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1
Kuhlman, Laura Jane. "The beat goes on: women writers of the beat generation". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5796.
Testo completoAbstract (sommario):
The Beats were one of the most influential communities of the 20th century, and this dissertation focuses on the critically underrepresented women who were part of their influence. Today, the Beats are largely celebrated for their literary legacy, popularizing a spontaneous poetic style as well as promoting an antimaterialist ethos and globe-trotting mystique in opposition to Cold War attitudes of confinement and consensus. During the 1950s and 1960s, the Beats were seen as harbingers of cultural disillusionment, taking to the road in search of God, championing the “beatific” nature of the disenfranchised, the poor, and the lowly across America. Today, the Beats are considered to be the progenitors of pacifist “hippie” culture and a revolutionary postwar spirit.
Despite this democratizing goal, a prevailing critical consensus holds that the Beat movement was primarily a “boy’s club,” in which the homosocial bonds between the key male figures fostered a system of literary mentorship that largely excluded women writers. Although the canon is frequently narrowed to give precedence to Jack Kerouac, Allen Ginsberg, and William S. Burroughs, and the male writers who joined their cadre, my project focuses on the many women writers who were part of the Beat community and the lasting impact of their work. My goal is to reconceptualize Beat aesthetics, themes, and communities in light of these women’s writing. The project entails close textual analysis of these writers’ work across multiple genres, including poetry, memoir, and fiction, as well as research toward historical and cultural contextualization, including interviews. Their writing emphasizes the centrality of the domestic sphere to Beat publishing and the utility of the road in seeking healing and empowerment, in addition to offering new perspectives on Beat spirituality and life writing.
In addition to bringing well-deserved attention to these marginalized writers, this research is valuable for American literary history in expanding knowledge of women’s writing at midcentury. More broadly, these writers are of significance to our understanding of modern feminism as well. The majority of these women worked to support their families at a time described by Betty Friedan as the age of the “feminine mystique,” and they pushed back against the rigid social conventions of their time by escaping into bohemian life. The Beat women wrote frankly about reproductive roulette, single motherhood, abortion, social stigma about being women who lived alone, and difficulty starting careers in a sexist culture. For their shared values of self-sufficiency and dedication to their work, these women could be seen as feminist forerunners to the major crest of second wave feminism. However, feminism is not a single, static, monolithic push, and my interrogation of Beat women’s texts complicates and enriches understandings of postwar gender conventions. These writers’ thought contributes to ongoing discussions in modern feminist thought, including shifting cultural attitudes toward domestic labor, the importance of women’s communities, and forms and contradictions of female leadership.
2
Robinson, Christopher. ""Dragging themselves through the Negro streets at dawn": the influence of African American culture on the Beats /". Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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3
Dann, Anissa T. "The Beat Goes On". Wittenberg University Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors152933282873922.
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4
Ortéga, Julien. "Libérer l'écriture : le projet de la Beat Generation". Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0020/document.
Testo completoAbstract (sommario):
La littérature américaine est en mouvement constant. Elle cherche des pistes, des issues et des histoires évoquant ou transgressant la réalité. Depuis l’arrivée des premiers colons, l’influence des auteurs européens ne s’est jamais démentie sur les futurs natifs d’une terre en pleine expansion. Progressivement voué à l’exploration et à la découverte de l’intériorité de l’homme, l’auteur décrit les multiples évolutions métamorphosant la terre et les consciences. S’affranchir des lieux communs afin de s’approcher au plus près du mythe ultime – à savoir le « Grand Roman américain » – est une manière pour les écrivains du Nouveau Monde d’entrer dans la légende en s’appropriant le langage. Grâce à Jack London et la Beat Generation, écrire est synonyme de témoignage, la langue étant perpétuellement à réinventer. Libérer l’écriture de ses entraves est bien plus qu’un simple projet, c’est en quelque sorte un moyen d’émanciper la page. Du voyage clandestin dans les wagons de marchandises à la glorification du verbe neuf, la route tient toute ses promessesAmerican literature is a constant flux. It is looking for new paths, exits and stories evoking or transgressing reality. Since the arrival of the first settlers, the influence of European authors on the future natives of this always-expanding country has never waned. As he progressively devoted himself to the discovery and exploration of the interiority of Man, the author has described the multiple evolutions which transformed both the land and the minds. Freeing oneself from commonplace ideas in order to get closer to the ultimate myth – that is, the “Great American Novel” – is a way for the writers of the New World to go down in history by taking full ownership of the language itself. Thanks to Jack London and the Beat Generation, writing has become a byword for testimony, as the language has continuously been reinvented. Freeing writing from its shackles is much more than a simple project, it is a way to liberate the novel. From illegal trips in freight cars to the glorification of a new Word, the road has kept all its promises
5
Dulmage, Cornelia. "A Bibliography of the Monographs of Gregory Corso, with Collection Analysis of the Holdings Thereof in the Rare Book Collection of the University of North Carolina at Chapel Hill". Thesis, School of Information and Library Science, 2004. http://hdl.handle.net/1901/72.
Testo completoAbstract (sommario):
A project assessing the Rare Book Collection’s holdings of the English-language monographs of Beat Generation poet and author Gregory Corso. Includes an overview of the Beat Generation and Corso’s role in it, a brief history of the Rare Book Collection’s Beat Generation collection, and a discussion of the role and purpose of collection analysis. Includes also an original bibliography of Corso’s monographs, compiled for the purpose of the study.
6
Goggans, Heather. "Diane Di Prima: The Muffled Voice of the Beat Generation". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279198/.
Testo completoAbstract (sommario):
The Beat rejection of conventional values meant a rejection of marriage, family, and a nine-to-five job, and few women were prepared to make that kind of radical shift in a society that condemned women for behaving the way the Beats behaved. Though she has faced difficulty in getting published, Beat writer Diane Di Prima has been publishing steadily for the past forty years. Di Prima has also lived the life of a Beat, wandering the country, avoiding nine-to-five work and supporting herself with grants, teaching and poetry readings. In spite of her success and adherence to the Beat lifestyle, Di Prima has given birth to five children, all of whom she took with her in her travels. Diane Di Prima has always faced the particular challenge of gaining the acceptance of her male peers amid indifference and hatred toward her sex while not allowing these men to go unanswered.
7
Köhne, Karin. "La vie est d'hommage : Autobiographie und Fiktion, Tradition und Avantgarde im Erzählwerk Jack Kerouacs /". Würzburg : Königshausen & Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb391474890.
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8
Walsh, Patrick John. "Boosting Bohemia : counterculture, development, and identity in the American West, 1900-1990 /". Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008465.
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9
Chandarlapaty, Raj. "Kerouac, Ginsberg, Snyder: The beat generation reconsidered as postmodern literature". FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/2105.
Testo completoAbstract (sommario):
The purpose of this thesis paper is to uncover how the major writers of the Beat Generation-Kerouac, Ginsberg, and Snyder-reflect the coming of postmodern literary theory and aesthetic principles and values. The Beats, far from being the sole territory of modernist discourse, are indications of the dismantling of cultural barriers and the introduction of postmodern commercial and visual culture into literary reality.
The paper considers and establishes the writing of the Beats within eight ideals that are found in postmodern literature, visual arts, and theory: the concept of culture as a commodity, the deterritorialization of culture, historicizing the past into the present, decentering American hegemony, deconstructing the “bourgeois ego”, deconstructing “otherness”, muti-imagistic qualities, and “schizophrenia”.
10
Mitchell, Aaron Christopher [Verfasser]. "Liminality and «Communitas» in the Beat Generation / Aaron Christopher Mitchell". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1142096947/34.
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11
Vissing, Quixada Moore. "I ain't gonna sell my soul: Beat Generation men and women caught between traditional and bohemian notions of intimacy". Thesis, Boston University, 2002. https://hdl.handle.net/2144/27726.
