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Wotypka, Joanne Lee. "Jack Kerouac, Dharma Voyeur." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40020.pdf.
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Shrader, Kyle. "Jack Kerouac Does Not Lie." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6224.
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"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.M.F.A.
Masters
English
Arts and Sciences
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Lester, Malcolm Coltrane. "Jack Kerouac: The Quest for Thoreau's West." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625985.
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Serban, Sarah-Belle. "Jack Kerouac et la métaphore de la route." Paris 4, 1991. http://www.theses.fr/1991PA040318.
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Rous, Jean-Marie. "Jack Kerouac mythes et culpabilités d'un écrivain américain /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37609532j.
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Laganière, Frédéric. "Sur la route de Jack Kérouac : un roman initiatique /." Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 1998. http://www.uqtr.ca/biblio/notice/tablemat/03-2192213TM.html.
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Silva, Junior Sávio Augusto Lopes da. "Contracultura e contramemória em Os Subterrâneos, de Jack Kerouac." reponame:Repositório Institucional da UFOP, 2014. http://www.repositorio.ufop.br/handle/123456789/3928.
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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)
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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.
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Brophy, Mary-Beth. "Some lost bliss : tracing the dark night of the soul in Jack Kerouac's 'Visions of Gerard', 'The dharma bums', 'Desolation angels', and 'Big Sur' : and an excerpt from the novel 'Mayor of Hollywood'." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2132.
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The research and creative portions of this thesis develop from the various responses individuals experience in the wake of a loss. The research into the evolution of faith in author Jack Kerouac's 'Duluoz Legend' and the central storyline of the novel 'Mayor of Hollywood' spring from the same well: the crossroads between death and faith. The research piece concerns itself with Kerouac's exploration of the spiritual interior in the wake of the death of his protagonist's older brother, developing a personal faith that blends Buddhism and Catholicism unfettered by formal religious practice, mirroring instead an older path of Catholic mysticism. Mayor of Hollywood explores the opposite side of the religious coin: the protagonist, Lucy Cassidy, has little compelling interest in her own spiritual existence but must address the practicalities of her partner's formal practice of Catholicism, including dietary restrictions, regular worship, moral strictures, and the religious formalization of the guilt process. At the same time, Lucy and Mark must resolve several deaths that have occurred, substituting the secular path of crime detection for the more spiritual quest to reunite with God. Linked by the shared topic of death, the two halves of the thesis address faith as a whole, exploring the interior and exterior spiritual life.
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Jenkins, Barry S. "Jack Kerouac and the "Beat" sect of American Zen Buddhism /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ34189.pdf.
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Meyberg, Maíra Alcantara. "Movendo-se pelas estradas: a formação errante de Jack Kerouac." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7926.
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A proposta deste trabalho é analisar o romance On the Road, do escritor Beat Jack Kerouac em diálogo com a tradição da Literatura de Viagem. O estudo baseia-se em duas perspectivas em especial: a escrita de si e a escrita do outro. No que diz respeito a esta última, observamos os tons etnográficos e historiográficos que aparecem no romance e remetem à tradição. No que tange a escrita de si, observamos como a obra se comporta em relação ao caráter de Romance de Formação muito comum em relatos de viagem. Por conclusão, sugerimos que a obra por vezes dá continuidade, por vezes rompe com essas vertentes. On the Road e seu autor estariam, portanto, sempre em movimentoThis studys aim is to analyze the novel On the Road, by the Beat writer Jack Kerouac, in relation to Travel Literature tradition. The study is based in two specific perspectives: self-writing and writing about the Other. Concerning the latter, we focused on the nuances of ethnography and historiography that show up in the novel and might be linked to the tradition. About self-writing, we analyze the novels relation to the concept of Novel of Development, very common in travel writing. As a conclusion, we suggest that the book either follows the trends, or rebels, depending on the point of view. On the Road and its author could be considered, therefore, always on the move
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Pacini, Peggy. ""The Duluoz legend" : Jack Kerouac ou la mémoire franco-américaine." Paris 4, 2007. http://www.theses.fr/2006PA040091.
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Projet gigantesque, composé des romans dits de la route et des romans de Lowell, The Duluoz Legend est le reflet de la double identité de Jack Kerouac. Fils d’immigrants canadien français en Nouvelle-Angleterre, l’auteur a hérité d’un patrimoine culturel francophone dont toute une partie de son œuvre porte la trace (folklore, religion populaire, langue). Cette légende que Kerouac a voulu laisser à la postérité est le reflet d’une crise de l’identité et de la culture aux carrefours de deux mémoires. Ce dialogue interculturel met en avant une problématique autour de l’identité consentie et l’identité héritée et propose l’archéologie d’une mémoire individuelle et collective que l’auteur cherche à affirmer. En choisissant de donner à son œuvre la forme de récits légendaires, Kerouac dévoile les mythes fondateurs d’une culture populaire en déclin. Bien plus que l’histoire d’une vie, c’est la mémoire d’un peuple transplanté qu’il raconteBorn of French Canadian immigrants, Kerouac has inherited a complex heritage that his novels mirror. The Duluoz Legend, his literary odyssey, is a journey into memory and identity to find his own identity but also a national identity. His Legend fluctuates from one heritage (his French Canadian ancestry) to the other (his American identity) often in conflicting ways. Rarely considered, his Franco-American background (composed of folkloric references, linguistic issues, religious beliefs) is very much present in his work especially in his Lowell novels and is an attempt to speak not only of a golden age (his French Canadian childhood in Lowell, Massachusetts) but also of an individual and collective memory: the memory of a transplanted people. It is an immigrant vision of America that his Legend offers: Ti Jean Duluoz’s immigrant song
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Rous, Jean-Marie. "Jack Kerouac : écrivain : mythes et culpabilités d' un écrivain américain." Paris 8, 1987. http://www.bibliotheque-numerique-paris8.fr/fre/ref/167930/180109111/.
