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Journal articles on the topic 'Kerouac, Jack'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

Butterick, George F., and Tom Clark. "Jack Kerouac." New England Quarterly 58, no. 1 (March 1985): 152. http://dx.doi.org/10.2307/365282.

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2

Merrill, Robert, and Warren French. "Jack Kerouac." American Literature 59, no. 4 (December 1987): 687. http://dx.doi.org/10.2307/2926641.

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3

Beards, R., and Tom Clark. "Jack Kerouac." World Literature Today 59, no. 2 (1985): 274. http://dx.doi.org/10.2307/40141558.

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4

Sadr, Saman, and Fazel Asadi Amjad. "The Struggle between the Dharma Bums and the Police: A Foucauldian Reading of The Dharma Bums." Journal of Critical Studies in Language and Literature 3, no. 2 (January 22, 2022): 15–19. http://dx.doi.org/10.46809/jcsll.v3i2.131.

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This study aimed to examine and analyze the novel The Dharma Bums by Jack Kerouac based on the political theory of Michel Foucault. This semi-fictional account is the story of search for the original experience and enlightenment and introduces the character of Gary Snyder as Japhy Ryder who is a poet, critical thinker, philosopher and political radical, and Ray Smith, the alter ego of Jack Kerouac himself. The main focus would be on Foucault’s conceptions of power, power relations, institutions, normalization, and surveillance. This study will also seek to provide a true understanding of the life and times of Jack Kerouac. Moreover, it represents the cultural, political, and historical background based on which Kerouac had written his work. Kerouac’s novel represents the spirit of the age of a people who sought change, difference, and disobedience; the main characters are antiheroes who challenge their prisonlike structure of the society. In contrast, the government has the upper hand by means of its distinct and overlapping institutions that not only neutralize such acts or resistances but make normal and ordinary those individuals who were themselves the promoters and examples of abnormality.
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5

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

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This study is an attempt at reading Jack Kerouac’s “The Subterraneans” in the light of the theory of Michel Foucault. “The Subterraneans”, written in 1958, grapples with the life of Leo, the alter ego of Jack Kerouac himself. The actions and interactions of its main characters, Leo Percepied and Mardou Fox, are observed and analyzed, focusing on the political philosophy of Foucault, specifically his conceptions of power, power relations, institutions, and surveillance to shed light on the ideas of Kerouac, the spokesperson of the Beat Generation. Kerouac’s novel represents the spirit of the age of a people who sought change, difference, and disobedience; the main characters are antiheroes who challenge their prisonlike structure of the society. In contrast, the government has the upper hand by means of its distinct and overlapping institutions that not only neutralize such acts or resistances but make normal and ordinary those individuals who were themselves the promoters and examples of abnormality. Jack Kerouac’s “The Subterraneans” is characterized by unfreedom, obedience, unthinking men, individuals without individuality, and disillusionment.
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6

Anctil, Pierre. "Jack Kerouac anachronique." Voix et Images 13, no. 3 (1988): 408. http://dx.doi.org/10.7202/200729ar.

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7

Wigand, Moritz E., Nicolas Rüsch, and Thomas Becker. "Jack Kerouac Revisited." Journal of Nervous and Mental Disease 204, no. 10 (October 2016): 728–35. http://dx.doi.org/10.1097/nmd.0000000000000520.

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8

McMillan, Bo. "Food Is the New Jazz?: Jack Kerouac and Food Writing." Gastronomica 18, no. 4 (2018): 13–25. http://dx.doi.org/10.1525/gfc.2018.18.4.13.

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“The apple pie was more than just ‘nutritious, man.’” Despite frequent critical fixation on the jazz aspects of Jack Kerouac's oeuvre, this reconsideration of the author's canon poses food as a central theme of the Duluoz Legend and analyzes the ways in which Kerouac thought and wrote about food as an object, literary motif, and cultural conduit—modes of thought that, despite previous tracing of contemporary food culture to the counterculture of the 1960s and 1970s, lead almost directly to many current food issues, practices, and debates. Grounded in Kerouac's attentive engagement with the agricultural overtures of Oswald Spengler's Decline of the West, this article discusses how Kerouac understood, played with, and utilized food as a means of cultural comprehension and then—via jazz—cultural subversion within the “decline” of the West, primarily through his novels The Town and the City (1950), On the Road (1957), and The Dharma Bums (1958).
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9

Anstee, Rod, Maurice Poteet, and Hélène Bédard. "Bibliographie de Jack Kerouac." Voix et Images 13, no. 3 (1988): 426. http://dx.doi.org/10.7202/200732ar.