Testo completoAbstract (sommario):
Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
12
Orduz, Aimee R. "Hipsters and chicks : sex, lies and beat literature /". Abstract Full Text (HTML) Full Text (PDF), 2008. http://eprints.ccsu.edu/archive/00000499/02/1955FT.htm.
Testo completoAbstract (sommario):
Thesis (M.A.) -- Central Connecticut State University, 2008.Thesis advisor: Aimee Pozorski. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 99-101). Also available via the World Wide Web.
13
Encarnación, Pinedo Estibaliz. "Beat & beyond : memoir, myth and visual arts in women of the beat generation = Más allá del "Beat": memoria, mito y arte visual en las mujeres de la generación beat". Doctoral thesis, Universidad de Murcia, 2016. http://hdl.handle.net/10803/369842.
Testo completoAbstract (sommario):
El objetivo de esta tesis doctoral es revaluar el trabajo de las mujeres de la Generación Beat dentro de un discurso artístico y literario post(Beat) o más allá de lo “Beat.” El capítulo dos, en el que se analizan once memorias, se centra en el dilema entre lo personal y lo literario y sirve para delinear el contexto socio-político y artístico en el que las autoras escribieron. A través del análisis de temas comunes a las distintas memorias (la escritura, los roles de género, y la conexión con el movimiento Beat), este capítulo sitúa a las escritoras en un contexto artístico que fue común a los escritores masculinos, pero que se ve a la vez ampliado a través del estudio de temas como la maternidad, el aborto o la domesticidad. En cualquier caso, el capítulo va más allá de la experiencia personal para examinar el uso específico del género memoria. Usando como marco teórico y metodológico teorías de escritura autobiográfica y revaluaciones feministas, el capítulo reexamina el valor artístico y literario de las memorias, que son con demasiada frecuencia tachadas de anti-literarias. El tercer capítulo se centra en poesía, concretamente las colecciones The Tapestry and the Web (1965) de Joanne Kyger, Loba (1998) de Diane di Prima, y The Iovis Trilogy (2011) de Anne Waldman, para ver de qué manera estas poetas actualizan discursos, temática y personajes de la mitología. Kyger trabaja directamente con La Odisea de Homero para dotar a Penélope de una visión más contemporánea y un lugar más apropiado para auto-expresarse, si bien opta por mantener al personaje mitológico “atrapado” dentro de la estructura provista por Homero. Loba de Diane di Prima, una colección escrita durante los años setenta, está influenciada de una manera más clara por discursos feministas y por el llamado Movimiento de la Diosa. La última parte explora la deconstrucción de los mitos del patriarcado que lleva a cabo Waldman en su épica a través de la metáfora de “todo está lleno de Jove”, que alude al omnipresente y todopoderoso Zeus. Además de analizar el mito como una construcción ficticia, estas tres colecciones revalúan la posición de la mujer dentro del género de la épica. El último capítulo estudia el arte visual como contrapunto a la representación visual (estereotipada) de la mujer en la Generación Beat producida por los medios de comunicación. Además, el capítulo sitúa la escritura de estas autoras en un contexto multi-mediático y multidisciplinar que las ubica en la vanguardia artística y la experimentación literaria de los años sesenta en adelante. La primera parte del capítulo considera la involucración de las poetas con el vídeo y la película como medios audiovisuales a través de los cuales expandir su visión poética. La última parte se centra en la poesía y el arte visual producido por ruth weiss desde dos perspectivas distintas: la influencia de la pintura, escultura y las proyecciones psicodélicas en su poesía y la expansión de la poesía a través del teatro, la pintura, o el cine. La conclusión enfatiza la necesidad de situar la poesía de estas mujeres en el centro de los discursos académicos sobre la generación Beat. El enfoque empleado evita una comparación con el trabajo de los escritores de la generación, lo que sortea su victimización y establece la auto-suficiencia y el valor estético y temático de su obra. Para ello, la tesis usa de marco metodológico los estudios de género y culturales, así como la crítica feminista. El análisis formal está informado por lecturas temático-formales de la representación literaria y visual del género y la sexualidad desarrollada por la crítica feminista y queer.The aim of this dissertation is to reassess the position of women writers within the Beat Generation and re-evaluate their work within (post)Beat – and extra-Beat – literary and artistic discourses. To do so, the dissertation is divided into three main chapters which focus on different themes and, incidentally, on the work of different writers and poets. Chapter two tackles the personal/literary dilemma by analyzing eleven memoirs written by women associated with the Beat Generation. By investigating common themes in the memoirs – namely, writing, gender roles, and connection with the Beat Generation – this chapter situates the women in a specific socio-political and artistic context that was common to the male Beat writers, but also expands the concerns found in the works of the male Beats by dealing with themes such as motherhood, abortion, domesticity or even the responsibility of economically supporting the family. Nevertheless, this chapter goes beyond the personal position or personal experience of these authors by studying the specific use they make of memoir as a genre. Bringing into the fore life-writing studies and feminist reevaluations of the dialogue between genre and gender, this chapter argues for a thoughtful reexamination of the literary and artistic value of the – too-often – discarded memoirs. The third chapter moves on to poetry, specifically to Joanne Kyger’s The Tapestry and the Web (1965), Diane di Prima’s Loba (1998) and Anne Waldman’s The Iovis Trilogy (2011), to examine the way in which these poets revise or appropriate mythological themes, characters and discourses. Kyger, for instance, works directly with Homer’s The Odyssey to endow Penelope with a more contemporaneous mindset and space to express herself, while simultaneously keeping her “trapped” within Homer’s framework. Di Prima’s Loba – written mostly in the mid seventies – resonates more clearly with feminist appropriation of mythological characters as well as with the specific Goddess Movement. The last part of the chapter explores Anne Waldman’s deconstruction of the patriarchal myths through the ongoing metaphor of “all is full of Jove” – which alludes to the omnipresent and almighty patriarch, Zeus. In addition to the focus on mythology as a fictive construction, these three poetry collections reevaluate the position of women within the epic genre. The last chapter focuses on visual arts to counteract the visual representation of women in the Beat Generation generated by the mainstream media, and situates their writing in a multi- and trans-media context that places it at the forefront of 1960s artistic and literary experimentation. The first part of the chapter delineates the actual involvement of poets with film and video as, mainly, mediums from which to expand their poetry and artistic vision. The last part focuses on the connection between ruth weiss’s poetry and the visual art world in two different ways: the influence of visual arts like painting, sculpture and lightshows on her poetry, and the actual expansion of her poetry into other media such as painting, theater and film. The conclusion stresses the necessity of placing these women’s poetry and art in the foreground of academic and scholar discourses of the Beat Generation. The approach adopted avoids a comparison with the work of male writers of the generation, which allows for a much freer space from which to analyze their literature outside of a victimized position, while it also establishes the self-sufficiency and aesthetic and thematic relevance of their work. To do so, the dissertation uses as a methodological framework cultural and gender studies, as well as feminist criticism. The formal analysis, in addition, is informed by thematic and formal readings of the literary and visual representation of gender and sexuality developed by feminist and queer criticism.
14
Pinto, Sérgio. "O edifício cultural norte-americano : entre a "Utopia Dominante" e a "Utopia Marginal"". Master's thesis, Porto : [Edição do Autor], 2010. http://hdl.handle.net/10216/55974.
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Pinto, Sérgio. "O edifício cultural norte-americano : entre a "Utopia Dominante" e a "Utopia Marginal"". Dissertação, Porto : [Edição do Autor], 2010. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000207096.
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16
Reynolds, Loni Sophia. "Irrational doorways : religion and spirituality in the work of the Beat Generation". Thesis, University of Roehampton, 2011. https://pure.roehampton.ac.uk/portal/en/studentthesis/irrational-doorways(87396ee2-da59-4758-9d13-dcfefe7a6073).html.