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L' expérience de l' écriture chez Jack Kérouac est liée à celle de l' errance. Dans la tradition des écrivains américains. Dans la tradition des ecrivains americains, kerouac traverse l'amerique d'est en ouest physiquement pour retrouver l'esprit des pionniers. Son metier d'ecrivain americain le porte a reactualiser les mythes de l'epoque ou l'espace etait libre. La plupart de ses lecteurs n'ont lu que son best-seller "sur la route" et ne connaissent que cette dimension de son oeuvre. Cette these presente un aspect plus meconnu de son travail. En effet, kerouac nous raconte l'impossibilite d'etre pleinement americain dans l'amerique des annees cinquante qui inaugure l' epoque postmoderne. Mais ecrire la-dessus, ce n'est plus repeter le premier succes commercial et l'ecrivain erre a present dans une amerique fantomatique, hante par le remords de continuer a ecrire, c'est-a-dire, a raconter des mensonges. La dialectique du mouvement (le voyage, la verite) et de l'immobilite (l'ecriture, le mensonge) est donc la cle de cette parade sauvage que kerouac retranscrit tragiquement dans son oeuvre romanesque. Au niveau formel, cette oeuvre se concoit comme un systeme ou vert. L'experience de l'errance lui injecte periodiquement du sens. Elle n'arrive pas a se figer en un genre precis, elle poursuit ainsi la crise des recits inauguree par joyce qui caracterise la postmoderniteJack Kerouac's experiment of vriting is connected with wandering. Within american writers'tradition, kerouac gets through u. S. A. From east to west, and so physically to recover pioneer's mind. As an american writer, he is induced to re-think and make actual every myth of the time when space was free. Most of his readers has only read his best-seller "on the road" and just know this dimension. This thesis offers on unknown prospect of his work. Kerouac gives evidence it is nowadays completely impossible to be a "real" american man. But writing about this topic does not mean repeating the first commercial success. At the present time, the writer wanders about in the ghostly usa, haunted with remorses as he goes on writing, which means telling lies. Dialectics of motion (journey, truth) and of immobility (writing, lie) is therefore the key of this "wild parade" kerouac is describing us in his novels. As regard the formal aspect, kerouac's work may be considered as an open system. The experiment of wandering gives it periodically sense. This work is unable to be hardened to a definite style, and then foretells postmodernity which is characterized by the crisis of statements
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Baratta, Christopher T. ""When you're on top of a mountain, keep climbing" : Jack Kerouac's path to enlightenment in the Dharma Bums /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/barattac/christopherbaratta.pdf.
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Köhne, Karin. "La vie est d'hommage : Autobiographie und Fiktion, Tradition und Avantgarde im Erzählwerk Jack Kerouacs /." Würzburg : Königshausen & Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb391474890.
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Marculet, Stefan. "On the road di Jack Kerouac: analisi delle due traduzioni italiane." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.
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Il seguente elaborato presenta l’analisi delle traduzioni italiane del romanzo “On the road” di Jack Kerouac, in particolare dei capitoli 12 e 13 della prima parte del libro. Dopo una breve introduzione all’autore e alla Beat Generation, viene esaminata la ricezione dell’opera negli Stati Uniti e in Italia. Nel capitolo seguente vengono analizzate le scelte traduttive delle due versioni italiane, con particolare attenzione alle strategie source/target-oriented e alle tecniche di revisione. Le due versioni italiane vengono confrontate sia con l’originale, sia tra di loro concentrandosi sulla traduzione dei nomi propri, dei realia, del turpiloquio e sull’uso delle note del traduttore..
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Nash, Catherine. "Technology in the work of Jack Kerouac and William S. Burroughs." Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/13120/.
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This thesis explores the use and significance of technologies of representation in the work of Jack Kerouac (1922-1969) and William S. Burroughs (1914-1997), particularly in relation to the development of ideas of free and improvisatory expression in the 1950s. More specifically it focuses on the role played by the technologies of the typewriter and tape recorder in the textual production of key works of each writer and how these technologies are also thematically important in their exploration of the topics of individual creativity and freedom in relation to social and technological control. It also examines the centrality of epistolary practice in the creative process. The focus on these technologies will allow the thesis to develop from this base into a wider exploration of many of the key themes of Kerouac’s and Burroughs’ work, placing them within a context of wider debates and concerns over the power of mass media and technology among contemporary social commentators as well as writers of the Beat generation. The thesis is broadly divided into two sections, with the first half concentrating on Kerouac and the second half on Burroughs. Chapter one explores Kerouac’s writing practices in an analysis of the scroll draft of On The Road. Chapter two examines Kerouac’s representation of a variety of media including the printed word and radio in Doctor Sax. In chapter three, I look at Kerouac’s spontaneous prose method in an analysis of The Subterraneans. Chapter four concentrates specifically on Kerouac’s experimentation with the tape recorder in Visions of Cody. Chapter five focuses on framing Burroughs’ Junky and Queer in terms of cybernetics. In chapter six I present an analysis of Naked Lunch, looking at the techniques that Burroughs uses to disrupt the traditional narrative form, and in chapter seven I look at Burroughs’ cut-up method by examining his Nova trilogy: The Soft Machine, The Ticket That Exploded, and Nova Express.
