The experiences of white Muslims are often missing from scholarship on Islam in America, which tends to focus on black and immigrant Muslims. Yet conversion narratives of white American Muslims offer insights into how Islam addresses the spiritual needs of a cohort of white men who, though small in number, exert significant influence over Islam in the United States. This dissertation examines the experiences of several white men who converted to Islam during the 1960s and 1970s, in part in response to the social, political, and cultural upheaval of the time. Their conversion narratives touch on a number of common themes: disaffection with traditional American values, attraction to the counterculture ethos, and a longing for spiritual fulfillment outside the Judeo-Christian mainstream. This study focuses on the lives of Hamza Yusuf and Umar Faruq Abd-Allah. Biographical chapters explore the family histories of these two men as well as their early lives, journeys toward Islam, conversions, and later lives as Muslims. The dissertation also provides brief biographies of six additional white American male converts. All of these subjects joined a community of converts led by Abdalqadir as-Sufi, a charismatic Scottish Muslim who was a convert himself. For them, as-Sufi embodied counterculture ideals even as he creatively translated Islam into an American idiom. All eventually left as-Sufi’s community yet remained Muslims. These men demonstrate that Islam in the United States has not been indigenized solely by African Americans and immigrants, but also by white Muslims. White converts add important dimensions to the history of Islam in America not present in the scholarly literature concerning other Muslim Americans. First, they bring together whiteness and Islam in a way that directly challenges how white Americans have historically constructed Islam in opposition to whiteness. Second, because the paths to Islam taken by these men were all heavily influenced by and rooted in the counterculture, their lives demonstrate how the Islamic tradition has interacted with and reacted to American cultural realities in ways that address the spiritual concerns not only of African Americans and immigrants from Muslim countries but also of white Americans. / 2027-01-31T00:00:00Z

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The design from the counterculture of the 1960 and 1970s USA is an often overlooked or forgotten part of design and art history (Auther & Lerner 2011, s.XXIX) with the graphic designers of the movement often being portrayed as nothing more than drug influenced amateurs (Kaplan 2013, s.80). This is an all too simple and reductive view on design from this era with its undeniably politically charged and radical messages. This paper therefore aims to examine design from this movement, specifically from the alternative press, to give the reader a deeper understanding of the methods and rhetorical devices used to communicate their messages of resistance and counter cultural values. This is done through a visual rhetorical analysis focusing on the use of tropes as well as a critical discourse analysis examining the messages being created and the subsequent discourses they produce. This results in a conclusion and discussion centered around what tropes are represented in the material as well as how graphic design was used to communicate their countercultural values.

This dissertation investigates the figure of “the Texan” during the 1970s across local, regional, and national contexts to unpack how the “national” discourse of Texanness by turns furthered and foreclosed visions of a more inclusive American polity in the late twentieth century. The project began in oral history work surrounding the cultural politics of Austin’s progressive country music scene in the decade, but quickly expanded to encompass the larger transformations roiling the state and the nation in the 1970s. As civil rights and feminist movements redefined hegemonic notions of the representative Texan, icons of Anglo-Texan masculinity—the cowboy, the oilman, the wheeler-dealer—came in for a dizzying round of celebration and critique, satire and ritual performance. Such Seventies performances of “the Texan” as took place in Austin’s “cosmic cowboy” subculture provided an imaginative space to refigure Anglo-Texan identity in ways that responded to and internalized the decade’s identity politics. From the death of Lyndon Johnson to Willie Nelson’s picnics, from the United Farm Workers’ marches on Austin to the spectacle of Texas Chic on the streets of New York City, Texas mattered in these years not simply as a place, but as a repository of longstanding American myths and symbols at a historical moment in which that mythology was being deeply contested. This dissertation maps the messy ground of the 1970s in Texas along several paths. It begins some years prior with the Centennial Exposition of 1936 and the regionalism of J. Frank Dobie, Walter Prescott Webb, and Roy Bedichek before proceeding to the challenges to their vision of “the Texan” on the part of the African American civil rights, Chicano, and women’s movements. The dissertation’s central chapters then address the melding of countercultural forms and the state’s traditional Anglo-Texan iconography and music in spaces like Austin’s Armadillo World Headquarters. Popular music, art, film, journalism, and literature evoke this attempted revisioning of Anglo-Texan masculinity in dialogue with the decade’s identity politics. / text

