This dissertation investigates Allen Ginsberg's Beat poetry within the framework of twentieth-century literary developments, from modernism to postmodernism. It is argued that Beat writing is founded on a rejection of the detached, intellectual and formal nature of the high modernism which came to be institutionalised in the American literary practice of the 1950s. Beat poetry rejects this tradition in favour of an eclectic assemblage of ideas which may, either through direct influence or through parallel development, be linked to certain avant-garde modernist movements. All of these movements share assumptions which support and echo the personal and spiritual vision of Beat aesthetics, as well as its formal experimentation. This eclectic assemblage also involves the assimilation of the ideas of modernist movements often held to be in conflict, embodying opposing strains of modernism. This dynamic is illustrated by analysing the influence of two such opposing modernist influences on Ginsberg's Beat poetry, namely imagism and surrealism. Finally, it is argued that this double gesture of a rejection of the institutionalised form of high modernism and a simultaneous re-assessment of the avant-garde constitutes a crucial step in the development towards postmodernism. Together with the surfacing of postmodernist characteristics in Ginsberg's Beat poetry, this forms the basis for the conclusion that Ginsberg's Beat poetry may be regarded as playing a transitional and initiating role in the literary evolution from modernism to postmodernism. / Thesis (MA)--PU for CHE, 1999.

This dissertation investigates Allen Ginsberg's Beat poetry within the framework of twentieth-century literary developments, from modernism to postmodernism. It is argued that Beat writing is founded on a rejection of the detached, intellectual and formal nature of the high modernism which came to be institutionalised in the American literary practice of the 1950s. Beat poetry rejects this tradition in favour of an eclectic assemblage of ideas which may, either through direct influence or through parallel development, be linked to certain avant-garde modernist movements. All of these movements share assumptions which support and echo the personal and spiritual vision of Beat aesthetics, as well as its formal experimentation. This eclectic assemblage also involves the assimilation of the ideas of modernist movements often held to be in conflict, embodying opposing strains of modernism. This dynamic is illustrated by analysing the influence of two such opposing modernist influences on Ginsberg's Beat poetry, namely imagism and surrealism. Finally, it is argued that this double gesture of a rejection of the institutionalised form of high modernism and a simultaneous re-assessment of the avant-garde constitutes a crucial step in the development towards postmodernism. Together with the surfacing of postmodernist characteristics in Ginsberg's Beat poetry, this forms the basis for the conclusion that Ginsberg's Beat poetry may be regarded as playing a transitional and initiating role in the literary evolution from modernism to postmodernism. / Thesis (MA)--PU for CHE, 1999.

This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.

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.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente tese tem como intuito investigar as relações entre as narrativas de Machado de Assis e de Woody Allen, autores de épocas e culturas bastante distintas. No entanto, através da análise do papel da ironia na obra de ambos tornou-se possível aproximar Memórias póstumas de Brás Cubas, romance de 1881 de Machado, e Stardust Memories, filme lançado em 1980 pelo diretor Woody Allen. A investigação divide-se em três etapas. No primeiro capítulo, analisa-se a aproximação entre os dois autores através de uma mesma visão sobre a ficção presente tanto na obra de Machado quanto na de Allen. Esta visão encontra-se fundamentada através de uma tradição literária burlesca que rompe com o primado realista na narrativa ficcional. No segundo capítulo, procura-se demonstrar como a perspectiva não realista escapa a uma regra moralizante na ficção, para valorizar uma postura ética, isto é, para se definir o ethos da narrativa. A ironia, assim, será a morada da ficção de ambos os autores, que problematizam o mundo incluindo nele a própria narrativa. E no terceiro e último capítulo, analisa-se a relação ficcional nas duas obras com a memória. A memória, elemento constituinte da identidade humana, revela-se uma linguagem própria e opressora aos narradores memorialistas, impondo-lhes a inexorabilidade do tempo. Dessa forma, suas ficções seriam uma luta incessante do homem contra o seu caminhar para a morte

