans chacune d'elles, le ou la protagoniste parvient à redéfinir le sens de sa réalité en traversant la frontière entre l’Ancien et le Nouveau Monde ce qui évoque la fonction d’autodétermination attachée à la frontière. L’argumentaire de ce mémoire repose sur la notion que l'hyperréalité correspond à l’Ancien Monde et que celle-ci voile l’existence possible d’un Nouveau Monde. Dans les œuvres de Ginsberg, DeLillo et Palahniuk que j’ai choisi d’analyser, la société américaine est assujettie à une hyperréalité qui est omniprésente. Dans cet Ancien Monde, la population s’identifie et se définie par rapport à des images et des produits à la fois fabriqués et célébrés par les médias et la culture de masse. Les protagonistes de ces auteurs s’opposent tous à l’idéologie conformiste et déshumanisante de la société de consommation. Je définis ce rejet comme une réactualisation du mythe de la frontière puisqu’il symbolise le passage entre un Vieux Monde hyperréel et un Nouveau Monde. Dans ce nouveau paradigme, les protagonistes de Ginsberg, DeLillo et Palahniuk sont en mesure d’affirmer leur individualité.<br>This thesis demonstrates the persistence of frontier mythology in post-WWII American literature and identifies Jean Baudrillard’s concept of hyperreality as the new American frontier. Hyperreality designates a world fabricated through simulation and simulacra that people have accepted as real. Through close-reading analyses of Allen Ginsberg’s poems “Howl” (1955), “A Supermarket in California” (1955), and “America” (1956) as well as Don DeLillo’s Mao II (1991) and Chuck Palahniuk`s Survivor (1999), I explain how the critiques of the socio-cultural climate that produces hyperreality present in each of these works recuperate elements of frontier mythology. My chapter organization allows me to establish the persistence of hyperreality as the new frontier in American consciousness from the 1950s to the late 1990s. The dialectical opposition between a corrupt Old World and a utopian New World, which is fundamental to frontier mythology, is central in each the studied works. Also, in each of them, crossing the frontier between the Old and the New World allows the protagonist to re-define the meaning of his/her reality according to his/her vision, which is evocative of the empowering function the frontier. This thesis is founded upon the idea that hyperreality corresponds to the Old World and, as such, that it veils the existence of a possible New World. The American society depicted in Ginsberg’s, DeLillo’s, and Palahniuk’s chosen works is one where hyperreality is omnipresent; in this Old World, individuals identify with images and products both fabricated and celebrated by media and consumer cultures. These authors’ protagonists all oppose the conformist and dehumanizing ideology such cultures endorse. This thesis conceptualizes their rejection as a re-actualization of frontier mythology that symbolizes their passage from the hyperreal Old World to the New World. In this new paradigm, the protagonists can then re-define themselves and their realities based on their own self-determined visions and ideals rather than on those disseminated in media and consumer cultures.

L’ethnographie, dans la première moitié du XXe siècle, a influencé l’écriture des poètes surréalistes, ou proches du mouvement de Breton, et ceux de la Beat Generation. Comme les ethnographes, Michaux, Césaire et Ginsberg ont rejeté la tentation de l’exotisme, et ont tenté, chacun à leur façon, de décrire des phénomènes culturels, de chercher “l’âme” d’un peuple, et de “traduire le monde” par la poésie. Nourris de lectures ethnographiques, ils ont voyagé, utilisé des documents dans leurs journaux et leurs poèmes, et ils ont exploré des cultures différentes à partir des marges sociales. Inspirés par l’ethnographie, ils l’ont aussi parodiée, en montrant ses limites, ses ambitions et ses ambiguïtés, en proposant aussi des ethnographies imaginaires, satiriques, pour inventer d’autres mœurs, d’autres logiques, d’autres possibilités de vivre ensemble. En interrogeant les méthodes et les enjeux éthiques et politiques de l’ethnographie dans l’écriture des poètes, nous posons aussi la question de l’existence d’un genre littéraire : peut-on parler de “poésie ethnographique” ?<br>That thesis examines the influence of anthropology on the poetics of Henri Michaux, Aimé Césaire and Allen Ginsberg. In studying their writing methods, I question their poetic insights and the limits of their observations to “translate a world” so far and different from “ours.” Surrealist and Beat poets shared common ethical and political views with many ethnographers, placing value on cultures (and cultural margins) often denigrated by industrialized western countries. Like ethnographers, poets work with metaphors and documents to interpret their experience and understanding of the world. Their interest in (and parodies of) ethnography not only propose a healthy way to criticize ethnographers’ ambitions, but also can help us understand each other’s cultures: poetic license and relative brevity of form sometimes reveal accurately or more vividly a cultural pattern that researchers struggle to explain. In the midst of an interconnected world where cultural misunderstandings escalate frequently and sometimes violently, poetry can help us gain or cultivate an awareness of social and cultural prejudice, and at the same time reveal the beauty in things once thought to be irrelevant, ignoble, or even despicable