Ce mémoire porte sur les deux premiers recueils de Raoul Duguay (ruts et or le cycle du sang dure donc). Il cherche à examiner les liens étroits qu’entretient la poésie de Duguay avec la production parallèle du poète, qui s’oriente dès la fin des années 1960 vers la chanson. Le mémoire s’attachera d’abord, dans le premier chapitre, à présenter l’histoire des liens entre les poètes et la chanson au Québec afin de relever les points de contact significatifs au cours des années 1960 et de poser le cadre théorique de la chanson comme objet d’étude. Dans un deuxième temps, l’analyse des deux premiers recueils de poèmes de Duguay nous mènera à une réflexion sur la présence de la métaphore du chant, puis de la parole poétique en poésie québécoise, qui annonce un changement de paradigme dans l’approche du lyrisme et du sujet lyrique. Enfin, le troisième chapitre se penchera sur le contexte contre-culturel québécois, pour examiner le discours et le contre-discours sur la poésie, pour expliquer le phénomène de décloisonnement des genres qui conduit Raoul Duguay à investir le champ de la culture populaire de sa poésie. Il y sera aussi question du sujet « dans le langage », de l’expérience de la langue et de la subjectivité de la voix. / This thesis addresses the early works of Raoul Duguay. Our study focuses on the first two collections of poem (ruts [1966] and or le cycle du sang dure donc [1967]), while examining Duguay’s parallel production as an experimental musical artist and eventually songwriter. Hereby, our study wishes to unveil the close ties between poetry and what could be considered as its popular derivatives: songwriting. Indeed, a significant number of poets wrote songs, especially among the proponent of the counterculture. Therefore, the first chapter will present a portrayal of Quebec’s cultural history that underlies the ties between songwriters, poets and artists in general in the 1960s. Furthermore, it will lay the theoretical framework to address the song as a study object. The second chapter studies the notion of lyricism in Quebec’s early modern poetry. It will study the use of song – or singing – as a metaphor, to demonstrate how it later loses its relevancy in regard of the modern poetry, which prefers the use of speech as metaphor. This shift heralds a change of paradigm in approaching lyricism and the lyrical subject. However, it will appear that Duguay persists in using song and singing metaphors – as well as speech – as he experiences language in its vocal and oral undertone. The third chapter studies the context – Quebec’s counterculture – in which the ties between poetry and song are tighten around the question of their function. It addresses the notion of popular art and its legitimacy.

Stoney Burns (Brent LaSalle Stein) edited and published Dallas Notes, a Dallas, Texas, underground newspaper, from November 1967 through September 1970. This thesis considers whether Burns was the unifying figure in the Dallas counterculture.

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.

[pt] A contracultura foi um movimento impulsionado pela juventude da década de 1960 que se chocou com a sociedade capitalista e ia contra os seus princípios. Entretanto, para que este movimento de contracultura pudesse se desenvolver, ele necessitava da cultura de massa - que pertence à sociedade capitalista - para se desenvolver e espalhar sua mensagem pelo mundo. São essas tensões entre consumo e contracultura que são detalhadas nesta dissertação, a partir das letras das músicas dos Beatles (grupo musical que foi um dos maiores ícones da contracultura) que retratam, de alguma forma, o universo do consumo. / [en] The counterculture was a movement impulsed by the young people in the 1960 s decade that ran into the capitalist society and it s principals. However, for this movement to work, it needed the mass culture - that belongs to the capitalist society - to spread it s message around the world. These tensions between the counterculture movement and consumption are detailed on this dissertation, inspired on the Beatles lyrics (a rock group that was one of the most popular icons of the countercultere movement) that shows, in some way, the consumption s universe.

