L`Inde a constitué un lieu de voyage pour beaucoup d`écrivains occidentaux, en particulier, pendant les années 60-70, pour cinq intelllectuels éuropéens et americains, qui ont voyagé et écrit différents textes. Pasolini, Moravia, Paz, Ginsberg et Duras ont parlé de l`Inde en utilisant différents languages pour décrire leur réncontre avec l`Autre au délà des catégories binaires occidentales. / India in the 60 and 70 has been the destination of the journey of five European and American writers who have stayed and wrote about it. Pasolini, Moravia, Ginsberg, Paz and Duras wrote of India using different languages from the travel documents, to the notes, to the essay, to the diaries up to the cinematic language. They described their encounter with the Other trying to go over the exotic stereotypes of western discourse into a space opaque and fragmented. / L’India ha costituito negli anni sessanta e settanta la destinazione dela viaggio di cinque scrittori europei e american che vi hanno soggiornato e ne hanno scritto. Pasolini, Moravia, Ginsberg, Paz e Duras hanno scritto dell’India e sull’India usando linguaggi diversi che vanno dal racconto di viaggio agli appunti al diario al saggio fino ad arrivare al linguaggio cinematografico. Attraverso questi multiformi linguaggi essi descrivono il loro incontro con l’Altro andando al di là dello stereotipo e delle categorie binarie del pensiero occidentale, captando l’Altro attraverso un discorso che diventa opaco e frammentario.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Ce mémoire de maîtrise démontre la continuité du mythe de la frontière dans la littérature américaine produite après la Seconde Guerre mondiale et il identifie le concept d'hyperréalité de Jean Baudrillard en tant que nouvelle frontière américaine. L’hyperréalité désigne un monde produit par la simulation et le simulacre que la population perçoit comme étant réel. J’analyserai les poèmes « Howl » (1955), « A Supermarket in California » (1955) et « America » (1956) d'Allen Ginsberg ainsi que les romans Mao II de Don DeLillo (1991) et Survivor (1999) de Chuck Palahniuk afin d’expliquer de quelles manières chacune de ces œuvres dénonce le climat socio-culturel qui produit l’hyperréalité et comment, du même coup, celles-ci récupèrent des éléments du mythe de la frontière. L’organisation chronologique des chapitres me permet d’établir que l’hyperréalité a joué le rôle de nouvelle frontière dans la psyché américaine à partir des années 50 jusqu’à la fin des années 90. L’opposition dialectique entre un Ancien Monde corrompu et un Nouveau Monde utopique, un élément fondamental du mythe de la frontière, est au cœur de chacune des œuvres étudiées. De plus, dans chacune d'elles, le ou la protagoniste parvient à redéfinir le sens de sa réalité en traversant la frontière entre l’Ancien et le Nouveau Monde ce qui évoque la fonction d’autodétermination attachée à la frontière. L’argumentaire de ce mémoire repose sur la notion que l'hyperréalité correspond à l’Ancien Monde et que celle-ci voile l’existence possible d’un Nouveau Monde. Dans les œuvres de Ginsberg, DeLillo et Palahniuk que j’ai choisi d’analyser, la société américaine est assujettie à une hyperréalité qui est omniprésente. Dans cet Ancien Monde, la population s’identifie et se définie par rapport à des images et des produits à la fois fabriqués et célébrés par les médias et la culture de masse. Les protagonistes de ces auteurs s’opposent tous à l’idéologie conformiste et déshumanisante de la société de consommation. Je définis ce rejet comme une réactualisation du mythe de la frontière puisqu’il symbolise le passage entre un Vieux Monde hyperréel et un Nouveau Monde. Dans ce nouveau paradigme, les protagonistes de Ginsberg, DeLillo et Palahniuk sont en mesure d’affirmer leur individualité. / This thesis demonstrates the persistence of frontier mythology in post-WWII American literature and identifies Jean Baudrillard’s concept of hyperreality as the new American frontier. Hyperreality designates a world fabricated through simulation and simulacra that people have accepted as real. Through close-reading analyses of Allen Ginsberg’s poems “Howl” (1955), “A Supermarket in California” (1955), and “America” (1956) as well as Don DeLillo’s Mao II (1991) and Chuck Palahniuk`s Survivor (1999), I explain how the critiques of the socio-cultural climate that produces hyperreality present in each of these works recuperate elements of frontier mythology. My chapter organization allows me to establish the persistence of hyperreality as the new frontier in American consciousness from the 1950s to the late 1990s. The dialectical opposition between a corrupt Old World and a utopian New World, which is fundamental to frontier mythology, is central in each the studied works. Also, in each of them, crossing the frontier between the Old and the New World allows the protagonist to re-define the meaning of his/her reality according to his/her vision, which is evocative of the empowering function the frontier. This thesis is founded upon the idea that hyperreality corresponds to the Old World and, as such, that it veils the existence of a possible New World. The American society depicted in Ginsberg’s, DeLillo’s, and Palahniuk’s chosen works is one where hyperreality is omnipresent; in this Old World, individuals identify with images and products both fabricated and celebrated by media and consumer cultures. These authors’ protagonists all oppose the conformist and dehumanizing ideology such cultures endorse. This thesis conceptualizes their rejection as a re-actualization of frontier mythology that symbolizes their passage from the hyperreal Old World to the New World. In this new paradigm, the protagonists can then re-define themselves and their realities based on their own self-determined visions and ideals rather than on those disseminated in media and consumer cultures.

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In twentieth-century poets such as W. B. Yeats, T. S. Eliot, Robert Lowell and Allen Ginsberg, the literary apocalyptic--identifiable by its homology with the major elements of the biblical Apocalypse--undergoes progressively complex transmutations. While in the early Yeats the apocalyptic is evocative of earnest Romantic moods, in his later work it is complicated by irony, yoked to the cycles of Yeatsean history, and counteracted by exaggerated postures of defiance. In Eliot, a reductive juxtaposition of the apocalyptic and the contemporary foreshortens the traditional paradigms to a diminutive modern-day scale. In Lowell, the apocalyptic is manifested variously as a bitter inversion of American Puritan eschatology, the telescoping of the personal and the cosmic, and a catastrophe in slow-motion. The climactic point of distortion, however, is reached in Ginsberg's poetry in which apocalyptic horrors form a bizarre combination with humour and bathos. While their treatment of the eschatological is widely divergent, an element common to all four poets is their ambivalence towards the paradigms of an apocalyptic new world.

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) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-06-08T12:59:14Z (GMT) No. of bitstreams: 1 2015_dis_jltbrito.pdf: 3466253 bytes, checksum: 20edd3103d946df889c4ffe55c09431e (MD5) / Made available in DSpace on 2015-06-08T12:59:14Z (GMT). No. of bitstreams: 1 2015_dis_jltbrito.pdf: 3466253 bytes, checksum: 20edd3103d946df889c4ffe55c09431e (MD5) Previous issue date: 2015 / 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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