The aim of the present study is to account for the significance of mobility in American culture and its reflection in literature. In order to reach this goal, the thesis observes the role of mobility in the history of the United States, its transformation in the twentieth century, and the manifestation of this motif in the works of Jack Kerouac. Through the analysis of his novels, including On the Road, The Dharma Bums, Desolation Angels, Lonesome Traveler, and Big Sur, the thesis identifies some of the recurrent themes associated with the motif of journey and further interprets them in the context of postwar America. With the support of an array of secondary literature, this research approaches mobility as a constitutive part of the American identity and Jack Kerouac as one of its most ardent advocates. The introduction probes the contemporary preoccupation with space and the necessity of interrogating its intersection with time. While incorporating both of these dimensions, movement is identified as a manifestation of this intersection and it is distinguished from mobility as lacking the meaning acquired through culture. In order to explain this process of acquiring meaning, the link between mobility and narrative is established and its presence in literature observed. It is subsequently argued...

Dans le New York underground des années 1940, la Beat Generation gagne son nom, de même que son étoffe contreculturelle, grâce à l’union entre la quête littéraire d’avant-garde et l’art de vivre anticonformiste que concrétisent spontanément ses inspirateurs. La sensibilité revendiquée par les beats de la première heure, soit leur volonté de libération spirituelle, se forge au milieu de l’American Century, entre le péril nucléaire de la guerre froide et l’effervescence hipster exaltée par le jazz. Pourtant, une décennie après cet épisode marginal aboutissant aux publications de Howl and Other Poems (1956) par Allen Ginsberg et de On the Road (1957) par Jack Kerouac, une nouvelle figure sociale entre dans l’orbite de la Beat Generation : le beatnik. Créé par un journaliste, le néologisme reflète les stéréotypes prêtés au mouvement, sitôt subjugué aux forces de la société de consommation. Le mémoire a pour sujet l’entrée de cette contreculture au sein de la culture de masse, tout en signalant le rôle clé qu’y occupe la presse écrite. Par-delà l’implacabilité proverbiale des critiques que relève l’historiographie, la présente étude soutient que les journaux et les magazines, en ouvrant le champ des représentations associées à la Beat Generation, participent à l’avènement du beatnik, réverbéré dans les autres médias. Au terme de l’analyse, la contreculture se comprend tant par ses idées fondatrices que par la pression qu’exerce la culture de masse sur elle; la réunion de ces deux éléments antagoniques renforce l’importance historique de la Beat Generation comme mouvement social aux États-Unis. / In the New York underground scene of the 1940s, the Beat Generation earns its name as well as its countercultural essence thanks to the union between the avant-garde literary pursuit and the unconventional lifestyle that its inspirers spontaneously create. The sensibility proclaimed by the Beats from the very beginning – their desire for spiritual liberation – builds up in the middle of the American Century, between the nuclear threat of the Cold War and the hipster activity exalted by jazz. Nevertheless, a decade after this period leading to the publication of Howl and Other Poems (1956) by Allen Ginsberg and of On the Road (1957) by Jack Kerouac, a new social figure enters the orbit of the Beat Generation : the Beatnik. Conceived by a journalist, the neologism reflects the stereotypes attributed to the movement, soon subdued by the forces of consumer society. This master’s thesis focuses on the insertion of counterculture into mass culture, while noting the key role played by the written press. Beyond the proverbial harshness of the critics acknowledged by the historiography, this study argues that newspapers and magazines, in opening the field of representations associated with the Beat Generation, participate in the arrival of the Beatnik, also echoed in other media. In the end, the meaning of counterculture depends on both its founding ideas and the pressure mass culture exerts on it; the junction of these two antagonistic elements reinforces the historical importance of the Beat Generation as a social movement in the United States.

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 promesses. / American 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.

Submitted by Onia Arantes Albuquerque (onia.ufg@gmail.com) on 2018-11-09T12:57:02Z No. of bitstreams: 2 Dissertação - Bárbara Cremonese - 2018.pdf: 1989167 bytes, checksum: 13240cc805a0dbb30d2474bd51741c61 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-12T12:58:58Z (GMT) No. of bitstreams: 2 Dissertação - Bárbara Cremonese - 2018.pdf: 1989167 bytes, checksum: 13240cc805a0dbb30d2474bd51741c61 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-12T12:58:58Z (GMT). No. of bitstreams: 2 Dissertação - Bárbara Cremonese - 2018.pdf: 1989167 bytes, checksum: 13240cc805a0dbb30d2474bd51741c61 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-27 / 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.

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. / English

No description available.

Ce mémoire s’intéresse aux transformations littéraires et poétiques mises en œuvre par le mouvement de la Beat Generation au milieu du vingtième siècle en Amérique du Nord. En me penchant sur le recueil de poésie « Howl and Other Poems » du poète Allen Ginsberg, le texte emblématique de cette révolution littéraire, je montre comment le mouvement des Beats représente une transformation dans la tradition littéraire et poétique américaine, occidentale, en ce qui concerne à la fois la forme, les sujets abordés et la pratique d’écriture. Dans un premier temps, j’étudie l’histoire de ces changements en examinant la réception de « Howl », qui a bouleversé les attentes du milieu littéraire de l’époque à cause de son approche inclusive qui accueille tout dans la représentation. Mon deuxième chapitre se penche sur la vision du poète, la vision poétique. Je montre comment la perspective du poète face au monde change chez Ginsberg et les Beats. Au lieu de concevoir la transcendance, l’universel, comme quelque chose d’éloigné du particulier, comme le véhicule la tradition poétique occidentale, les Beats voient l’universel partout, dans tout. Enfin, je m’intéresse à la place du langage dans l’expression de cette nouvelle vision. J’observe comment Ginsberg et les Beats, en s’inspirant de la poésie de Walt Whitman, développent un langage spontané ne relevant plus de la maîtrise de soi. / This study investigates the literary and poetic transformations set in motion by the Beat Generation literary movement in mid-twentieth-century North America. In focusing on "Howl and Other Poems" by the poet Allen Ginsberg, the iconic text of this literary revolution, I show how the Beats represent a transformation in the American and Western literary and poetic tradition, with regard to form, theme and writing practice. In the first place, I study the history of these changes by examining the reception of "Howl," which upset the expectations of the literary establishment of the time because of its approach that includes everything, without distinction, in the representation. My second chapter focuses on the poet’s point of view, the poetic vision. I show how the poet’s perspective vis-à-vis the world changes with Ginsberg and the Beats. Instead of conceiving transcendence, the universal, as something far-removed from the particular, as presupposed by the Western poetic tradition, the Beats see transcendence everywhere, in everything. Ultimately, I turn to the place of language in expressing this new vision. I observe how Ginsberg and the Beats, inspired by the poetry of Walt Whitman, develop a spontaneous language no longer emanating from self-mastery.

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.

Thesis (M.A.)--Acadia University, 2000. / Includes bibliographical references (leaves 120-124). Also available on the Internet via the World Wide Web.

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.