Made available in DSpace on 2016-04-28T19:58:38Z (GMT). No. of bitstreams: 1 Patricia Rodrigues Alves Lage.pdf: 4431421 bytes, checksum: ed4de49416c4e70a1cc0ae1c89baca30 (MD5) Previous issue date: 2010-10-28 / This research aims to trace the trajectory of the poet Torquato Neto literary art from the analysis of some poems, including concrete poems published in the journal volume Navilouca single, idealized by him and Wally Solomon and released in 1974. This objective was outlined, considering that the work of Torquato Neto reveals a circular language precisely characterized by the mixture of voices - of art and life of the poet. The analysis was driven by questions related to the structure, form of composition in order to verify its literary relevance without forgetting, however, the historical-cultural context. As the center of our concerns, we ask: to what extent the poetic Torquato Neto characterized as a space for events utopian dystopian and / or heterotopic? The theoretical framework is based on poetic concepts of the brothers Haroldo and Augusto de Campos, Mário Faustino and Heloisa Buarque de Hollanda, and concepts of utopia and dystopia proposed by Teixeira Coelho and Claude- Gilbert Dubois, and heterotopias by Michel Foucault. The paper presents three chapters that explore the history of the poet inserted into the historical and cultural context of the time along with his work, a faithful reflection of what was his life. In conclusion, to captures the poetry of Torquato Neto was configured as a single space that supported all the faces of a poet who immortalized the life in verse / Esta pesquisa tem por objetivo traçar a trajetória do poeta Torquato Neto na arte literária a partir da análise de alguns poemas, inclusive os poemas concretos publicados na revista de volume único Navilouca, projeto idealizado por ele e Wally Salomão e lançado em 1974. Tal objetivo foi traçado, considerando-se que a obra de Torquato Neto revela uma linguagem circular justamente por caracterizar-se pela mistura de vozes da arte e da vida do poeta. A análise foi impulsionada por questionamentos ligados à estrutura, à forma de composição, a fim de verificar a sua relevância literária sem esquecer, entretanto, do contexto histórico-cultural. Como centro de nossas preocupações, perguntamos: até que ponto a poética Torquato Neto caracteriza-se como espaço de manifestações utópicas, distópicas e/ou heterotópicas? A fundamentação teórica baseia-se nas concepções poéticas dos irmãos Haroldo e Augusto de Campos, Mário Faustino e Heloísa Buarque de Hollanda, e nos conceitos de utopia e distopia propostos por Teixeira Coelho e Dubois Claude-Gilbert, e de heterotopia por Michel Foucault. O trabalho reúne três capítulos que exploram a trajetória do poeta inserido no contexto históricocultural da época juntamente com sua obra, fiel reflexo do que foi a sua vida. Concluindo, apreende-se que a poética de Torquato Neto configurou-se como único espaço que suportou todas as faces de um poeta que eternizou a vida em versos

Made available in DSpace on 2016-03-15T19:42:24Z (GMT). No. of bitstreams: 1 Luis Henrique Fanti.pdf: 1595724 bytes, checksum: a9548bc502a849946a1a9bf7ae6a7687 (MD5) Previous issue date: 2012-12-11 / Instituto Presbiteriano Mackenzie / The current paper has the goal to trace the relationship between Francis Schaeffer's thinking in relation to the counter-culture; the counter-culture movement from the 60's, especially related to the years of 67-69 with the 'beatniks', Flower Power, Timothy Leary and its more remarkable unfoldings; and, finally, the counter-cultural expressions in drug usage in The Beatles record, Sgt. Pepper's Lonely Hearts Club Band, and in the Teatro do Absurdo (The Absurd Theater). We have the art as the expression of the spirit of that time in the development of the human thinking, which we treat here manifested in the daily life of each time. So we intend to close this paperwork showing some aspects that make possible the convergence of all these elements in the XXI century, tracing along the way the consequences of this way of thinking and dealing with the world. / O presente trabalho presta-se a traçar, a estabelecer uma relação entre o pensamento de Francis Schaeffer ao movimento da contracultura; o movimento contracultural da década 60 principalmente relativo aos anos de 67-69 com os beatniks, o Flower Power, Timothy Leary e seus desdobramentos mais marcantes; e, por fim, as expressões contraculturalistas no uso das drogas, no álbum dos The Beatles, Sgt. Pepper's Lonely Hearts Club Band e no Teatro do Absurdo. Tendo a Arte como a expressão do espírito das épocas do desenvolvimento do pensamento humano que tratamos aqui, manifestadas no cotidiano de cada época. Procuramos fechar nosso estudo demonstrando alguns aspectos que tornam possível a convergência de todos esses elementos na produção da cultura do homem do século XXI, traçando, ao longo do caminho, as consequências desta forma de pensar e atuar no mundo.