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Bizello, Aline Azeredo. "Caio Fernando Abreu e Jack Kerouac : diálogos que atravessam as Américas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7420.
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A finalidade deste estudo é analisar, do ponto de vista da Literatura Comparada, as relações existentes entre contos do escritor Caio Fernando Abreu e o romance On the Road, do norte-americano Jack Kerouac. Com o objetivo de apreender o diálogo entre os textos, a investigação desenvolve-se desde o exame do estilo de vida das personagens até as condições históricas nas quais foram produzidas as obras. Dessa forma, focaliza-se o local que ocupa a produção literária do escritor gaúcho, a partir das relações inter-literárias com a realidade cultural do seu tempo. Pretendeu-se verificar, através da Literatura Comparada, de que modo a obra de Caio absorve os influxos da obra de Kerouac. Assim, examina-se a apropriação cultural estrangeira através da recepção, em Caio, da literatura “beat”. O estudo aborda questões referentes ao sujeito, à liberdade, à introspecção, à fragmentação, à identidade, ao estranhamento, ao desejo, à autonomia, relacionando-as à construção da linguagem e à representação da visão de mundo dos autores. Para tanto, foram considerados alguns momentos históricos do final do século XX, como a Segunda Guerra Mundial, a Guerra Fria, o Macartismo e a ditadura militar brasileira. Nesse contexto, intensifica-se, de um lado, o desejo de livre arbítrio e, de outro, a imobilidade resultante da falta de esperança. A partir desses dados, analisa-se a atmosfera vivida e representada nas obras de Caio e Kerouac. Dessa forma, o trabalho desenvolve a hipótese de que Caio Fernando Abreu absorve aspectos da filosofia “beat”, assimila-os e os transforma para adaptá-los ao seu contexto histórico e cultural.
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Chassaing, Irène. "Figure de l'écrivain et écriture personnelle : Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre et Jack Kerouac." Paris 3, 2008. http://www.theses.fr/2008PA030080.
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L’objectif de cette recherche est de comprendre les origines, le processus et les différentes implications de la crise traversée par différents personnages d’écrivains, tels qu’ils sont représentés dans les oeuvres d’écriture personnelle de Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre et Jack Kerouac. Plus spécifiquement, notre but est d’examiner la mise en cause par l’écrivain de son statut social et de ses fonctions auctoriales, ainsi que son rejet de la littérature, niée tant dans sa valeur (esthétique, politique, commerciale) que dans son efficacité (sa capacité à agir sur le monde). Nous affirmons que cette mise en cause et ce rejet témoignent, dans leur association, d’une tentative de rénovation du positionnement de l’écrivain par rapport à son oeuvre, à la société, à la communauté littéraire, ainsi qu’à lui-même et à sa définition d’être humain. Afin de parvenir à ces conclusions, nous avons structuré notre recherche autour de trois figures mythiques associées à l’artiste : Prométhée, Narcisse, et Dédale. Nous envisageons ainsi : avec Prométhée, l’entrée en littérature d’un écrivain se concevant à la fois comme exclu et tout-puissant ; avec Narcisse, les problèmes que génère ce mode d’investissement de la littérature ; avec Dédale, la tentative de repositionnement de l’écrivain au sein de l’humanité ordinaire. Notre dernière partie examine l’écho rencontré par cette tentative de repositionnement dans différentes oeuvres de la postérité où sont représentés les auteurs de notre corpusIn this project, I develop a comparative reading of a series of "personal narratives" produced by Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre and Jack Kerouac. My purpose is to analyze how these writers all question their own social status and function as authors, while denying literature’s value and efficiency in aesthetic, politic, and commercial terms. Scrutinizing different figures of these writers which their works offer, I argue that all these literary works are converged in an attempt at defining their positions as writers within their works, societies, and at characterizing their way to exist as human beings. This thesis thematically refers to three great mythical figures often associated with the figure of the artist: Prometheus, Narcissus, and Daedalus. Through Prometheus, I examine the status of writers that think themselves endowed with an almighty speech; through Narcissus, I examine the problems that such a way of investing literature with power generates; through Daedalus, I examine the attempts made by the writers to access a new status within ordinary humanity. In my conclusions, I examine how these writers’ attempt at reforming their authorial status while denying the efficiency of literature, and for this purpose I consider a variety of later literary and visual works in which London, Céline, Sartre and Kerouac are represented
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Graham, L. R. S. "The displaced self : The search for integration in the works of Jack Kerouac." Thesis, University of Nottingham, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383580.
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Agostini, Bertrand. "La notion de souffrance dans l'oeuvre romanesque de Jack Kerouac : genese et evolution." Nantes, 1991. http://www.theses.fr/1991NANT3010.