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10

Horvath, B. "Liar! Liar! Jack Kerouac--Novelist." American Literature 73, no. 1 (March 1, 2001): 210–11. http://dx.doi.org/10.1215/00029831-73-1-210.

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11

Le Pellec, Yves. "Jack Kerouac, pìcaro de l’âme." Études littéraires 26, no. 3 (April 12, 2005): 45–57. http://dx.doi.org/10.7202/501054ar.

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Parler de picaresque à propos du roman contemporain américain implique un raisonnement en termes d'équivalence plutôt que de conformité au genre originel. Dans une société mobile, glorifiant la liberté de l'individu, où la hiérarchie des classes est loin d'être aussi rigide que dans la féodalité castillane, le pícaro est moins victime que marginal. Après Henry Miller, Jack Kerouac revitalise le picarisme en choisissant les États-Unis des déshérités et, comme héros mythique, un sympathique délinquant presque sanctifié. Il transforme l'itinéraire picaresque en quête spirituelle, mais son écriture atteint parfois un degré de liberté tellement solipsiste qu'il finit par adopter, sans doute à son insu, une posture picaresque conventionnelle qui a perdu son caractère subversif.
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12

Lititz, Jacob. "Jack Kerouac by Tom Clark." Western American Literature 21, no. 2 (1986): 151–52. http://dx.doi.org/10.1353/wal.1986.0019.

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13

Morrison, Susan Signe. "“[A]n Exterior Air of Pilgrimage”: The Resilience of Pilgrimage Ecopoetics and Slow Travel from Chaucer’s The Canterbury Tales to Jack Kerouac’s On the Road." Humanities 9, no. 4 (October 8, 2020): 117. http://dx.doi.org/10.3390/h9040117.

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While the Beats can be seen as critical actors in the environmental humanities, their works should be seen over the longue durée. They are not only an origin, but are also recipients, of an environmentally aware tradition. With Geoffrey Chaucer and Jack Kerouac, we see how a contemporary American icon functions as a text parallel to something generally seen as discrete and past, an instance of the modern embracing, interpreting, and appropriating the medieval. I argue that The Canterbury Tales by Chaucer influenced Kerouac’s shaping of On the Road. In the unpublished autograph manuscript travel diary dating from 1948–1949 (On the Road notebook), Kerouac imagines the novel as a quest tale, thinking of pilgrimage during its gestation. Further, Kerouac explicitly cites Chaucer. His novel can be seen not only in the tradition of Chaucer, but can bring out aspects of pilgrimage ecopoetics in general. These connections include structural elements, the spiritual development of the narrator, reliance on vernacular dialect, acute environmental awareness, and slow travel. Chaucer’s influence on Kerouac highlights how certain elements characteristic of pilgrimage literature persist well into the modern period, in a resilience of form, language, and ecological sensibility.
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14

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

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O objetivo do presente texto é analisar uma seleta da fortuna crítica de obras de Jack Kerouac (1922-1969) traduzidas no Brasil, na década de 1980. A saber: <em>On the road: pé na estrada, Os subterrâneos, Viajante solitário, O livro dos sonhos </em>e <em>Big Sur. </em>Resultado da pesquisa em fontes primárias, esta análise faz parte da nossa dissertação de mestrado, que, além de fornecer e analisar essa seleta, buscou mostrar o primeiro momento da recepção da obra de Jack Kerouac no Brasil, reconstituir a polêmica gerada acerca das publicações dos textos <em>beat</em> no Brasil e revelar alguns escritores brasileiros que foram influenciados pelos artistas da <em>beat generation</em>, movimento literário norte-americano ocorrido nos anos 1950, ao qual Jack Kerouac pertenceu. O presente artigo mostra, a partir de algumas críticas – ou da relação entre elas –, como Kerouac foi visto no Brasil via tradução, fornecendo assim um painel sobre sua recepção, avaliando o tratamento que lhe foi dado e reconstituindo uma visão do espaço que ocupou na imprensa brasileira.
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15

Streip, Katharine. "The Unknown Kerouac: Rare, Unpublished and Newly Translated Writings by Jack Kerouac, and: La vie est d’hommage by Jack Kerouac." L'Esprit Créateur 58, no. 4 (2018): 168–69. http://dx.doi.org/10.1353/esp.2018.0053.