Testo completoAbstract (sommario):
My thesis explores the role of religion and spirituality in the work of the Beat Generation, a mid-twentieth century American literary movement. I focus on four major Beat authors: William S. Burroughs, Allen Ginsberg, Jack Kerouac, and Gregory Corso. Through a close reading of their work, I identify the major religious and spiritual attitudes that shape their texts. All four authors’ religious and spiritual beliefs form a challenge to the Modern Western worldview of rationality, embracing systems of belief which allow for experiences that cannot be empirically explained. They also assert the primacy of the individual—a major American value—in a society which the authors believed to encroach upon individual agency. Ginsberg, Kerouac, and Corso are also strongly influenced by established religious traditions: an aspect of their work that is currently overlooked in Beat criticism. Burroughs’ belief in a magical universe shapes his work. Ginsberg is heavily influenced by the Jewish exegetical tradition. Kerouac and Corso’s work contains Catholic themes. My study rectifies some tendencies in current criticism which I find problematic: a dismissal of the Beats as a countercultural phenomenon rather than a literary movement, a tendency to frame Beat religion and spirituality in vague language, and a tendency to focus solely on Buddhism within the movement. My study illustrates that the Beat authors’ work contains serious religious and spiritual content, that they take part in American religious and literary traditions, and that the authors engage with major social issues of the post-war period.
17
Brito, JoÃo Luiz Teixeira de. "POÃTICA BEAT NO CINEMA: âHOWLâ E ON THE ROAD". Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=14301.
Testo completoAbstract (sommario):
CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorEste trabalho constitui um estudo comparativo entre as produÃÃes literÃrias pinaculares da geraÃÃo beat americana de meados do sÃculo XX (âHowlâ de Allen Ginsberg e On the Road de Jack Kerouac) e as suas reescrituras fÃlmicas produzidas na primeira dÃcada do sÃculo XXI. Procuramos aqui trazer a diÃlogo as quatro obras e, fundamentando-nos em uma anÃlise do congresso de suas poÃticas, contribuir para o estudo de um processo que nos parece contemporaneamente inescapÃvel, a relaÃÃo entre cinema e literatura. Para tanto, a presente dissertaÃÃo consistirà do estudo das regularidades de comportamento do processo tradutor apresentadas no corpus que nos à possÃvel analisar de modo a deduzir e descrever as possÃveis normas sistÃmicas que subjazem e regulam as transposiÃÃes entre o sistema literÃrio beat e o sistema cinematogrÃfico contemporÃneo. Por outro lado, mas nÃo separadamente, na medida em que enxergamos as adaptaÃÃes como sistemas semiÃticos acabados, devemos considerar os contextos em que elas se inserem e que relaÃÃes elas desenvolvem dentro do sistema de chegada, alÃm de investigarmos possÃveis 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 atravÃs do estabelecimento de um princÃpio organizador, o tema comum da loucura. Nossa proposta Ã, finalmente, tentar igualar a importÃncia do produto da traduÃÃo e do elemento de partida em nossa anÃlise, transformando o campo dos estudos da traduÃÃo em algo mais prÃximo dos Estudos Comparados â de Cinema ou Literatura, como se nossos objetos fossem seres ontologicamente equiparÃveis. 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
This paper constitutes a comparative study between the pinnacle works of the American beat generation of the twentieth century (âHowlâ, 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 â 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 â 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.
18
Jenkins, Barry S. "Jack Kerouac and the "Beat" sect of American Zen Buddhism /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ34189.pdf.
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19
Miller, Jeanette Leigh. "Beat Women: The Thunder Before the Storm-An Analysis of Feminism's Bridge Generation". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1486.
Testo completoAbstract (sommario):
The 1950s saw the height of the Beat literature movement. Within this movement moved a cohort of women who helped revolutionize gender relations in the early Cold War era, leading to the emergence of the women's liberation movement of the 1960s and 1970s. By questioning social gender norms and harnessing their artistic, sexual, and economic autonomy, Beat women built lives of lived art outside proscribed social norms building the base for a new era in gender relations.
20
Graziano, Michael. ""The unspeakable visions of the individual" the beat generation and the affirmative apocalypse /". Tallahassee, Fla. : Florida State University, 2010. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/2181928.
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Bolln, Frauke. "Zwischen Beat Generation und 'Ankunftsliteratur' : Fritz Rudolf Fries' Roman "Der Weg nach Oobliadooh" /". Bielefeld : Aisthesis-Verl, 2006. http://www.gbv.de/dms/bs/toc/513572546.pdf.
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22
Okun, Kirsten. "Unbegrenzte Möglichkeiten : Brinkmann, Burroughs, Kerouac : Sexualität, Geschlecht, Körper und Transgression als Subversion dualistischer Denkmuster /". Bielefeld : Aisthesis Verl, 2005. http://catalogue.bnf.fr/ark:/12148/cb39282937x.
Testo completoAbstract (sommario):
Diss.--Kiel--Christian-Albrechts-Universität, 2003. Titre de soutenance : Ästhetik der Grenzüberschreitung als Subversion dualistischer Denkmuster : die Amerikanisierung der deutschen Literatur durch die Beat-Generation.Bibliogr. p. 305-326.
23
Tagawa, Laura. "David Amram's Concerto for Violin and Orchestra (1974): An Exploration of Amram's Diverse Style". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/297059.
Testo completoAbstract (sommario):
This document examines David Amram's (b. 1930) diverse compositional style, as represented by his Concerto for Violin and Orchestra (1974). Amram's unique background as a performer in various genres allows him to blend styles seamlessly. He highlights the use of a wide range of styles in this work, which makes this concerto a significant work in the twentieth century, American violin concerto repertoire as well as bridging the classical, jazz, and world genres creating a truly American style of music. This document examines how these influences--including classical, jazz, world music, and "Beat Generation" artists--have influenced David Amram's compositional style as represented in his Concerto for Violin and Orchestra. Biographical information about David Amram, including his life, compositional output, and a brief musical analysis with an emphasis on performance information useful to violinists are presented. In addition an interview with Amram was conducted, in which his compositional style and in particular his Concerto for Violin and Orchestra was discussed. A transcript of the interview is provided in the Appendix of this document.
24
Cremonese, Bárbara. "Vozes silenciadas: as mulheres da geração beat". Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9048.
Testo completoAbstract (sommario):
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This research looks for to extend the knowledge on the history of the women, being taken as base and example the history of the women beats. Before going into in the history of the women who had been part of this generation, we made an analysis on the contracultural movement Beat generation, the historical context of the period and, after these considerations, we ponder of that forms the women were inserted inside of the circle. As research source, we use the autobiográfico book of the writer beat Carolyn Cassady -, My Years With Cassady, Kerouac and Ginsberg -, to be able to understand as it inserted itself in the movement and as the men beats, exactly that involuntarily, they strengthened the sort papers. At the same time, we search to analyze the United States society of the second half of century XX, to be able to understand which they had been the places denied to the women and of that forms the relations of being able and the imaginary one on the place of each one had been being constituted. We lead in consideration, also, the difficulties in if studying the women in history. For the analyses that in we consider them to make, it is important to evaluate as the society dealt with these women, which was the relations of being able that already they permeavam the society and of which forms these relations (reverse speed) were constructed and strengthened daily. As cloth of deep, we take in consideration the history of the women and the deletion of these personages in our history, memory and in our books, that is, of that it forms these absences in /de the historical sources daily are reflected in the didactic materials and taught History/learned. We look for to extend the notion of the importance of the women in history and memory, not leaving that the silence and the deletion of its lives and histories hinder its appearance in the historical knowledge and the History taught in classrooms.