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La notion de souffrance est un des themes fondamentaux de l'oeuvre romanesque de jack kerouac. De visions of gerard a vanity of duluoz, en passant par on the road, elle apparait comme la condition meme de l'ecriture. Apres avoir montre comment le climat social d'apres-guerre d'une part, puis l'education dans le milieu franco-americain d'autre part, ont favorise chez l'auteur une recherche systematique sur la pensee de la souffrance, cette etude se propose de cerner la genese et l'evolution de cette notion articulee autour de trois champs principaux: christianisme, existentialisme, et bouddhisme. La "legende de duluoz" est le resultat d'une errance morale axee sur le tryptyque "eros-mort-spiritualite", qui donne a penser que l'oeuvre est d'abord d'essence ontologique. Elle est une investigation sur le sens et la nature del'etre distingue de l'etant. Cette investigation ontologique va de pair avec une intense et insatiable quete spirituelle eternellement recommencee. Par consequent, l'oeuvre de kerouac ne peut s'envisager dans l'unique perspective de la litterature americaine. Elle se place resolument au point de rencontre de plusieurs sources d'inspiration et de ce fait, tend vers l'universaliteThe notion of suffering is one of the fundamental themes in the novels of jack kerouac. From visions of gerard to vanity of duluoz, via on the road, it appears as the condition of the writing. After showing how the post-xar social climate on the one hand, and education in the franco-american environment on the other hand, furthured systematic research on suffering, this study intends to define the genesis and evolution of this notion structured round three main fields: christianity, existentialism, buddhism. The "legend of duluoz" is the result of a moral wandering centered round the "eros-death-spirituality" triptych. The essence of the work is then primarily ontological. It is an investigation on the meaning and nature of the being as distinguished from the person. This ontological investigation goes hand in hand with an intense and insatiable spiritual quest eternally repeated. Consequently, kerouac's novels cannot be viewed within the single perspective of american literature. They must be looked at as the meeting point of several sources of inspiration and therefore tend toward universality
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Pinezi, Gabriel Victor Rocha. "A experiência literária de Jack Kerouac : a criação da liberdade, a liberdade da criação." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000204558.
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A presente tese tem como objetivo compreender o processo de criação do escritor estadunidense Jack Kerouac, cuja vasta obra romanesca, The Duluoz Legend, se filia à tradição romântica do romance de formação alemão (Bildungsroman). Pretende-se mostrar que seu projeto de escrita espontânea decorre de uma experiência de liberdade com a linguagem, que tanto o forma eticamente quanto dá origem à sua obra. A partir de uma análise de manuscritos periféricos à obra publicada, como diários, cartas, rascunhos e artigos, se revelará de que forma Kerouac elaborou uma densa reflexão filosófica sobre o ser da obra de arte, que desemboca na solução estética da narrativa não-ficcional. Estas reflexões seguem, no geral, o preceito do tornar-se o que se é, que está historicamente relacionado a uma teoria romântica do gênio. Com o intuito de analisar esta dimensão filosófica e reflexiva do processo de criação de Kerouac, o trabalho se divide em três grandes capítulos, que correspondem à defesa de três teses gerais: 1) a experiência com a linguagem é a origem da obra de caráter experimental; 2) a experiência com a linguagem é a da criação da liberdade ética; 3) a criação da obra se dá no movimento da busca pela sua origem, que é ela mesma liberdade. Para dar conta desse problema, uma analítica da experiência literária será elaborada no primeiro capítulo, servindo de fundamentação histórica e teórica para a análise dos manuscritos. No segundo, é feita a análise do processo de formação ética de Kerouac, que se fundamenta sobre a noção romântica de artista genial. No terceiro, se realiza um exame de como as estruturas formais dos romances de Kerouac decorrem de suas reflexões sobre o caráter orgânico da obra de arte genial. Ao fim, concluir-se-á que o processo de criação experimental de Kerouac se dá num movimento circular: da experiência como origem à origem como experiência, da criação da liberdade à liberdade da criação.The present work seeks to understand the creative process of the American writer Jack Kerouac, whose vast novelistic work, The Duluoz Legend, affiliates itself to the tradition of the German Bildungsroman. We will demonstrate that his project of spontaneous prose is the result of a free experience with language, which educates him ethically and originates his works. By means of an analysis of his peripheral manuscripts, such as diaries, journals, letters, sketches and articles, we will reveal how Kerouac reflected about the being of the work of art in a philosophical way that led him to the aesthetical solution of the non-fictional storytelling. These meditations follow, in general, the prescript of the becoming what one is, which lies in the heart of the romantic concept of genius. Seeking to establish an analysis of this philosophical dimension of Kerouacs creative process, the dissertation organizes itself around three chapters that correspond to the development of three general hypothesis: 1) the experience with language is the origin of the experimental work of art; 2) the experience with language is the one of the creation of ethical freedom; 3) the creation of the work of art follows the movement of the quest for the origin, which is freedom itself. To prove such hypothesis, we will elaborate in the first chapter an analitics of the literary experience that will serve us as a historical and theoretical fundament for the analysis of Kerouacs manuscripts. The second chapter presents the examination of Kerouacs ethical education led by the romantic concept of genius. In the third chapter, we will develop an examination of how the formal structures of Kerouacs novels are the product of his reflections about the organic character of the romantic work of art. At last, we will conclude that Kerouacs creative and experimental process follows a circular pattern: from experience-as-origins to origins-as-experience, from the creation of freedom to the freedom of creation.
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Martinsson, Sara. "En resa genom litteraturen och livet : en undervisningsmodell av Jack Kerouacs På väg." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-10685.
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I uppsatsen analyseras Jack Kerouacs roman På väg utifrån fem grundteman; Att vara på väg; om resandets funktioner, Avvikelse från samhället, Idolisering och inflytande, Genus och kvinnosyn och Etnicitet. Analysen följs sedan av ett förslag på hur man i klassrummet kan behandla dessa delar av Kerouacs roman. Utöver detta innehåller uppsatsen ett avsnitt där litteraturens roll och funktion i skolan behandlas och ett avsnitt som behandlar vikten av en dynamisk litteraturundervisning.