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16

Bibeau, Gilles. "Voyages et fictions chez Jack Kerouac." Anthropologie et Sociétés 28, no. 3 (September 12, 2005): 59–89. http://dx.doi.org/10.7202/011283ar.

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Résumé S’appuyant sur la définition que Jack Kerouac a donnée de lui-même (« Je ne suis pas un “beat” mais un mystique catholique étrange, solitaire et fou… »), l’auteur lit l’immense oeuvre du « Ti-Jean » de Lowell comme si elle proposait, à travers une ethno-fiction, la mise en scène imaginaire du mythe fondateur d’un lignage Canuck, de la chronique généalogique de la migration des Kerouac, de la Bretagne aux États-Unis en passant par le Québec, et de la difficile américanisation d’une famille ouvrière, catholique et de langue française dans un des « Petits Canadas » des États-Unis. L’article démontre que l’image de « Beatnik » ne fait pas justice à l’extraordinaire créativité littéraire de cet écrivain qui a inventé un style d’écriture automatique inconnu avant lui, qui a mis en mots l’esprit de toute une époque dans un des « grands romans américains » du XXe siècle et qui a réécrit une nouvelle version de la mythologie américaine du voyage. Le monde imaginaire de Kerouac a été celui de l’exploration intérieure comme chez Walt Whitman, celui de l’excès dans l’errance, dans une descente en soi jusqu’à la folie et à la mort dans l’alcool, et enfin, celui du retour compulsif sur l’identité hybride des Franco-Américains dans une Amérique amérindienne. L’auteur montre que la légende franco-américaine des Duluoz a été, pendant quelques années, le mythe du peuple américain.
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17

Heejung Kim. "Jack Kerouac as a Haiku Poet." Journal of English Cultural Studies 12, no. 3 (December 2019): 55–75. http://dx.doi.org/10.15732/jecs.12.3.201912.55.

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18

Favreau, Francis. "Jack Kerouac : la feinte et l’écriture." Voix et Images 13, no. 3 (1988): 413. http://dx.doi.org/10.7202/200730ar.

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19

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

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The appearance of On the Road in 1957 signalled the emergence of a new movement in American literature, soon to be called the Beat Generation (Kerouac 1957). Along with Allen Ginsberg's ‘Howl’ of 1956, Kerouac's work brought a new awareness of an intellectual counter-culture bubbling under the conservative surface of 1950s America. The content of these writers' poetry and prose, with its open and honest depiction of hetero-, homo-, and bisexual activity, drug abuse, petty crime, and social deviance was enough to create a sensation, but it is the style that gives the works their permanence and interest today. Kerouac himself used the term ‘bop prose’ to describe his efforts to reform fiction along the lines of avant-garde jazz, where immediacy of expression and technical fluency combine to open new possibilities, supposedly not present in more traditional methods of composition.
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20

Silva Junior, Sávio Augusto Lopes da. "O desafio à impessoalidade na prosa poética de Jack Kerouac." Cadernos CESPUC de Pesquisa Série Ensaios, no. 30 (July 13, 2017): 138–49. http://dx.doi.org/10.5752/p.2358-3231.2017n30p138-149.

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Este é um estudo da prosa poética criada pelo escritor e poeta norte-americano Jack Kerouac, em que o foco está na quebra do paradigma de impessoalidade proposto pela teoria do New Criticism. Observa-se como o discurso literário e o eu apresentados na obra The Subterraneans implicam em uma forma literária de cunho autobiográfico e pessoal, criando uma contraposição aos conceitos de alta arte e poesia sugeridos por correntes críticas hegemônicas. Por fim, nota-se como essa ideia desafiadora contribui para que Jack Kerouac e a Geração Beat sejam reconhecidos no panorama da literatura norte-americana.Palavras-chave: Literatura Norte-Americana. Geração Beat. New Criticism. Prosa Poética.
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21

Silva Junior, Sávio Augusto Lopes da. "O desafio à impessoalidade na prosa poética de Jack Kerouac." Cadernos CESPUC de Pesquisa Série Ensaios, no. 30 (July 13, 2017): 138–49. http://dx.doi.org/10.5752/p.2358-3231.n30p138-149.