Este trabalho busca aprofundar o conhecimento sobre a história das mulheres, tomando como base e exemplo a história das mulheres beats. Antes de adentrarmos na história das mulheres que fizeram parte dessa geração, fizemos uma breve análise sobre o movimento contracultura que ficou conhecido como Beat generation, o contexto histórico do período e, após essas considerações, ponderamos de que formas as mulheres estavam inseridas dentro do círculo. Como fonte de pesquisa, utilizamos o livro autobiográfico da escritora beat Carolyn Cassady –,My Years With Cassady, Kerouac and Ginsberg –, para podermos compreender como ela se inseria no movimento e como os homens beats, mesmo que involuntariamente, reforçavam os papéis de gênero. Ao mesmo tempo, buscamos analisar a sociedade estadunidense da segunda metade do século XX, para podermos entender quais foram os lugares denegados às mulheres e de que formas as relações de poder e o imaginário sobre o lugar de cada um foram sendo constituídas. Levamos em consideração, também, as dificuldades em se estudar as mulheres na história. Para as análises que nos propomos a fazer, é importante avaliarmos como a sociedade lidava com essas mulheres, quais eram as relações de poder que já permeavam a sociedade e de quais formas essas relações eram (re)construídas e reforçadas diariamente. Como pano de fundo, levamos em consideração a história das mulheres e o apagamento dessas personagens em nossa história, memória e, consequentemente, em nossos livros, ou seja, de que forma essas ausências nas/das fontes históricas são diariamente refletidas nos materiais didáticos e na História ensinada/aprendida. Procuramos ampliar a noção da importância das mulheres na história e memória, não deixando que o silêncio e o apagamento de suas vidas e histórias impeçam a sua aparição no conhecimento histórico e na História ensinada em salas de aula.
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Stripe, Chelsea M. "Resisting Containment: Transgressive Movement and Alternative Space among Women Writers of the Beat Generation". Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244566904.
Testo completo
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Alabdullah, Nada A. A. "The Beats: The Representation of a Battered Generation". University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398678807.
Testo completo
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Hellman, Bo-Eric, e Andreas Lassus. "The Beat Generation : Diskursanalys av identitetskonstruktionen bakom begreppet Beatnik i sex amerikanska tidskrifter 1957-1961". Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16824.
Testo completoAbstract (sommario):
This masters thesis looks at the reception of the beat generation in six given American magazines spanning through the years 1957-1961. The study is basically one of literaty reception. The aim is to see how and if the institution of literature handed the beat generation an identity to go along with their arts. With the use of discourse analysis we have pointed out certain characteristics in the six articles that have been a part of building up an image of the beat generation as a whole. By dividing the result into the two categories social and literary practice we can clearer see what significants were used to create the beat generation. There could be seen a pattern consisting of looking at the beats as young and untamed. There where however differences in the way they were handled by different magazines. Our viewpoint is one of sociology of literature and we have chosen to do a contextualisation of our analysis scanning the society, the earlier American literature and of course a closer look at the beat generation themselves. The beat generation in this masters thesis is represented by Jack Kerouac, Allen Ginsberg and William S. Burroughs, although more names can be added to the beat movement.Uppsatsnivå: D
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Stewart, Kate Jennifer. "Kind of singing in me : a critical account of women writers of the Beat generation". Thesis, University of Glasgow, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515072.
Testo completoAbstract (sommario):
This thesis provides a critical account of women writers of the Beat generation. Writers such as Diane di Prima, Hettie Jones, Joanne Kyger, Joyce Johnson, Bonnie Bremser, and Janine Pommy Vega were part of the 1950s Beat literary culture and had social relationships with the more famous male Beat writers such as Jack Kerouac and Allen Ginsberg. To differing degrees the women writers have also been influenced by the aesthetics of the male writers, and since the 1950s their work has been contextualised alongside the men's in literary magazines, anthologies and more recent academic studies. But in such responses the women writers appear overshadowed by the male Beats, as 'minor characters', to quote the title of Joyce Johnson's memoir of the 1950s. The issue of women's 'minority' forms the premise of this thesis, and I introduce the minority debate through reference to the Beat canon and the issue of revisionism in relation to the wider literary canon. I cite theoretical models such as Gilles Deleuze and Felix Guattari's 'rhizome' and 'nomadology' to support my argument. In their spatial form and terminology, these models express movement, which is pertinent since physical movement characterises the lifestyles, texts and myths of the Beat writers. Deleuze and Guattari' s theory can also express the destabilising which the notion of the woman writer brings to these images and myths. I argue that instead of proposing women writers as Beat writers we look to their difference. By reading the women's texts in relation to various themes -literary influence, the literary bohemian world of the city, the parental generation, and body, sexuality, and the road - I suggest difference is expressed in their writing. But rather than positing a distinct 'gynocritical' tradition in the terms set out by Elaine Showalter (1979), I highlight the differences between the women writers. By nature of its focus on little known texts and authors, and the critically undeveloped area of Beat literature and culture, this thesis is part literary history, part cultural history, part biography, as well as offering close readings of the texts. The texts discussed in this thesis have not only received little critical attention, they have not been read and contextualised against each other. In this thesis I do so, taking the broad historical and literary overview that women of the Beat generation have not received, as either writers or subjects.
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Rohde-Finnicum, Robyn Renee. "Trapped between graffiti'd walls and sidewalk borders resistance, insistence and changing the shape of things /". Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/rohde-finnicum/Rohde-FinnicumR0806.pdf.
Testo completo
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Jacob, François. "La beat generation : à la croisée des chemins de l'art et de la littérature (1944-1975)". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10149.
Testo completoAbstract (sommario):
Cette étude explore les relations entre la "Beat Generation" et l'art. Elle se penche principalement sur les oeuvres plastiques de William S. Burroughs (1914-1997), Jack Kerouac (1922-1969) et Allen Ginsberg (1926-1997). La période choisie pour cette recherche débute en 1944 et se poursuit jusqu'en 1975, c'est-à-dire de la formation du groupe à la fin de l'idée de contre-culture. L'analyse ne se limite pas à la constatation d'un va-et-vient entre le mot et l'image, mais démontre que les écrivains de la "Beat Generation" sont en prise direct avec l'art de l'époque et vont explorer toutes les techniques plastiques pour exprimer en dehors de leur œuvre littéraire. En abordant l'aventure artistique, les trois "Beats" sont confrontés à la notion d'"ekphrasis": ils prolongent un long héritage à travers des disciplines artistiques différentes: la peinture, le croquis ou la technique du collageThis study exlpores the relationship between art and the "Beat Generation". It mainly focuses on the plastic works of William S. Burroughs (1914-1997), Jack Kerouac (1922-1969)and en Ginsberg (1926-1997). The field of research covers the period from 1944 to 1975, i.e. from the formation of the Group to the end of the idea of counterculture. The analysis does not limit itself to the description of the back and forth movements between literature and the arts. The "Beat Generation" writers were in fact directly connected to the art of their time and explored all kinds of plastic techniques to express themselves independently from their lierary works. In addressing the adventures of the artistic experience, the three "Beats" were confronted with the notion of "ekphrasis" and obviously prolonged an old legacy through different artistic disciplines like painting, drawing or collage
31
Stewart, Katie Jennifer. "'A kind of singing in me' : a critical account of women writers of the Beat generation". Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/2805/.
Testo completo
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新太郎, 水島. "Representations of masculinity and homosociality in cold war America : the beat generation and male homosocial bonding". Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB12572742/?lang=0, 2012. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB12572742/?lang=0.
Testo completo
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Claude, Manon. "Regards croisés : Rayuela et la Beat Generation : du lecteur à l’écrivain : approche transtextuelle du roman cortazarien". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL037.