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Bherer, Audrey Jade. "Imaginaires de la pauvreté : les cas d'Hector de Saint-Denys Garneau et de Jack Kerouac." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/29546.
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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 communThis 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.
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Simpson, Emily Patricia. "RELIGIOUS TURMOIL: THE CONFLICT BETWEEN BUDDHISM AND CATHOLICISM IN JACK KEROUAC?S LIFE AND WRITING." NCSU, 2002. http://www.lib.ncsu.edu/theses/available/etd-12302002-120607/.
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Although Jack Kerouac has begun to be recognized as one of the great 20th century American writers, scholars have not yet fully explored the influence that his conflicting religious beliefs had on his work. Kerouac?s internal struggle to reconcile his Buddhist and Catholic thinking, and his ultimate attempt to embrace Catholicism, had a profound effect on his writing, giving it the religiously tumultuous charge that is essential to Kerouac?s distinctive writing style. This study addresses Kerouac?s religious life and its effect on his work by focusing primarily on three of his works: Visions of Gerard, The Dharma Bums, and Big Sur. Kerouac?s complex relationship between Buddhism and Catholicism and the effect this conflict had on his work has heretofore gone largely uninvestigated. However, it is essential to a complete understanding of his work. Exploring this element of his work sheds new light on Kerouac?s novels that illuminates his depth and solemnity as a writer. Kerouac?s religious quest was a cornerstone of his artistic development, and the three novels I have examined illustrate how Catholicism and Buddhism together informed that quest.
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Ligairi, Rachel Mae. "The Familiar Foreign Country: Reading Mexico in Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/935.
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My thesis examines the discourse of Mexico in the works of three twentieth-century American authors-Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter-in order to analyze representations of Otherness in modernism and postmodernism. I seek to destabilize the dividing line between these periods as well as to show how representation in postmodernity has become more problematic due in large part to the proliferation of consumer culture. Though the Mexico that McCarthy employs in Blood Meridian and the Border Trilogy (All the Pretty Horses, The Crossing, and Cities of the Plain) escapes many stereotypes, his Mexico is merely a staging ground that he uses to examine postmodern questions of philosophy while deconstructing myths such as the Old West and Manifest Destiny and reflecting on the ramifications of World War II. Therefore, McCarthy elides Mexico by using its Otherness as a mirror that enables reflection on the Self. Kerouac too is interested in using Mexico to solve U.S. problems. In On the Road, Kerouac's fictional counterpart, Sal Paradise, searches for the authenticity missing from middle-class American life by ultimately turning to the "authentic" Mexico. Though he is able to distinguish between simulations and reality in his own cultural context, once south of the border Sal misrecognizes what is a hypperreal Mexico for supreme authenticity. By contrast, when Katherine Anne Porter crosses the border, she is quick to identify corruption and revolutionary failure in Mexico. When pieces such as "Xochimilco" and "María Concepción" are placed alongside that of the work of Diego Rivera, a leader in the Mexican muralist movement, it becomes clear that Porter essentializes her Mexican subjects with the specific political goal in mind of furthering the revolution. Additionally, by crossing the generic lines separating fiction and non-fiction, Porter approximates what could be called a postmodern form of ethnography. Yet all of her representational strategies are tempered, especially in her last Mexican story, Hacienda, by an awareness that representations of Other cannot be other than flawed.
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Pellerin, Pierre-Antoine. "La performance autobiographique et les masques du masculin dans la légende de Duluoz de Jack Kerouac (1947-1965)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030167.
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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 prixThe 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
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Izant, Eric M. "Altered States of Style: The Drug-Induced Development of Jack Kerouac's Spontaneous Prose." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2721.pdf.
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Jäderlund, Christer. "The Beat Goes On : Discourse, Power and Identity in Jack Kerouac’s On the Road." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7226.
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McClay, Emily. "Parker, Kerouac, and Innovative Sound: The Rhythms of Bebop in Beat Writing." Wittenberg University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1242756894.
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Fortin, Laval. "Big Sur revisité : une traduction du roman de Jack Kérouac ; suivie de Réflexions sur la traduction /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1997. http://theses.uqac.ca.
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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
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Carrasco, Labbé Rubén. "The transience of experimentation in Jack Kerouac's on the road." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109928.
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The general object of study of this work is the rise and effects of competing visions in the construction of the subjective personal American landscape in 20th century North American travel literature. The research and analysis done will follow the idea that there are different visions of America present at the same time in a given text-character. These visions, when affecting and transforming the travelling experience and, when contrasted to other’s visions and compared between them, may allow for the appropriation of the landscape through the creation of a personal, intimate and polyphonic image of the same. In order to grasp this final vision characters must undergo a process with three stages that resemble an empiric scientific experiment. Is on the exploration of this experimental dimension from where we start this study.
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Shi, Xiaoxiao. "Romans de la quête multiple : "La montagne de l'âme" (Gao Xingjian) et "Sur la route" (Jack Kerouac)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20010.