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Este é um estudo da prosa poética criada pelo escritor e poeta norte-americano Jack Kerouac, em que o foco está na quebra do paradigma de impessoalidade proposto pela teoria do New Criticism. Observa-se como o discurso literário e o eu apresentados na obra The Subterraneans implicam em uma forma literária de cunho autobiográfico e pessoal, criando uma contraposição aos conceitos de alta arte e poesia sugeridos por correntes críticas hegemônicas. Por fim, nota-se como essa ideia desafiadora contribui para que Jack Kerouac e a Geração Beat sejam reconhecidos no panorama da literatura norte-americana.Palavras-chave: Literatura Norte-Americana. Geração Beat. New Criticism. Prosa Poética.
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22

Pinette, Susan. "Jack Kerouac : l’écriture et l’identité franco-américaine." Francophonies d'Amérique, no. 17 (2004): 35. http://dx.doi.org/10.7202/1005277ar.

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23

Perreault, Guy. "Jack Kerouac : une conscience de la mort." Voix et Images 13, no. 3 (1988): 402. http://dx.doi.org/10.7202/200728ar.

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24

Pinette, Susan. "Jack Kerouac: l'ecriture et l'identite franco-americaine." Francophonies d'Amérique 17, no. 1 (2004): 35–43. http://dx.doi.org/10.1353/fda.2004.0018.

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25

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

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Résumé Après avoir examiné la querelle qui suivit la revendication, par certains, de Jack Kerouac comme auteur québécois, notre article propose une relecture de deux de ses romans — Sur la route (1957) et Visions de Gérard (1958) — qui rattache au mysticisme catholique et au messianisme du « Québec d’en bas », aussi bien qu’à la perte précoce d’un frère, des faits textuels communément imputés à l’idéologie naissante de la « Beat Generation ». C’est le sens du plus célèbre road trip des lettres du xxe siècle que nous voudrions en effet revoir ici, afin de montrer que la trajectoire de l’écriture de Sur la route n’est pas tant le Sud-Ouest que le Nord-Est, c’est-à-dire le Petit Canada de l’enfance de Kerouac et surtout de Gérard, dont la voix française (Gérard ne parlait pas l’anglais !) semble avoir guidé Jack le long de sa route poétique.
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26

King, Daniel P., and Barry Miles. "Jack Kerouac, King of the Beats: A Portrait." World Literature Today 74, no. 1 (2000): 170. http://dx.doi.org/10.2307/40155423.

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27

Perreault, Robert B. "Jack Kerouac : un French guy pareil comme moi ?" Rabaska: Revue d'ethnologie de l'Amérique française 17 (2019): 173. http://dx.doi.org/10.7202/1066014ar.

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28

Ferland, Rémi. "Les enjeux de la Rencontre internationale Jack Kerouac." Voix et Images 13, no. 3 (1988): 422. http://dx.doi.org/10.7202/200731ar.

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29

Cassady, Neal, and Jack Kerouac. "The Letters of Neal Cassady to Jack Kerouac." Missouri Review 22, no. 2 (1999): 91–123. http://dx.doi.org/10.1353/mis.1999.0046.

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30

Morrissette, Vincent H. "La vie est d’hommage par by Jack Kerouac." French Review 90, no. 4 (2017): 275–76. http://dx.doi.org/10.1353/tfr.2017.0272.

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31

Jonathan P. Eburne. "Jack Kerouac and the Literary Imagination, and: Action Writing: Jack Kerouac’s Wild Form (review)." Studies in the Novel 41, no. 3 (2010): 384–87. http://dx.doi.org/10.1353/sdn.0.0075.

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32

Mortenson, Erik. "High Off the Page." Janus Head 7, no. 1 (2004): 54–72. http://dx.doi.org/10.5840/jh20047137.

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This article explores attempts by Jack Kerouac and Allen Ginsberg to transcribe their drug experiences onto the written page. Utilizing both Maurice Merleau-Ponty’s work on intersubjective communication and Gilles Deleuze and Felix Guattari’s conception of the “Body Without Organs,” it argues that by writing “through the body,” Kerouac and Ginsberg are able to transmit the physical and emotional effects of the drug experience to the reader via the medium of the text. The reader thus receives not just an objective account of the drug experience, but becomes privy to the alterations in temporal perception and intersubjective empathy that drug use inaugurates.
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33

Carvalho, Samir De. "Jack Kerouac e o romance moderno: o devir escritor." ArReDia 6, no. 10 (June 10, 2017): 1. http://dx.doi.org/10.30612/arredia.v6i10.5595.