Des auteurs representatifs chacun d'une tendance et tous de la meme generation, francois-rene daillie, allen ginsberg, claude pelieu et kenneth white ecrivent des oeuvres ou le voyage tient une grande part. Si ces auteurs expriment des tendances distinctes, ils s'apparentent neanmoins par leurs influences en rejetant le rationalisme productiviste gerant notre vision de l'espace. Les oeuvres de certains refletent le malaise des annees 60 et 70 qui predispose au voyage et repandent des idees sur l'ecologie, la liberation sexuelle, sur la societe de consommation et critiquent une politique qu'ils disent spectaculaire et repressive,. Dans l'ensemble, ils montrent une societe qui genere, disent-ils, une mauvaise relation avec l'espace naturel et dont la guerre du viet-nam est l'illustration. Ces poetes possedent une perception globale d'un monde non-cloisonne. Ressentant une crise d'identite, ils se lancent alors dans une quete ontologique. La modernite, ressentie par certains comme une corruption, est rejetee en faveur de valeurs plus archaiques. Leur recherche d'un absolu se fait a travers des experiences avec des psychotropes mais aussi a travers l'ecriture, souvent influencee par le bouddhisme. Les poetes-voyageurs trouvent leur identite dans une osmose erotique avec le monde. L'investigation d'un nouvel espace les renvoie a eux-meme vers leurs experiences matricielles. Le voyage deviendrait un non-voyage s'il n'etait pas l'expression d'un desir d'alterite comme miroir. Le poete-voyageur est impressionne par un paysage quand celui-ci correspond a un espace anterieur qui aurait laisse des traces dans son psychisme. Le bonheur de l'espace n'existe donc qu'avec l'imagination ou le souvenir des sensations primordiales<br>Some writers, each representative of a particular trend but all belonging to the same generation - francois-rene daillie, allen ginsberg, claude pelieu and kenneth white write works where travelling plays an important part. While these authors all express distinct trends, they have certain similarities through their influences and in that they reject the productivist rationalism which conditions our vision of space. The works of some of them reflect the feeling of ill-being of the sixties and seventies which predisposed to travelling, spread ideas on environnementalism, sexual liberation, the consumer society and criticize what they term spectacular and repressive policies. Altogether, they all depict a society generating, they say, bad relations with our natural environment, examplified by the vietnam war. These poets share a global perception of a non-compartimentalized world. Undergoing an identity crisis in their own countries, they set off on an ontological quest. Modernity, then felt by some as a form of corruption, is rejected for more archaic values. Their search for an absolute is carried out through the use of psychotrops but also through writing, often influenced by buddhism. The poet-traveller discovers his self in a sometimes erotic osmosis with the world. Investigating this new space makes them go back to their experiences of the womb. Travelling would be of no avail if it was not also the expression of a powerful desir for otherness, a mirror for the self. This is the price to pay for experiencing the enjoyment of space. The poet-traveller is impressed by a landscape when it corresponds to a former space that would have left traces in his mind. Therefore, the enjoyment of space can only occur through imagination or memories of primeval sensations

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.<br>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)<br>Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-06-08T12:59:14Z (GMT) No. of bitstreams: 1 2015_dis_jltbrito.pdf: 3466253 bytes, checksum: 20edd3103d946df889c4ffe55c09431e (MD5)<br>Made available in DSpace on 2015-06-08T12:59:14Z (GMT). No. of bitstreams: 1 2015_dis_jltbrito.pdf: 3466253 bytes, checksum: 20edd3103d946df889c4ffe55c09431e (MD5) Previous issue date: 2015<br>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.<br>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.

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<br>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

Chan, Tsz Shan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 100-102).<br>Abstracts in English and Chinese.<br>Introduction --- p.1<br>Chapter 1. --- Jack Kerouac and the Concept of Emptiness --- p.20<br>Chapter 2. --- Gary Snyder and Autonomous Nature --- p.43<br>Chapter 3. --- Ginsberg and the Sunyata Consciousness --- p.70<br>Conclusion --- p.95<br>Bibliography --- p.100