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The present study affirms that Jack Kerouac's individual narratives of his Duluoz Legend, as contained in thirteen of his key novels, serve as episodic chapters in which the archetypal hero voyages on a quest through beatific discoveries toward a final self-discovery, a beatific vision.The first two chapters of the present study examine the archetypal relationship between the Beat novel and. beatific vision, studying this vision under four of its root-aspects: American transcendentalism, Catholic apocalyptic writing, Dionysian fulfillment, and Buddhistic unconsciousness. Chapters three, four and five turn from the philosophical patterns of the Duluoz Legend to the more specific plot patterns of these thirteen novels, an archetypal quest pattern which is simultaneously a lament for a lost Eden, an initiation rite, and a monomyth, the single pattern of the journey quest which underlies all myth.The final seven chapters develop the beatific aesthetic as it patterns the Duluoz Legend through the key novels of Kerouac in specific terms of myth and archetype. Chapter six examines the first stage of development, the world child, as embodied in Visions of Gerard (1922-1926), in which the memory of the life of the dead child Gerard, saintly and unspotted and wholly innocent, touches his narrator-brother, Jack Duluoz, the protagonist of the Duluoz Legend, who is beginning a new spiritual life, a new quest. The second (adolescent) stage of initiation, is presented in chapter seven as embodied in Dr. Sax (1930-1936), in which Jack Duluoz moves from eight to fourteen years of age, living in a world of imagination and fears, mixing fantasy and reality, finally unmasking the shadow of himself. Chapter eight considers two novels which deal with the third stage of the archetypal quest, where the protagonist rejects worldly power (flesh, knowledge, action) and makes a crucial discovery of the unknown within the self: Maggie Cassidy, Springtime Mary (1938-1939) and Vanity of Duluoz (1939-1946). Chapter nine examines the Kerouac novels which cover the scape-goat figure of Cody-Dean (Neal) and the resultant auest: events covered horizontally in On the Road (1946-1950) and vertically in Visions of Cody (1944-1952). The realization--that the American dream represented by Dean (teal) can have no validity in the present-brings Duluoz to his fifth period, his descent into hell, the night journey of his soul. Chapter ten analyzes the two Kerouac novels which trace the progress of this night journey: The Subterraneans (1953) and Tristessa (1955-1956). Having returned from hell, shaken and alone, the questing hero is then ready to ascend the mountain to achieve a union with the cycle of nature, in which the narrator withdraws within himself to discover a divinity there and emerge a more self-confident teacher, a Shaman. Chapter eleven treats Kerouac's two novels which explore this union of the individual with the cycle of nature: The Dharma Bums (1955-1956) and Desolation Angels (1956-1957). It is from an anticlimatic mood which follows the descent from the mountain that the quester moves into his final phase, the ultimate discovery of the unknown. Chapter twelve of the present study examines the three Kerouac novels which deal with this theme: Big Sur (1960), Satori in Paris (1965) and Vanity of Duluoz (1968).Chapter thirteen examines the vision for which the protagonist searches cyclically in these thirteen novels: ultimately, ironically, emptiness, the Void at the core of existence, the empty eye of God in which all dualities are resolved into nothingness. The dual recognition and recording of life energy in the moment--the sustaining of the monomyth-is all that remains of man's efforts to form his own art of life.

"Jack Kerouac Does Not Lie" recounts my pilgrimage in the summer of 2000, from southwest Florida to a canyon beach in California where Jack Kerouac—as I had read in his Big Sur—lost his mind forty years earlier. I was heavily influenced. Kerouac’s On the Road showed me what to do with myself. Big Sur showed me where to go. In the twentieth century Americans shifted their notions of the west coast from a means for sustenance to a symbol of post-war freedom. Kerouac seems to embody this momentum; the world and the burning spirit his work describes is a precursor to the sixties. His muse, Neal Cassady, is the common link—appearing as Dean Moriarty in Kerouac’s first major work and later as himself in Wolfe’s The Electric Kool-Aid Acid Test. My parents were a part of this westward yearning’s last true surge in the early seventies, when they ventured cross-country and stayed out there for a time. They’d caught the tail end of the wave, and told me a bit about it. I was full of stories, mostly fiction. Sweating in my twenty year old conversion van with a big friend, Ben—whose goals were less "literary"—I sought to recreate the legends I had read, the movies I had seen, and the tales my parents had told me. I was on a mission; I wanted my trip to measure up. Ben was on vacation. Our folly is chronicled within; three weeks and four thousand miles of it.