The aim of this dissertation is focusing on environmental aesthetics of Arnold Berleant. Firstly we concentrated on his theoretical aesthetics opinions and then we passed to use them on field of environmental aesthetics. To draw a comparison we used writings of another American aesthetician, Allen Carlson. In sphere of Berleant's theoretical aesthetics opinions it is not possible to omit concepts of aesthetical experience, value and social factor. These points are important ideas of aesthetics of engagement, which we would like to present. As useful for environmental aesthetics we also see Berleant evaluation of negative and positive aesthetics values. In case of Allen Carlson we use several models in the field of theoretical aesthetics. The author assessments the functionality of these models for environmental aesthetics. The last point of this dissertation is focusing on a certain type of environment, to architecture and "Disney World", respective. In this field we wanted to demonstrate how the Berleant works with certain type of environment. Allen Carlson chooses as certain type of environment American farms. He concentrates on point how these farms have changed during one century. KEYWORDS: Arnold Berleant, Allen Carlson, environmental aesthetics, aesthetics value, aesthetics experience

For the past two centuries deaf people in the United States have faced more or less intense skepticism about their marriages to each other, largely due to fears of inherited deafness. Theses fears, while always present, have waxed and waned over time, becoming most prominent during the eugenics era of the late nineteenth and early twentieth centuries. At Gallaudet University, they were repeatedly expressed by the faculty and administration in a variety of forms and contexts, and echoed by many its students. This dissertation demonstrates the significant influence of these ideas at Gallaudet University on the wider deaf community over the last century; it traces how skepticism toward deaf marriage was framed in terms of hereditarian and, for a time, eugenic ideals; and it explored other more subtle but similarly effective attempts to influence marriage decisions by deaf people. The idea that deaf people should not marry one another was embraced by faculty in Gallaudet’s early decades, diffused from administration to faculty, from faculty to students (deaf undergraduates as well as hearing students studying deaf education), and ultimately carried to other deaf educational institutions via the alumni. While student responses to these ideas were fluid, their adoption by early administration and faculty had a profound and lasting impact. One result was that, during much of the early twentieth century, deaf people were less likely to marry, and when married less likely to have children.

Suburban encroachment is a growing concern for many National Guard training installations. The Ethan Allen. Firing Range and Camp Johnson, Vermont, are either experiencing or are completely enclosed by urban encroachment. The objective of this study was to analyze the trends of suburban growth within Chittenden County, Vermont, to evaluate growth and explore future training site viability of the Ethan Allen Firing Range and Camp Johnson. This study focused on historical data, recent real estate transactions, population projections, and county plans for growth. Using historical and contemporary data, I developed a predictive model of suburban encroachment on Camp Johnson and the Ethan Allen firing Range facilities by residential and commercial development. This model may assist land managers make decisions and illustrate the viability of these installations as National Guard training sites. This model may also be applied to other installations with similar concerns.

Perhaps more than any other major American city in the 1970s, New York represented the decline of an urban existence. Job loss from factors related to deindustrialization and intense crime occupied local and national news, reflecting the increasing anxiety of America's future. New York City was positioned at the center of this frightening chaos. Films made during this period, known by film scholars and journalists as the "New Hollywood" captured the collective temperament of the people and the physical space they inhabit during its disintegration. The depiction of New York during the 1970s has been widely discussed in the writing on two key New York City directors, Woody Allen and Martin Scorsese. Scholars like Ellis Cashmore and Charles Silet have argued about Allen and Scorsese's depiction of New York respectively, however, they have not adequately offered a fully comprehensive study of their works collected together in order to uncover New York's decline. Specifically, this Thesis, examines the films made by Allen and Scorsese during the 1970s, specifically, Annie Hall, Manhattan, Mean Streets, and Taxi Driver. I explore the disparities and philosophies that both auteurs express in their depiction of the same urban space. Although the films are not documentaries, they do however; offer a faithful portrayal of a city in transition. By closely examining their works together, I offer a new perspective of New York's culturally diverse population transforming from a working class industrial landscape to one influenced by the principles of Neoliberalism.

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