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Cette thèse consiste en une étude comparée de La Montagne de l’âme de Gao Xingjian et Sur la route de Jack Kerouac ayant « la quête » comme problématique centrale. Bien qu’à première vue les deux œuvres apparaissent fort différentes, selon l’esprit de la littérature comparée, elles méritent une confrontation minutieuse et nous estimons qu’elles possèdent quantité de points communs : Premièrement, il s’agit de deux romans foisonnants qui englobent bon nombre de genres romanesques et semblant relever simultanément de plusieurs catégories : roman autobiographique, roman-géographe, roman de pèlerinage, roman picaresque, roman de mœurs, roman de méditation, et enfin roman « froid » et « sans-isme ». Par leurs différents aspects, ces deux œuvres peuvent satisfaire aux attentes de divers lecteurs. Deuxièmement, au plan stylistique, La Montagne de l’âme et Sur la route sont deux romans insolites. L’innovation de La Montagne de l’âme se manifeste par la pratique d’un mode de narration inédit, la particularité linguistique, la singularité dans la structure, l’hétérogénéité du matériau romanesque, bref par une grande originalité formelle. Quant à Sur la route, sa nouveauté se manifeste d’abord par sa création fondamentale, à savoir la prose spontanée. Elle s’exprime aussi par la particularité de la construction romanesque, l’originalité de l’écriture et la singularité du contenu. Troisième parenté fondamentale : La Montagne de l’âme et Sur la route se présentent comme deux quêtes de l’espace. Montagne, chemin et maison sont trois motifs récurrents communs à ces deux romans qui sont également deux odes aux grands espaces. Les protagonistes relatent les itinéraires parcourus en Amérique et en Chine et l’on peut voir dans ces livres deux odes aux cultures nées dans les grands espaces. À l’intérieur de ces deux œuvres, les paysages romanesques se recommandent par leur caractère pictural et polysensoriel. L’espace typographique du texte est également aménagé avec art : les deux romans sont à la fois découpés et cousus. Enfin, considérés sous l’angle de la spiritualité, La Montagne de l’âme et Sur la route peuvent être dits romans de l’âme : de nombreuses questions spirituelles y sont intégrées, posées et approfondies. L’un et l’autre traitent la quête du sens de la vie, plus précisément, la quête de l’ego (identité, soi), la quête d’un mode de vie (fondé sur le présent, la liberté) et la quête métaphysique (destin, mort, croyance). Ces quatre similitudes correspondent à quatre quêtes que les deux oeuvres déploient à leur façon : la recherche d’un genre romanesque, d’une stylistique originale, d’un espace romanesque et enfin d’un sens de la vieThe thesis is about the comparative analysis which concern about the main concept of quest where from soul mountain of Gao Xingjian and On the Road of Jack Kerouac. Although these two books seem quite unlike, by the spiritual of comparative literature, they totally worth to be comparative studied carefully, and we think they have quite much in common.First, these two novels are both rich in connotation, they cover many of the novel categories, such as autobiographical novel, geographical novel, pilgrimage novel, picaresque novel, novel of manners, novel of meditation, the “cold” novel and non socialist novel. In different aspects, these two works can meet the needs of different readers.Secondly, in the stylistics, the soul mountain and on the road are two unusual novels. The innovation of the soul mountain is the practice of singularity of narration, the singularity of language characteristic, the singularity of structure, the heterogeneity of the material, the singularity of the form. As for on the road, the creativity of the novel based on many aspects, namely the spontaneous prose, also the singularity of characteristic of the construction, the way of writing, and the uniqueness of content.The third, the soul mountain and on the road two novels both relate as they quest the idea of space. Mountain, road and house are three common recurrent motifs which show up in these two novels, which are also odes of wide open spaces. The protagonists narrate the travel through America and China. We can discover from the two books both contain odes which point to the cultures cultivated from the spaces. In these two works, the narrations about landscapes are both pictorial and also polysensoriel. Spaces typographic of the two novels are also rearranged with art: both cut and sewn. Finally, from the perspective of the spiritual, the soul mountain and on the road can be regarded as novels of the soul: many spiritual questions are quested and thoroughly researched. The two novels both deal with the quest for the sense of life, and more specifically, the pursuit of the ego, (identity, soi), the quest for the way of life (present, liberty), the quest for the metaphysical (destiny, death, religion).These four similarities are corresponding to the four quests of these two novels: the quest of novel categories, stylistics, space, sense of life
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Schiöler, Marie-Louise. "Opraktiska kvinnor och krossade hjärtan : En studie av melankolin och kvinnosynen i Jack Kerouacs Visions of Cody." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-7092.
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Kim, Heejung. "THE OTHER AMERICAN POETRY AND MODERNIST POETICS: RICHARD WRIGHT, JACK KEROUAC, SONIA SANCHEZ, JAMES EMANUEL, AND LENARD MOORE." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523964596644369.
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Harma, Tanguy. "From self-destruction to self-creation and back again : the paradox of Thanatos in Jack Kerouac and Allen Ginsberg." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23287/.
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My thesis investigates the antithetical movements of self-destruction and of self-creation in a selection of works by Jack Kerouac and Allen Ginsberg. In order to shed light on this paradox, I use the mythological figure of Thanatos, which is conceptualised as a principle of death within life as well as one of life within death. The figure of Thanatos will enable me to trace the ways in which various strategies in the writings both create, and destroy, the texts on multiple levels. I work with two distinct critical methods to illuminate these paradoxical movements. In the first part of the thesis, the analysis is foregrounded in a combination of French Existentialist theory with precepts from the American Transcendentalist tradition in order to define an American variant of Existentialism. This framework allows the trope of alienation, and its impact on both self and text in Big Sur [1962], to come to the fore. Big Sur is read as a novel that plays on motifs of self-destruction in an unprecedented way in Kerouac’s writing. In ‘Ginsberg’s ‘Howl’ [1956], the figure of Moloch is interpreted as a principle of nothingness in the poem. Moloch is understood in relation to various forms of engagement both Existentialist and transcendental in essence. In Part 2, Kerouac’s Tristessa [1960] is analysed from the perspective of the Kantian Sublime. In Tristessa, the narrator’s desire for the eponymous heroine emanates from the projection of a romanticised form of deathliness that channels the Sublime, and that threatens the self and the text in return, thereby conjuring the paradox of Thanatos.