Testo completoAbstract (sommario):
L'objectif de cette étude est de mettre au jour des croisements entre le roman Rayuela de Julio Cortázar et la Beat Generation et, ainsi, remettre en perspective la littérature d'un continent dans son entier. Prendre en compte la génétique textuelle, la correspondance et les interviews de Cortázar, tout comme sa bibliothèque, vise à réfléchir au rôle du lecteur et de l'écrivain qu'il était. Grâce à une analyse globale de ces sources, nous avons reconstruit le processus de rédaction de Rayuela et détaillé le phénomène de réappropriation littéraire mené par Cortázar. Nous avons constaté que Rayuela partageait des similitudes thématiques et formelles considérables avec plusieurs œuvres beat. Se pose alors la question suivante : la Beat Generation a-t-elle pu préparer la réception du roman cortazarien ? Afin de répondre à cette problématique, nous nous sommes d'une part, appuyés sur les poétiques de nos auteurs et sur l'horizon d'attente qu'ils ont engendré ; nous nous sommes, d'autre part, focalisés sur les phénomènes éditoriaux en prenant appui sur la ville de Paris qui a tenu un rôle prépondérant dans la diffusion de notre corpus. Enfin, nous livrons des données concrètes sur la réception des ouvrages de notre corpus en Argentine, aux États-Unis et en France en nous appuyant sur un public non-spécialiste d'un côté et académique de l'autre. En d'autres termes, remettre en perspective le continent américain dans son intégralité a montré l'existence de ponts entre le Nord et le Sud, non seulement au travers de la transtextualité mais aussi grâce à un réseau d'éditeurs et de lecteurs aptes à faire dialoguer des textes issus de pays différentsThe aim of this work is to reveal the links between Julio Cortázar's novel Rayuela and the Beat Generation and thus to put into perspective the literature of a continent as a whole. Taking into account text genetics, letters and interviews of Cortázar, as well as his book collection, leads one to study the reader and writer that he was. Thanks to a global analysis of these sources, we were able to trace the various steps of the writing process of Rayuela and detailed the phenomenon of literary reappropriation undertaken by Cortázar. We noticed that Rayuela shared corresponding themes and literary forms with several other works from the Beat Generation. One may therefore ask the following question: did the Beat Generation lay the ground for the reception of the cortazarian novel? To answer this question, we focused first on the poetics of these writers and on the expectations that they generate; we then focused on the editorial role the city of Paris played, with regards to the popularization of these works. Finally, we provide concrete data on the reception of the texts in our study in Argentina, the USA and France by relying on specialist and non-specialist readers from either side of the Atlantic. In other words, putting the American continent into perspective showed the existence of bridges between North and South, not only through transtextuality but also thanks to a network of editors and readers willing to create a dialogue between texts from different countries
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com, johnstubley@yahoo, e John Stubley. ""the lonely and the road (novel) Whats your road, man?: my experiences with the life and work of Jack Kerouac in relation to the development of the lonely and the road (exegesis)". Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20081210.120038.
Testo completoAbstract (sommario):
Thirty thousand feet above the Pacific Oceansomewhere between Sydney and Los Angelesthe narrator of the lonely and the road doesnt really know where he is going, or why. His is a quest written spontaneouslyon-the-go. It is a journey of uncertain motivation, of uncertain means, towards uncertain ends. From Los Angeles, to Vegas, to the Rocky Mountain states and beyond, the narrator travels with and learns from his friends, his family and even his ex-girlfriend as he searches for that which continues to elude him. But what is that exactly? Does it even exist?
While the novel details a journey, the exegesis is a phenomenological account of the intersecting of my road with that taken by Jack Kerouac. It explores my experiences with the life and work of Kerouacthe creator of spontaneous prosein relation to the development of my writing, up to and including this novel. In doing so, the exegesis is itself a quest that seeks to understand more fully the essence of Kerouacs and my own representation of the quest motif in content and in form. Both the exegesis and the novel, then, constitute part of the search for my own artistic road, and aim to assist others in search of theirs.
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Chen, Hungyi. ""Formes-Archétypales et idéaltypes du nomadisme postmoderne" : le cas Baudelaire et le road-movie : de Ulysse à Blade Runner". Paris 5, 1998. http://www.theses.fr/1998PA05H046.
Testo completoAbstract (sommario):
Etant donné les constations multiples révélées par certains sociologues (G. Deleuze, M. Maffesoli, etc. ) Sur le thème nomadisme, l'auteur cherche a révéler la structure immanente et les caractères essentiels de ce sujet en employant la méthodologie de 1. Forme archétypale et 2. Idealtype comme accès de recherche. Ce qui est une méthodologie construite à partir des idées de Durkheim, Weber, Simmel, Durand et M. Maffesoli. Ainsi 5 formes archétypales (qui revêtent chacune partiellement des traits du nomadisme concerné) 1. Ulysse - voyage + égarement, 2. Don Quichotte - errance, 3. Rimbaud - fuite perpétuelle et Baudelaire - en tant qu'une forme-arch2typale par excellence avec ses 3 qualités comme 1. "Cent déménagements, pas un voyage !" (selon J. P. Sartre), 2. Travestie, 3. Avarice onaniste et puis le road-movie en tant qu'un idéaltype (dans le contexte postmoderne) analyse à partir de 1. Jack Kerouac et la "beat generation" (légitimation contextuelle), 2. John Ford et le western (archétype de road-movie), 3. Wim Wenders (apogée de road-movie) "Blade Runner" en tant qu'une métamorphose de road-movie dans lequel nous retrouvons les mêmes comportements et trajectoires de "homo-vagabundus" et "homo-noctambulus" dans une espace clos et nocturn symbolique, qui révèle la nouvelle relation entre l'homme et l'image, ce qui serait en même temps la forme de communication alternative, une dérive et un effet pervers de la postmodernitéCertain sociologists such as G. Deleuze and M. Maffesoli has revealed various investigations on the theme of nomadism in the post modern context. Thus in this thesis, i intend to point cut the immanent structure and the essential characteristics of this subject by applying the rfisfchods of 1. Archetype-form, and 2. Idealtype to initiate the research. This method is developped from the theories of Durkheim, Weber, Simmel, Durand and M. Maffesoli. Therefore, 3 archetype-forms (which each partially represented some feature of the nomadism in question) 1. Ulysse - voyage - "egarement", 2. Don Quichotte - rootless wandering, 3. Rimbaud - perpetual escape and Baudelaire - as an archetype-form par excellence with his 3 qualities 1. "Hundred moves, never a trip !" (in J. P. Sartre's words), 2. Trens, 3. "avarice onaniste" and then the road-movie as an idealtype (in the postnodsrn context). This subject will be analysed from 3 standpoints 1. Jack Kerouac and the "beat generation", for its textual justification ; 2. John Ford and this western - archetype of roadmovie, 5. Wim Wenders - apogee of . "Blade runner" - a road-movie's metamorphosis in which we uncover the same behaviours and trajectories of "homo-vagabundus" and "homo-noctambulus" from Baudelaire to blade runner in a symbolic, closed and nocturnal space which reveals further relationships between man and image. This would be at the same time an alternative communication form, one of the postmodernity's "drift" (derive) and "perverse effects"
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Petrich, Tatum. "The Girl Gang: Women Writers of the New York City Beat Community". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/176745.
Testo completoAbstract (sommario):
EnglishPh.D.
The Girl Gang: Women Writers of the New York City Beat Community seeks to revise our understanding of the Beat community and literary tradition by critically engaging the lives and work of five women Beat writers: Diane di Prima, Joyce Johnson, Hettie Jones, Carol Bergé, and Mimi Albert. This dissertation argues that, from a position of marginality, these women developed as protofeminist writers, interrogating the traditional female gender role and constructing radical critiques of normative ideas in fiction and poetry in ways that resisted the male Beats' general subordination of women and that anticipated the feminist movement of the late 1960s and 1970s. A project of recovery and criticism, The Girl Gang provides literary biographies that explore how each writer's experience as a marginalized female writer within an otherwise countercultural community affected the development of her work; it also analyzes a range of works (published and unpublished texts from various genres, written from the early 1950s through the turn of the twenty-first century) in order to illustrate how each writer distinctively employs and revises mainstream and Beat literary and cultural conventions. The dissertation's critical analyses examine each writer's engagement in various literary, cultural, and social discourses, drawing attention to their incisive and provocative treatment of thematic issues that are central to the postwar countercultural critique of hegemonic norms --including fundamental Beat questions of identity, authenticity, and subjectivity-- and that are developed through experimentation with literary conventions. Ultimately, The Girl Gang argues that the literary achievements of the New York City women Beats collectively reconceptualize the prevailing notion of the Beat community and canon.
Temple University--Theses
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Perrot, Mathieu. "Poésie et ethnographie : des marges du surréalisme à la Beat Generation (autour de Michaux, Césaire et Ginsberg)". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100060.
