Related Papers
Poetic Language Rises against Political Pressure: Deconstructive Strategies of Allen Ginsberg’s Howl and Amiri Baraka’s It’s Nation Time in the Wake of Political Conformism in Post-war America, and Civil Rights Movement.
Emre Kahramanlar
Within the thought frame of Foucault and Derrida, post-structuralism serves as a methodology that could offer ways to study contemporary societies and their ways of looking at knowledge as a set of discursive formations when it comes to culture, language, and society. In relation to this perspective, poets Amiri Baraka, and Allen Ginsberg are important figures in the sense that they were interrogative for the taken for granted assumptions and practiced with language in their poetic aesthetics in order to deconstruct the discursive knowledge that is taken as absolute and necessary. As the American society was regulated by the dominant political ideologies that structured the predominance of patriarchy and white supremacy, they used language and poetry as their deconstructive methods in order to offer alternative texts that subverted these political and discursive structures and spoke for minorities that were excluded by these discursive formations.
The Beat Literary Movement and the Postmodernist Breakthrough
2012 •
Cristina Felea
Chapter 1 introduces major theoretical concerns selected from the interpretive grids of postmodernist critical theory and cultural studies. Chapter 2 analyzes the complex fabric of discourses relevant to 1950s American society and culture. Chapter 3 introduces Beats' cultural dialogue with their era mostly in the light of decentering, which allows their marginal positions to take on new significance in view of later developments in the 1960s, and describes their contribution to a new vision and a new form for American literature. Chapter 4, dedicated to Jack Kerouac, deals with facts of his life-and-work seen as an ongoing project and elaborates on the way he fulfilled his autobiographical project and incorporated the theme of America by means of his aesthetic concerns and particularly unique style.
Review of \u3cem\u3eThe View from On the Road : The Rhetorical Vision of Jack Kerouac\u3c/em\u3e
2000 •
Steven Goldzwig
The Beat Generation in Mid 20th Century North America: Conception of a New Social and Artistic Identity
2015 •
Meriem Hadjari
The Beat Generation, being a social and literary movement led by young male artists in mid 20th Century North America, has often been synonymous with rebellion and non-conformity. Those principal traits, while they could be construed as a manifest desire to breach the fixed postwar social and literary code, may be interpreted differently. The present research paper will endeavor to offer this opportunity by approaching the Beats from a new angle, based on an analysis of the inner motifs behind their rejection of mainstream American society and literature, and thus through each of On the Road, Howl and Junky, written respectively by Jack Kerouac, Allen Ginsberg and William S. Burroughs. The post-war multiple climates as well as many events have historically given birth to the Beat movement. Therefore, whether the Beats' new social identity is a sign of Americanism or anti-Americanism will be enquired. Likewise, the present study will attempt to disclose how the Beat writers inten...
Rhetoric and public affairs
Review of The View from "On the Road": The Rhetorical Vision of Jack Kerouac
2000 •
Steven Goldzwig
The Relationship between Beats, Allen Ginsberg, and Modernism
Hakan Başak
How Baraka Blew Up Ginsberg's America: Roll Call of the Martyr as Intertextual and Intergenerational Fuse
2015 •
Mac Cassia
Howl : Breaking through the Beat Generation, Moloch and personal struggle
Howl : breaking through the beat generation, Moloch and personal struggle
2014 •
George Mijail
Hip Sublime: Beat Writers and the Classical Tradition
The Invention of Sincerity: Allen Ginsberg and the Philology of the Margins
2018 •
Matthew Pfaff
Beyond Reason: Allen Ginsberg's Cultural and Communicative Revival of William Blake
Andreea Paris-Popa
The present paper uses Jan Assmann’s acceptance of cultural and communicative memory, intertwining them in order to attest the cultural and communicative revival of William Blake’s spiritual vision in the context of Allen Ginsberg’s conceptualization of post-war, American hyper-rationalization and the moulding of his Beat(ific) counterculture. Just as the English bard had had visions of his poetic predecessors, Ginsberg hallucinated of “Blake-light tragedy among the scholars of war” and had a life-changing auditory experience that marked his calling to be a prophet. Blake’s Ginsbergian revival is both communicative and cultural because on the one hand it is inspired by a vision, a prophetic direct connection with the English bard that verbally communicated his personal representation of the past and on the other hand, Blake’s prophecies and influential literary writings render him a specialized bearer of memory and a shaper of cultural memory. As the destructive, egocentric, single-minded use of reason travels from Urizen to Moloch and from the Age of Reason to the Cold War years, so does the need to poetically prophesize the downfall of people who let themselves bound my “mind-forged manacles” and consequently forget about their inherent and infinite divinity. Echoing William Blake, yet adapting the poet’s philosophy to the cultural context of mid twentieth century America, Allen Ginsberg denounces the sleep of reason and the destructive power of the science of despair built upon the machinery of reason, as well as the resulted proneness towards egocentrism, materialism and conformism at the detriment of visionary imagination, spontaneity and spirituality.