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A partir do conceito de devir, o presente trabalho busca delinear o desenvolvimento de Jack Kerouac como autor importante para o romance do século XX. Com o intuito de traçar o trajeto artístico que permitiu a formação gradativa de seu estilo, elucida-se pontos importantes que serviram de guia na construção poética do autor. Sua localização histórica na literatura americana oferece-nos uma visão de sua importância e de seu prenúncio dentro do ambiente artístico dos Estados Unidos.
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34

Melehy, H. "Literatures of Exile and Return: Jack Kerouac and Quebec." American Literature 84, no. 3 (January 1, 2012): 589–615. http://dx.doi.org/10.1215/00029831-1664728.

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35

Derbesy, Philip. "Reading Cinematic Allusions in the Novels of Jack Kerouac." Journal of American Culture 43, no. 2 (May 23, 2020): 100–110. http://dx.doi.org/10.1111/jacc.13132.

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36

Martaus, Alaine. "Jack Kerouac Is Dead to Me by Gae Polisner." Bulletin of the Center for Children's Books 73, no. 8 (2020): 361. http://dx.doi.org/10.1353/bcc.2020.0278.

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37

Schryer, Stephen. "Failed Faustians: Jack Kerouac and the Discourse of Delinquincy." MFS Modern Fiction Studies 57, no. 1 (2011): 123–48. http://dx.doi.org/10.1353/mfs.2011.0016.

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38

Kerouac, Jack. "Letters from Jack Kerouac to Ed White, 1947-68." Missouri Review 17, no. 3 (1994): 107–60. http://dx.doi.org/10.1353/mis.1994.0044.

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39

Esteves, Lainister de O. "Literatura marginal americana: do épico confessional ao niilismo erótico." Viso: Cadernos de estética aplicada 4, no. 9 (June 8, 2011): 85–103. http://dx.doi.org/10.22409/1981-4062/v9i/103.

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O objetivo deste artigo é analisar como a prosa ficcional norte americana do século XX se define a partir de um modelo de herói marginal. Autores como Henry Miller; Jack Kerouac e Charles Bukowski dramatizam um tipo de heroísmo baseado na representação de temas como liberdade e redenção que permite pensar como determinados textos se encontram na configuração de uma suposta linhagem literária.
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40

Rožman Ivančič, Nejc. "The The Image of a Woman of Colour and Native American Woman in Two Kerouac Novels: A Double Otherness." ELOPE: English Language Overseas Perspectives and Enquiries 16, no. 2 (November 30, 2019): 117–33. http://dx.doi.org/10.4312/elope.16.2.117-133.

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The article examines the portrayal of a woman of colour in the novel The Subterraneans (1958), and the portrayal of a Native American woman in the novel Tristessa (1960). The two works are representative examples within the opus of the American writer Jack Kerouac (1922–1969), and offer suitable starting points for the reinterpretation of his attitude towards women and non-white ethnicities. The novels reveal the ethnocentric, even colonizing attitude of the dominating male narrator in relation to the dominated and subjugated social groups. Although the treated works are considered Kerouac’s “female-centred novels” (Phelan Lyke 1991, v), this syntagm is problematized here by showing that the male narrator remains the true protagonist, focused essentially on his own perceptions of the non-white romantic subject, whereas the two female characters are (mere) objects for the protagonists’ self-discovery, life experience and psychological projection. In this sense, Kerouac’s consistent presentation of women as representatives of an identity of the exotic/Other reveals his nested gender and racial prejudice.
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41

Lojek, Helen, and James T. Jones. "A Map of Mexico City Blues: Jack Kerouac as Poet." American Literature 65, no. 3 (September 1993): 588. http://dx.doi.org/10.2307/2927405.

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42

Bill, Roger. "Traveller or tourist? Jack Kerouac and the commodification of culture." Dialectical Anthropology 34, no. 3 (February 13, 2010): 395–417. http://dx.doi.org/10.1007/s10624-010-9157-y.

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43

Junkes, Diana, Luiz Carlos De Brito Rezende, and Ivan Pérsio de Arruda Campos. "“When the Sun goes down”: melopeia e transcriação em On the Road de Jack Kerouac." Cadernos de Tradução 40, no. 1 (January 22, 2020): 127–46. http://dx.doi.org/10.5007/2175-7968.2020v40n1p127.