Testo completoAbstract (sommario):
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” ?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
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Rous, Jean-Marie. "Jack Kerouac : écrivain : mythes et culpabilités d' un écrivain américain". Paris 8, 1987. http://www.bibliotheque-numerique-paris8.fr/fre/ref/167930/180109111/.
Testo completoAbstract (sommario):
L' expérience de l' écriture chez Jack Kérouac est liée à celle de l' errance. Dans la tradition des écrivains américains. Dans la tradition des ecrivains americains, kerouac traverse l'amerique d'est en ouest physiquement pour retrouver l'esprit des pionniers. Son metier d'ecrivain americain le porte a reactualiser les mythes de l'epoque ou l'espace etait libre. La plupart de ses lecteurs n'ont lu que son best-seller "sur la route" et ne connaissent que cette dimension de son oeuvre. Cette these presente un aspect plus meconnu de son travail. En effet, kerouac nous raconte l'impossibilite d'etre pleinement americain dans l'amerique des annees cinquante qui inaugure l' epoque postmoderne. Mais ecrire la-dessus, ce n'est plus repeter le premier succes commercial et l'ecrivain erre a present dans une amerique fantomatique, hante par le remords de continuer a ecrire, c'est-a-dire, a raconter des mensonges. La dialectique du mouvement (le voyage, la verite) et de l'immobilite (l'ecriture, le mensonge) est donc la cle de cette parade sauvage que kerouac retranscrit tragiquement dans son oeuvre romanesque. Au niveau formel, cette oeuvre se concoit comme un systeme ou vert. L'experience de l'errance lui injecte periodiquement du sens. Elle n'arrive pas a se figer en un genre precis, elle poursuit ainsi la crise des recits inauguree par joyce qui caracterise la postmoderniteJack Kerouac's experiment of vriting is connected with wandering. Within american writers'tradition, kerouac gets through u. S. A. From east to west, and so physically to recover pioneer's mind. As an american writer, he is induced to re-think and make actual every myth of the time when space was free. Most of his readers has only read his best-seller "on the road" and just know this dimension. This thesis offers on unknown prospect of his work. Kerouac gives evidence it is nowadays completely impossible to be a "real" american man. But writing about this topic does not mean repeating the first commercial success. At the present time, the writer wanders about in the ghostly usa, haunted with remorses as he goes on writing, which means telling lies. Dialectics of motion (journey, truth) and of immobility (writing, lie) is therefore the key of this "wild parade" kerouac is describing us in his novels. As regard the formal aspect, kerouac's work may be considered as an open system. The experiment of wandering gives it periodically sense. This work is unable to be hardened to a definite style, and then foretells postmodernity which is characterized by the crisis of statements
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Carvalho, Samir Afonso de. "Vislumbres estéticos e mergulhos poéticos em On the Road e Howl: uma viagem histórico-literária por Jack Kerouac e Allen Ginsberg". Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3050.
Testo completoAbstract (sommario):
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The objective of this work is to analyze the aesthetic ideals of two writers of the Beat Generation: Jack Kerouac and Allen Ginsberg. With such an objective in mind, their two main works, On the Road and Howl, respectively, were studied comparatively. Through this study, we tried to delineate the interpretation that each author gives to these ideals they share, showing the divergences of understanding and materialization of such ideals in these two works. Besides, there is a historical trajectory. Firstly, building a strong base for the work, we analyze the historical period in America during the moment of formation of the generation. The historical focus then shifts to the private lives of each author, their cultural and linguistic influences, their intellectual itineraries. From that knowledge, it is also possible to understand the process of formation of the ideals themselves, central theme of this dissertation. We also tried to show how the next generations got hold of the ideals studied here, how the readers interpreted those artistic works in an individual way. From that, the authors’ reaction to this reinterpretation is reflected upon. In other words, this work is a deep survey of the aesthetic ideals of two artists, their formation and perpetuation. The main documents and texts used in the development of the analysis described above were: private journals to trace in time the transition of thoughts on their own artistic practices, letters exchanged between the two artists to demonstrate how their thoughts communicated and diverged in certain aspects, articles from newspapers and magazines to show the reception they had at the time and what others thought of the texts we studied, and biographies to base the text with history fundamentals.
O objetivo do presente trabalho é o de fazer uma análise dos ideais estéticos de dois autores da Beat Generation: Jack Kerouac e Allen Ginsberg. Para tal, empreendeu-se um estudo comparativo das principais obras de cada autor, a saber, On the Road (1957) e “Howl” (1956), respectivamente. Através de tal estudo, pretende-se delinear a interpretação que cada autor dá aos ideais que os dois compartilham, demonstrar as divergências de compreensão e a efetivação dos ideais nessas duas obras. Além do mais, uma trajetória histórica é traçada em alguns sentidos. Primeiramente, com o objetivo de oferecer base para o trabalho, mostra-se o momento histórico vivido nos Estados Unidos durante o período de formação da geração da qual fazer parte os autores. Também é foco de análise histórica a vida particular de cada autor, suas influências culturais e linguísticas, sua trajetória intelectual. A partir de tal conhecimento, é possível compreender também o processo de formação dos ideais estéticos, tema central dessa dissertação. Também se busca demonstrar a apropriação dos ideais estudados pela geração seguinte à dos escritores analisados: a geração leitora que interpretou as obras de maneira particular. A partir disso deseja-se investigar a reação de cada um dos autores para tal reinterpretação. Em outras palavras, trata-se de uma sondagem profunda dos ideais estéticos de dois artistas, sua formação e sua perpetuação. Os principais documentos e textos utilizados para o desenvolvimento da análise acima descrita foram: diários particulares para delinear no tempo as nuances de pensamento sobre suas próprias práticas artísticas, correspondências trocadas entre os autores para demonstrar como os pensamentos dos dois dialogavam e confrontavam um com o outro, artigos de jornais e revistas da época para desvelar a recepção que os autores tiveram e elucubrações diversas sobre os textos estudados, além de biografias para embasar os demais estudos com fundamentação histórica.
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Buffet, Laurent. "Les pratiques intinérantes dans la littérature et l'art contemporains". Paris 1, 2009. http://www.theses.fr/2009PA010597.
Testo completoAbstract (sommario):
Nous désignons par «pratiques itinérantes» des activités artistiques intégrant ou consistant en une occupation cinétique de I'espace, ces dernières pouvant faire I'objet de représentations littéraires ou plastiques, mais de manière dérivée. Si la marche en représente la forme I'a plus courante, cette notion intègre aussi les voyages en train, en voiture et par tout autre moyen de transport. Les deux premières parties de ce travail ont ainsi pour objet de répertorier, de classer et d'interpréter les formes les plus significatives de pratiques itinérantes apparues dans le champ de I'art depuis le début des années 1950 et jusqu'a la fin des années 1970. La première partie est consacrée a la dérive situationniste et aux vagabondages de la Beat Génération. La deuxième partie traite plus directement de démarches artistiques appartenant a la Catégorie traditionnelle dite des « beaux-arts ». Les troisième et quatrième parties de ce travail font retour sur certains des mouvements ou démarches artistiques évoques précédemment, pour en interroger plus spécifiquement les dimensions sociale et politique·. La troisième partie" développe une analyse de la relation que les pratiques itinérantes de l'lnternationale situationniste, de Fluxus et de la Beat Génération entretiennent avec ces territoires Autres que sont I'utopie, I'heterotopie et la dystopie. La dernière partie, intitulée « Politiques de la mobilité », aborde, toujours a travers les exemples des acteurs de I'Internationale situationniste et des écrivains de la Beat Génération, les pratiques itinérantes comme une forme révolutionnaire de vie, puis leur récupération idéologique a partir du tournant des années 1980. La question se pose des lors de savoir si ces dernières ont encore aujourd'hui la capacité de jouer un rôle critique au sein du champ de I'art et du monde dans lequel nous vivons. Ainsi, nous passons pour finir en revue quelques exemples significatifs de démarches artistiques apparues depuis les années 1980 dans lesquelles le déplacement représente un élément essentiel.