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Santos, Maria Clara Dunck. "A contracultura do segundo pós-guerra : um estudo comparativo entre a poesia marginal de Jack Kerouac e Nicolas Behr." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/11957.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-23T15:21:29Z No. of bitstreams: 1 2012_MariaClaraDunckSantos.pdf: 1250114 bytes, checksum: c70afeb1a3da1650be18661c835f0eb8 (MD5)
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O advento da Segunda Guerra Mundial trouxe consigo grandes mudanças no cenário artístico global. Para a compreensão da literatura produzida nesse período, é necessário tratar da Contracultura, um movimento contestador que faz oposição à cultura dominante. Esta, de caráter conservador e elitista, serve à indústria cultural, como um importante veículo de propagação e manutenção do establishment. Apesar de apoiada por uma minoria, a Contracultura é fundamental para a compreensão da literatura contemporânea, visto que, ao se popularizar, contribuiu para a formação da dominante cultural do século XXI: a pós-modernidade. Este estudo compara duas literaturas contraculturais: uma norte-americana da década de 1950, conhecida como geração beat, e outra brasileira da década de 1970, chamada de geração mimeógrafo. Afirma-se que a brasileira é epígona da norte-americana. E para contrapor tal assertiva, esta pesquisa vale-se da Teoria dos Polissistemas, aliada à análise semiótica da poética de Jack Kerouac, no caso da geração beat, e da poética de Nicolas Behr, da geração mimeógrafo. ______________________________________________________________________________ ABSTRACT
The advent of Second World War brought relevant changes in the global art scene. For understanding the literature produced during this period, it is necessary to study the Counterculture, a movement that opposes to the dominant culture, which serves the Culture Industry as an important vehicle for the propagation and maintenance of the conservative and elitist establishment. Although the Counterculture is supported by a minority, it is fundamental to the understanding of contemporary literature because its posterior popularity contributed to the formation of the dominant culture of the twenty-first century: the postmodernity. This study compares two countercultural literatures: an American in the 1950s, known as the Beat Generation, and another, Brazilian, in the 1970s, called geração mimeógrafo. It is said that the Brazilian counterculture literature is an epigone to the U.S. To prove this assertion, this research uses the Theory Polysystem allied to a semiotic analysis of the poetry of Jack Kerouac, in the case of the Beat Generation, and the poetry of Nicolas Behr, of the geração mimeógrafo.
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Carvalho, Samir Afonso de. "Vislumbres estéticos e mergulhos poéticos em On the Road e Howl: uma viagem histórico-literária por Jack Kerouac e Allen Ginsberg." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3050.
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The objective of this work is to analyze the aesthetic ideals of two writers of the Beat Generation: Jack Kerouac and Allen Ginsberg. With such an objective in mind, their two main works, On the Road and Howl, respectively, were studied comparatively. Through this study, we tried to delineate the interpretation that each author gives to these ideals they share, showing the divergences of understanding and materialization of such ideals in these two works. Besides, there is a historical trajectory. Firstly, building a strong base for the work, we analyze the historical period in America during the moment of formation of the generation. The historical focus then shifts to the private lives of each author, their cultural and linguistic influences, their intellectual itineraries. From that knowledge, it is also possible to understand the process of formation of the ideals themselves, central theme of this dissertation. We also tried to show how the next generations got hold of the ideals studied here, how the readers interpreted those artistic works in an individual way. From that, the authors’ reaction to this reinterpretation is reflected upon. In other words, this work is a deep survey of the aesthetic ideals of two artists, their formation and perpetuation. The main documents and texts used in the development of the analysis described above were: private journals to trace in time the transition of thoughts on their own artistic practices, letters exchanged between the two artists to demonstrate how their thoughts communicated and diverged in certain aspects, articles from newspapers and magazines to show the reception they had at the time and what others thought of the texts we studied, and biographies to base the text with history fundamentals.
O objetivo do presente trabalho é o de fazer uma análise dos ideais estéticos de dois autores da Beat Generation: Jack Kerouac e Allen Ginsberg. Para tal, empreendeu-se um estudo comparativo das principais obras de cada autor, a saber, On the Road (1957) e “Howl” (1956), respectivamente. Através de tal estudo, pretende-se delinear a interpretação que cada autor dá aos ideais que os dois compartilham, demonstrar as divergências de compreensão e a efetivação dos ideais nessas duas obras. Além do mais, uma trajetória histórica é traçada em alguns sentidos. Primeiramente, com o objetivo de oferecer base para o trabalho, mostra-se o momento histórico vivido nos Estados Unidos durante o período de formação da geração da qual fazer parte os autores. Também é foco de análise histórica a vida particular de cada autor, suas influências culturais e linguísticas, sua trajetória intelectual. A partir de tal conhecimento, é possível compreender também o processo de formação dos ideais estéticos, tema central dessa dissertação. Também se busca demonstrar a apropriação dos ideais estudados pela geração seguinte à dos escritores analisados: a geração leitora que interpretou as obras de maneira particular. A partir disso deseja-se investigar a reação de cada um dos autores para tal reinterpretação. Em outras palavras, trata-se de uma sondagem profunda dos ideais estéticos de dois artistas, sua formação e sua perpetuação. Os principais documentos e textos utilizados para o desenvolvimento da análise acima descrita foram: diários particulares para delinear no tempo as nuances de pensamento sobre suas próprias práticas artísticas, correspondências trocadas entre os autores para demonstrar como os pensamentos dos dois dialogavam e confrontavam um com o outro, artigos de jornais e revistas da época para desvelar a recepção que os autores tiveram e elucubrações diversas sobre os textos estudados, além de biografias para embasar os demais estudos com fundamentação histórica.