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Este artigo tem como objetivo apresentar uma transcriação eficaz do parágrafo final de On the road de Jack Kerouac, que recupere a melopeia presente no original, mas usualmente desconsiderada ou não percebida em muitas das traduções desse texto para outras línguas. Mobilizam-se aqui, para fazê-lo, as contribuições à teoria da tradução oferecidas por Haroldo de Campos em inúmeros artigos, ensaios e conferências, ao longo de quarenta anos. Após breve apresentação do livro, o artigo faz um surveyconceitual do pensamento haroldiano sobre a tradução, em seguida propõe a transcriação do trecho da obra de Kerouac referido acima, com ênfase no trabalho recriador, e cotejando as soluções propostas para o fragmento com traduções para o português feitas em Portugal e no Brasil, expandindo-se a seguir o âmbito da comparação para incluir o francês, oespanhol e o italiano. É digno de nota que, dentre essas traduções, apena a italiana demonstra um esforço bem sucedido de recuperação melopáica.
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44

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

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45

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

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46

Kasper, Kátia Maria, and Gabriela De Sousa Tóffoli. "Errâncias: cartografias em trajetos de-formativos." Leitura: Teoria & Prática 36, no. 72 (April 22, 2018): 85–98. http://dx.doi.org/10.34112/2317-0972a2018v36n72p85-98.

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Convocamos fragmentos de andanças de duas professoras, duas proposições de escrita em trajetos diversos que se compõem, lendo a formação como devir, abertura para novos encontros. Uma delas coloca-se um pouco à deriva, com Jack Kerouac, Suely Rolnik, clowns e mais. Outra passeia com Félix Guattari, Fernanda Eugénio e João Fiadeiro, por cidades, catando. Ambas se encontram com Agnès Varda. Territórios que se desfazem enquanto novas composições se delineiam, num processo sem fim de leituras e aberturas de mundos.
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47

De Moraes, Vanessa Daniele, Lorena Da Silva Figueiredo, and Ana Saggese. "Adaptação em on the road: fendas abertas na realidade." Esferas 1, no. 21 (October 21, 2021): 198. http://dx.doi.org/10.31501/esf.v1i21.12914.

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O artigo propõe uma reflexão sobre a genealogia do ato de adaptação, considerando teorias do cinema e da literatura numa construção conduzida pela produção de subjetividades e sensações. Utilizamos como objeto de análise o livro On the road - Pé na estrada, de Jack Kerouac, publicado pela primeira vez em 1957, e o filme homônimo de Walter Salles, lançado em 2012. Trazemos a problemática do termo “adaptação”, tal como a questão da tradução, considerada recriação ou transcriação em relação à obra de origem.
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48

Bilodeau, André. "L’acculturation des Franco-Américains de deuxième génération en Nouvelle-Angleterre entre 1920 et 1940 à travers une partie de l’oeuvre et de la vie de divers écrivains de la Franco-Américanie." Cahiers d'histoire 33, no. 1 (April 8, 2015): 47–67. http://dx.doi.org/10.7202/1029361ar.

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Entre 1920 et 1940, les Franco-Américains de la Nouvelle-Angleterre, plus spécifiquement ceux de deuxième génération, vivront un processus d’acculturation accéléré. Évoluant dans un contexte social, économique, culturel et historique en forte transition, ce groupe subira des transformations majeures et il amorcera un déclin à plusieurs niveaux. Dans ce contexte particulier, les risques pris par l’immigrant en terre américaine, tant en termes identitaire qu’économique, sont bien réels. Pour illustrer cette situation, la production littéraire d'auteurs franco-américains de deuxième génération, dont Jack Kerouac, sera un matériau privilégié dans cet article.
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49

Hemmer, Kurt, Ellis Amburn, Jim Christy, Barry Miles, and Jack Kerouac. "Rucksacks in the Classroom: Teaching Jack Kerouac in the Twenty-First Century." Rocky Mountain Review of Language and Literature 53, no. 1 (1999): 119. http://dx.doi.org/10.2307/1347970.

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50

Winner. "Visions of Cody and Media: Jack Kerouac as Late Modernist." Journal of Modern Literature 43, no. 1 (2019): 132. http://dx.doi.org/10.2979/jmodelite.43.1.08.

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