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Bartels, Cynthia H. Hoberek Andrew. "The home as public space and creative initiative". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6783.
Testo completoAbstract (sommario):
Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 17, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Andrew Hoberek. Vita. Includes bibliographical references.
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Brito, João Luiz Teixeira de. "Poética beat no cinema: “Howl” e On the road". www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/12650.
Testo completoAbstract (sommario):
BRITO, João Luiz Teixeira de. Poética beat no cinema: “Howl” e On the road. 2015. 228f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-08T11:16:58Z No. of bitstreams: 1 2015_dis_jltbrito.pdf: 3466253 bytes, checksum: 20edd3103d946df889c4ffe55c09431e (MD5)
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This paper constitutes a comparative study between the pinnacle works of the American beat generation of the twentieth century (“Howl”, by Allen Ginsberg, and On the road, by Jack Kerouac) e their filmic adaptations produced in the first decade of the twentieth first century. Our goal is to bring forth a dialogue established by these four objective elements, based on the analysis of the congress of their individual poetics, and, in light of this, to contribute to a process that appears to be contemporarily inescapable, the relations between cinema and literature. To this end, the following dissertation will consist of the study of regularities of behavior in the adaptation process presented in the corpus before us as a means of deducing and describing possible systemic norms that underlie and regulate the transpositions between the beat literary system and the contemporary cinematographic system. On the other hand, but not separately, as we understand adaptation as rounded semiotic systems, we must consider the contexts in which they are inserted and what relations they actualize within their arrival system, not only that but investigate possible analogies to the departure system, We hope to demonstrate that these different strands of the problem are intertwined and connected if we create a common filed of tension in which the art-works are able to sustain dialogue – this we endeavored to do with the stablishment of an organizing principle, the common theme of madness. Our goal is, ultimately, to try to equate the importance of the product of adaptation and its counterpart in our analysis, transforming the field of Translation Studies into something closer to Compared Studies – of Literature or Cinema, as if our objects of research were ontologically comparable entities. We base our endeavor to achieve this task in the works of Walter Benjamin (2012), Mikhail Bakhtin (2010), Itamar Even-Zohar (1990), Jacques Derrida (1995), Maurice Blanchot (1987), Michel Foucault (1989), Gideon Toury (1995), Patrick Catrysse (1992), amongst others.
Este trabalho constitui um estudo comparativo entre as produções literárias pinaculares da geração beat americana de meados do século XX (“Howl” de Allen Ginsberg e On the Road de Jack Kerouac) e as suas reescrituras fílmicas produzidas na primeira década do século XXI. Procuramos aqui trazer a diálogo as quatro obras e, fundamentando-nos em uma análise do congresso de suas poéticas, contribuir para o estudo de um processo que nos parece contemporaneamente inescapável, a relação entre cinema e literatura. Para tanto, a presente dissertação consistirá do estudo das regularidades de comportamento do processo tradutor apresentadas no corpus que nos é possível analisar de modo a deduzir e descrever as possíveis normas sistêmicas que subjazem e regulam as transposições entre o sistema literário beat e o sistema cinematográfico contemporâneo. Por outro lado, mas não separadamente, na medida em que enxergamos as adaptações como sistemas semióticos acabados, devemos considerar os contextos em que elas se inserem e que relações elas desenvolvem dentro do sistema de chegada, além de investigarmos possíveis analogias com os contextos e sistemas de partida. Esperamos demonstrar que estes lados do problema se interligam se criarmos um campo tenso comum em que as obras possam dialogar, o que buscamos fazer através do estabelecimento de um princípio organizador, o tema comum da loucura. Nossa proposta é, finalmente, tentar igualar a importância do produto da tradução e do elemento de partida em nossa análise, transformando o campo dos estudos da tradução em algo mais próximo dos Estudos Comparados – de Cinema ou Literatura, como se nossos objetos fossem seres ontologicamente equiparáveis. Pautamo-nos, para realizar esta tarefa, nos trabalhos de Walter Benjamin (2012), Mikhail Bakhtin (2010), Itamar Even-Zohar (1990), Jacques Derrida (1995), Maurice Blanchot (1987), Michel Foucault (1989), Gideon Toury (1995), Patrick Catrysse (1992), entre outros.
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Ekstrand, Julian. ""A Nakedness of Mind": Gender, Individualism and Collectivism in Jack Kerouac's On the Road". Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100041.
Testo completoAbstract (sommario):
This essay focuses on gender roles, individualism and collectivism in Jack Kerouac’s classic road-trip novel On the Road. In order to put the discussion into a meaningful context, I look at the novel from a historical perspective and examine how it relates to post-war American society. I argue that the novel is, in many ways, representative of a society existing in a field of tension between individualism and collectivism, and that its notion of individual freedom, at the time revolutionary, can be seen as retrogressive with regard to the book’s portrayal and treatment of women. The essay features a discussion of what kind of individual freedom is presented in On the Road and how this freedom relates to typical American individualism as well as American post-war societal norms, the norm of the nuclear family in particular. This is followed by a brief analysis of how the novel influenced future generations, specifically in terms of sexual liberation. This analysis introduces a discussion of the way in which women are portrayed in the book and how this portrayal both represents collective progress in post- war America—women are often described as financially independent—and a phallocentric type of individualism. I then show that this individualism is connected to an unthinking optimism which, I argue, is one of the key causes of the retrogressive view of women exemplified by the book. My study ultimately demonstrates that the novel’s notion of individualism—an individualism which was highly influential for future generations and is usually viewed as progressive—can arguably be seen as retrogressive in terms of Kerouac's representation of gender roles.
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Haas, Alfred. "Die Beat Generation ein hypermediales Informationssystem über die amerikanische Kulturrevolte der 40er und 50er Jahre und deren Dichter; Konzipierung und Erstellung /". [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675500.
Testo completo
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Pellerin, Pierre-Antoine. "La performance autobiographique et les masques du masculin dans la légende de Duluoz de Jack Kerouac (1947-1965)". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030167.
Testo completoAbstract (sommario):
Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prixThe first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask
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Walker, Luke. "William Blake in the 1960s : counterculture and radical reception". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53244/.
Testo completoAbstract (sommario):
The study begins with an account of Blake, as voiced by Allen Ginsberg, taking part in a key Sixties anti-war protest, and goes on to examine some theoretical aspects of Blake's relationship with the Sixties. In Chapter One, I explore the relationship between ‘popular Blake', ‘academic Blake', and ‘countercultural Blake'. The chapter seeks to provide a revisionist account of the relationship between Blake's Sixties popularity and his earlier reception, suggesting that all three elements of Blake's Sixties reception – popular, academic and countercultural – have long been intertwined, and continue to interact in the Sixties themselves. In Chapters Two and Three, I focus in detail on Allen Ginsberg as a central figure not only in Blake's countercultural popularization, but also in the creation of Sixties counterculture itself. The first of these chapters, ‘Visionary Blake, Physical Blake, Psychedelic Blake', looks in detail at Ginsberg's 1948 ‘Blake vision' and the way Ginsberg later uses it to construct a Blakean narrative for the Sixties. I examine the significant differences between the versions of this event presented in Ginsberg's early poems and in his later prose and interview accounts, and Ginsberg's consequent attempts to develop a general theory of poetry in which the specific effects of Blake's poetry on the consciousness are compared to those of psychedelic drugs. Finally, I suggest that there are analogies between this ‘psychedelic' approach to Blake and the interest that Aldous Huxley had in using psychedelics to access Blake's own visionary state of consciousness. Chapter Three, ‘Ginsberg's Blakean Albion', analyses a selection of Ginsberg's poems, all linked to Blake's myth of Albion. I use these poems to examine the tensions present within the three-way relationship between Blake, Ginsberg and British counterculture. Particular attention is given to Ginsberg's poem ‘Wales Visitation' (1967), a work which I suggest is founded on the joint Romantic inheritance of Blake and Wordsworth, and which demonstrates the ways in which various strands of British Romanticism interact both within Ginsberg's poetry and within the broader Sixties counterculture. The final chapter of the study examines various aspects of the relationship between Blake and Bob Dylan, demonstrating the extent of Blake's influence on Dylan, but also tackling the surprisingly complicated and problematic question of the route(s) by which Blake arrives in Dylan's work.