Mémoire (M.E.L.)--Université du Québec à Chicoutimi, 1997. / Mémoire extensionné en vertu d'un protocole d'entente avec l'Université du Québec à Trois-Rivières. CaQCU Document électronique également accessible en format PDF. CaQCU

Thesis (M.A.)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Robert Bennett. Includes bibliographical references (leaves 141-143).

Thesis (M. A.), Memorial University of Newfoundland, 1998. / Bibliography: leaves [118]-127.

Programa de Pós-Graduação em Letras. Departamento de Letras, Instituto de Ciências Humanas e Sociais, Universidade Federal de Ouro Preto. / Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2014-10-09T18:55:21Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ContraculturaContramemóriaSubterrâneos.pdf: 1997006 bytes, checksum: 1537466225a27e713a232e9703aae537 (MD5) / Approved for entry into archive by Gracilene Carvalho (gracilene@sisbin.ufop.br) on 2014-11-18T14:34:51Z (GMT) No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ContraculturaContramemóriaSubterrâneos.pdf: 1997006 bytes, checksum: 1537466225a27e713a232e9703aae537 (MD5) / Made available in DSpace on 2014-11-18T14:34:51Z (GMT). No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_ContraculturaContramemóriaSubterrâneos.pdf: 1997006 bytes, checksum: 1537466225a27e713a232e9703aae537 (MD5) Previous issue date: 2014 / Este trabalho pretende analisar a obra literária Os subterrâneos, do autor norte-americano Jack Kerouac, tendo como base os termos contramemória e contracultura. A expressão contramemória foi cunhada por Aleida Assmann (2011), que observa a forma como a literatura constrói uma memória formada a partir de descartes dos arquivos da cultura oficial. Estes descartes nos remetem ao bebop, estilo de jazz muito presente na obra analisada e famoso por sua agilidade que destoa do jazz comercial. A corrente bebop, por muito tempo, foi apreciada por um público muito específico, criando assim uma forma de contracultura. O termo contracultura – cunhado por Theodore Roszak (1972) e, posteriormente, apropriado por diversas manifestações culturais – define culturas que vivem às margens da sociedade e que se opõem à cultura dominante, tida como opressora. O romance Os subterrâneos, publicado pela primeira vez em 1958, trata do envolvimento do narrador Leo Percepeid – codinome de Jack Kerouac – e Mardou Fox, integrante genuina da cultura do bebop jazz, marginalizada e de origens afro-americana. Em meio ao cenário boêmio de North Beach em São Francisco, Percepeid permeia uma cultura que lhe é estranha, visto que este é integrante da classe media branca norte-americana. As diferenças sociais e culturais do casal criam uma constante tensão, relacionada à marginalização vivida por Mardou Fox e a cultura a qual ela faz parte. Este trabalho também busca resgatar parte da herança literária de Jack Kerouac para observar a forma como o cânone se mistura à contracultura presente em seu romance. Acredita-se que essa mistura entre alta cultura e marginalização busque legitimar a contracultura, expandindo o cânone literário e inserindo-a no arquivo da contramemória. ____________________________________________________________________________________________ / ABSTRACT: This study aims to analyze the literary work The Subterraneans, by the North American writer Jack Kerouac, basing on the terms countermemory and counterculture. The expression countermemory was coined by Aleida Assmann (2011), who observes how literature builds a memory containing discharges from the official culture archives. These discharges refer to bebop, a jazz style known by its agility that differs from commercial jazz and that was, for a long period, appreciated by a restrained public, so that created a counterculture form. The term counterculture – coined by Theodore Roszak (1972) and, later, suited to many culture expressions – defines cultures that exist at the margins of society and that are against the dominant culture, seen as oppressive. The novel The Subterraneans was published for the first time in 1958 and deals with the entanglement of the narrator Leo Percepeid – Jack Kerouac’s alias – and Mardou Fox, a genuine member of bebop jazz culture, marginalized and Afro-American rooted. Surrounded by the bohemian scenario of North Beach, San Francisco, Percepeid introduces himself in a culture that is strange to him, as he belongs to a North American white middle class. The couple’s social and cultural differences create a constant tension, related to Mardou Fox’s culture and marginalized lifestyle. This work also seeks to explore part of the literary heritage in Jack Kerouac and observe the way that the literary canon meddles to the counterculture. It is considered that the mixing of high and marginalized cultures aims to legitimate the counterculture, as it expands the literary canon and insert it in the countermemory archive.