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Matrau, Alice. "Peuples allemand et américain des années 1945-1960 : regards croisés entre poésie et photographie. Comment toucher le nerf d’une époque ? René Burri, Les Allemands ; Hans Magnus Enzensberger, Landessprache ; Robert Frank, Les Américains ; Allen Ginsberg, Howl and other poems". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030063.
Testo completoAbstract (sommario):
Dans une Allemagne détruite et divisée qui tente de faire face à son passé nazi, et dans une Amérique aux prises avec le maccarthysme et la guerre froide, quatre jeunes poètes et photographes scrutent les soubresauts de l’histoire. René Burri dans Les Allemands, Hans Magnus Enzensberger dans Landessprache, Robert Frank dans Les Américains, et Allen Ginsberg dans Howl and other poems se font les consciences de leur époque. Ils conçoivent leur pratique artistique comme l’exercice d’une essentielle critique face à un ordre social établi qui ne l’autorise guère. A travers mots et images, ils passent au crible la pensée dominante (« american way of life », « melting-pot », « miracle économique », « culpabilité collective ») et font saillir les paradoxes et apories qui la sous-tendent. Tant bien que mal, ils tentent de dessiner les contours d’une identité à la fois collective – celle d’un peuple – et individuelle – la leur, aux prises avec une société dans laquelle ils éprouvent toutes les difficultés à s’incarner. Ils trouvent appui auprès de figures littéraires, frères de révoltes contemporains ou passés, qui les accompagnent dans leur résistance. Chacun à leur manière, ils explorent de multiples voies/voix, réelles ou imaginaires, pour échapper aux formes d’enfermement et d’aliénation qui pèsent sur eux : itinérance, voyage, anarchie, utopie, drogue, folie, dédoublement poétique. A des degrés divers, leur geste poétique ou photographique se traduit en un geste phénoménologique qui s’abreuve d’images ou de sensations aiguisant la perception. C’est par ce geste, à la fois créateur et critique, qu’ils touchent au nerf de leur époqueFour young poets and photographers trawl through the troughs and peaks of history in a divided and destroyed Germany struggling to come to terms with its Nazi past and an America grappling with McCarthysm and the Cold War. René Burri in Les Allemands, Hans Magnus Enzensberger in Landessprache, Robert Frank in Les Américains, and Allen Ginsberg in Howl and other poems are the consciences of their time. They see their artistic activity as an essential criticism of a social order which only grudgingly allows them to do so. They thoroughly examine the prevailing opinion ("American way of life", "melting pot", "economic miracle", "collective responsibility") through their words and images and in doing so cast light on the paradoxes and aporiae that underline it. Somehow, they attempt to draw the outlines of an identity that is both collective – that of a people – and individual – their own, all the time battling against a society in which they have difficulty existing. They grasp at literary figures, rebellious brothers from the present or the past who give them comfort in their act of resistance. Each in his way explores several paths and voices – real or imaginary – in order to escape from the imprisonment and alienation that threatens him: wandering, traveling, anarchy, utopia, drug-use, madness or a poetical dual personality are all brought to bear. In various degrees their poetical or photographical gesture finds expression in a phenomenological gesture that feeds on living images and sensations that sharpen the sense of perception. It is with this critical gesture, at the same time both creative and critical, that they capture the spirit of their age
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Clerc, Adrien. "William S. Burroughs et le cinéma : expérimentations, présences, contaminations". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3067.
Testo completoAbstract (sommario):
Cette thèse est une étude approfondie du rapport de William S. Burroughs au cinéma. William S. Burroughs, en collaboration avec Antony Balch, a produit entre 1961 et 1972 des courts-métrages expérimentaux aux formes de montage et de figuration radicales. Ces films, largement ignorés, constituent un pan essentiel du cinéma expérimental. Leur étude met en lumière l'évolution d'une pensée politico-esthétique de l'image chez Burroughs, une pensée voisine de celle de Guy Debord et qui influencera celle de Gilles Deleuze .Burroughs a également travaillé en tant qu'acteur : l'analyse de ses apparitions est ici pensée en fonction de leur rapport à l’œuvre écrite de Burroughs et à son versant biographique, l'écrivain déconstruisant les personnages qu'il joue de la même manière qu'il déconstruisait le cinéma. Un ensemble de films, répondant plus ou moins fidèlement à l’appellation d'adaptations, constituent un aspect important de notre corpus. Ces œuvres, qu'elles travaillent les écrits dans un rapport fondé sur la reproduction, le décalage, ou l'éclatement, produisent des formes inédites. Cette étude est complétée par un retour sur l'influence de Burroughs sur trois auteurs majeurs du cinéma nord-américain contemporain, Cronenberg, Van Sant et Lynch. Tous trois réinvestissent l’œuvre et la pensée de Burroughs dans le cadre de leur propre production, que ce retour se concentre sur l'apparition de la voix, le lien entre signature visuelle et présence ou la fragmentation de la narration classique. En mettant en relation expérimentations, présences et contaminations de l'écrivain au cinéma, ce travail vise la réhabilitation de ce versant de l’œuvre de William S. BurroughsThis work is an exhaustive study of William S. Burroughs' interest in cinema. Burroughs, in collaboration with Antony Balch, produced between 1961 and 1972 a series of experimental short films with radical editing and visual styles. These widely ignored films are an essential part of experimental cinema. Their study highlights the evolution of the author's political and aesthetic vision, close to those of Guy Debord or Gilles Deleuze. Burroughs also worked as an actor. The analysis of his cinematographic apparitions is linked to their relation to Burroughs' written work and its biographical aspects: the writer deconstructs the characters he plays in the same way as he deconstructs the mise-en-scène.A set of films, which can loosely be said to be adaptations, are another important part of the corpus of this study. These works, in a relation to the written word based on reproduction, shift or blow-out, produce original cinematographic images.This study is completed with a flash-forward to Burroughs' influence on three important north-american filmmakers: David Cronenberg, Gus Van Sant and David Lynch. These three authors reinvest Burroughs' work within the framework of their own production, focusing on the apparition of the voice, the link between visual signature and the notion of presence or the shattering of a conventional narrative.Linking experimentations, presences and contaminations of the writer in the cinematographic art, this thesis aims to rehabilitate this part of Burroughs' work
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Aublet, Anna. "L'oracle en son jardin : William Carlos Williams et Allen Ginsberg". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100083/document.
Testo completoAbstract (sommario):
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 américaineThe 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
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Clemente, Fabrício Carlos. "Estilhaços de visões: poesia e poética em Roberto Piva e Claudio Willer". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-11122012-101230/.
Testo completoAbstract (sommario):
Esta dissertação procura interpretar a obra dos poetas contemporâneos brasileiros Roberto Piva e Claudio Willer tendo em vista a tradição que invocam em suas produções, a qual aponta para as matrizes teóricas do romantismo e se desenvolve na modernidade sendo radicalizada pelas vanguardas históricas, pelo surrealismo e pela geração beat. O texto se foca na relação entre poesia e práxis vital no intuito de ressaltar como os poetas aqui estudados elaboram uma poética ao mesmo tempo em que negam tal intento.This dissertation seeks to interpret the work of the contemporary Brazilian poets Roberto Piva and Claudio Willer in view of the tradition that they invoke in their productions, which points to the theoretical frameworks of romanticism and it is developed throughout modernity being radicalized by historical avant-gardes, surrealism and beat generation. The text focuses on the relation between poetry and vital praxis to highlight how the poets studied here develop a poetic while at the same time deny such intent.