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 prix. / The 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.

Cette étude s’attache à la figure de Jack Kerouac, liée de manière inédite à celle d’Hector de Saint-Denys Garneau par le truchement du thème de la pauvreté. Prenant ainsi le relais de la discussion sur la pauvreté amorcée par Gilles Marcotte, Jean Larose, Yvon Rivard et Yvan Lamonde, cette étude s’articule en deux étapes. Elle cherche d’abord, dans un premier chapitre, à identifier des échos entre les imaginaires de Garneau et de Kerouac. Elle montre aussi comment la pauvreté peut être à la fois vocation, aspiration et même posture chez chacun d’eux. Le deuxième chapitre, quant à lui, analyse l’héritage de la pauvreté de Kerouac, à l’aide de trois de ses romans : Visions of Gerard, On the Road et Satori in Paris. Enfin, ce mémoire met également en relief l’idée qu’il y a plusieurs liens à faire entre la littérature québécoise et Jack Kerouac, mais que ces liens dépassent une simple communauté de langue et tiennent plutôt à une réflexion autour de l’identité canadienne-française et d’un héritage culturel problématique commun / This study engages with Jack Kerouac’s figure, and links it to Hector de Saint-Denys Garneau’s in through the theme of poverty. Invoking theorizations of the term by Gilles Marcotte, Jean Larose, Yvon Rivard and Yvan Lamonde in relation to Québec writers, this thesis will comprise two parts. In the first chapter, this study highlights some dialogic interlinkings between Garneau’s and Kerouac’s imaginaries. The point is to explain how poverty can simultaneously be a vocation, an aspiration, and a posture (as in Jérôme Meizoz’s study) for each writer. The second chapter analyzes what Jack Kerouac’s poverty heritage entails through a discussion of three of his novels: Visions of Gerard, On the Road and Satori in Paris. Lastly, this study also highlights that they are many links to be made between Québec literature and Jack Kerouac, but that these links go beyond a linguistic community; rather, they have to do with a negotiation of both French-Canadian identity and a problematic shared cultural heritage.

In this thesis I examine the ideological mechanisms that work to constitute, construct, and maintain subject identity. Such mechanisms include repetition, performativity, identification, and interpellation. I incorporate structuralist, post-structuralist, and psychoanalytic theories as a means to discuss the ways in which gender, sexuality, and identity are performative masquerades. Furthermore, these ideological mechanisms and heteronormative paradigms have the paradoxical power to produce both incurable melancholia and unrealized possibilities alike. Given this conversation, I turn to theorists such as Louis Althusser, Slavoj ��i��ek, and Judith Butler; these theorists employ different theoretical approaches and consequently their explanations regarding how and why identity is manufactured frequently differ. From this productive point of difference, I apply the theories to a literary analysis of Jack Kerouac's On the Road and Ernest Hemingway's The Garden of Eden. Paired together, the critical theories and literary works act to complicate and nuance each other, and collectively introduce valuable insights regarding who or what is subject. / Graduation date: 2013