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Deshoulières, Anne. ""Les jardins de l'errance" : étude topologique de l'errance chez Jack Kerouac, J. M. G. Le Clézio, Kenneth White, Ernesto Sabato." Clermont-Ferrand 2, 2005. http://www.theses.fr/2005CLF20007.
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La rencontre de Kerouac, Sabato, White, Le Clézio éclaire les diverses facettes de l'errance contemporaine dont l'analyse topologique révèle les rapports étroits entre l'espace, le corps et l'écriture. En outre, l'errance permet de rapprocher les domaines géographiques, littéraires, humains, tout en interrogeant activement la position du sujet dans le monde moderne. A cet égard, ce dernier est assimilé à un jardin morcelé et gâché, tant la conquête intensive de l'espace a fini par altérer les liens entre l'être et le monde. Pour rétablir les communications, il faut appréhender l'espace autrement, à la manière d'un explorateur. Car c'est en quittant une situation d'enracinement et en préservant une certaine mobilité que le sujet parvient à la vérité de l'être et du lieu. Cette pratique de l'espace permet de faire l'épreuve des limites en traversant des lieux aliénants et inhospitaliers, et de transmuer ensuite les territoires entrevus en un vaste jardin où l'écriture prolonge l'errance
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Albarran, Louis. "The Face of God at the End of the Road: The Sacramentality of Jack Kerouac in Lowell, America, and Mexico." University of Dayton / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1375235381.
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Baldwin, Nicholas Charles. "Jack Kerouac’s Poetics: Repetition, Language, and Narration in Letters from 1947 to 1956." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169720.
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Despite the fame the prolific impressionistic, confessional poet, novelist, literary iconoclast, and pioneer of the Beat Generation, Jack Kerouac, has acquired since the late 1950’s, his written letters are not recognized as works of literature. The aim of this thesis is to examine the different ways in which Kerouac develops and employs the poetics he is most known for in the letters he wrote to friends and publishers before becoming a well-known literary figure. In my analysis of Kerouac’s poetics, I analyze 20 letters from Selected Letters, 1940-1956. These letters were written before the publication of his best-known literary work, On The Road. The thesis attempts to highlight the characteristics of Kerouac’s literary control in his letters and to demonstrate how the examination of these poetics: repetition, language, and narration merits the letters’ treatment as works of artistic literature. Likewise, through the scrutiny of my first novella, “Trails” it then illustrates how the in-depth analysis of Kerouac’s letters improved my personal poetics, which resemble the poetics featured in the letters.
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Domingues, Maria Izabel Velazquez. "The role of the "flâneur" in Jack Kerouac's novel On the Road." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/14983.
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Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração.This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.
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Ekstrand, Julian. ""A Nakedness of Mind": Gender, Individualism and Collectivism in Jack Kerouac's On the Road." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100041.
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This essay focuses on gender roles, individualism and collectivism in Jack Kerouac’s classic road-trip novel On the Road. In order to put the discussion into a meaningful context, I look at the novel from a historical perspective and examine how it relates to post-war American society. I argue that the novel is, in many ways, representative of a society existing in a field of tension between individualism and collectivism, and that its notion of individual freedom, at the time revolutionary, can be seen as retrogressive with regard to the book’s portrayal and treatment of women. The essay features a discussion of what kind of individual freedom is presented in On the Road and how this freedom relates to typical American individualism as well as American post-war societal norms, the norm of the nuclear family in particular. This is followed by a brief analysis of how the novel influenced future generations, specifically in terms of sexual liberation. This analysis introduces a discussion of the way in which women are portrayed in the book and how this portrayal both represents collective progress in post- war America—women are often described as financially independent—and a phallocentric type of individualism. I then show that this individualism is connected to an unthinking optimism which, I argue, is one of the key causes of the retrogressive view of women exemplified by the book. My study ultimately demonstrates that the novel’s notion of individualism—an individualism which was highly influential for future generations and is usually viewed as progressive—can arguably be seen as retrogressive in terms of Kerouac's representation of gender roles.
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Reynolds, Loni Sophia. "Irrational doorways : religion and spirituality in the work of the Beat Generation." Thesis, University of Roehampton, 2011. https://pure.roehampton.ac.uk/portal/en/studentthesis/irrational-doorways(87396ee2-da59-4758-9d13-dcfefe7a6073).html.
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My thesis explores the role of religion and spirituality in the work of the Beat Generation, a mid-twentieth century American literary movement. I focus on four major Beat authors: William S. Burroughs, Allen Ginsberg, Jack Kerouac, and Gregory Corso. Through a close reading of their work, I identify the major religious and spiritual attitudes that shape their texts. All four authors’ religious and spiritual beliefs form a challenge to the Modern Western worldview of rationality, embracing systems of belief which allow for experiences that cannot be empirically explained. They also assert the primacy of the individual—a major American value—in a society which the authors believed to encroach upon individual agency. Ginsberg, Kerouac, and Corso are also strongly influenced by established religious traditions: an aspect of their work that is currently overlooked in Beat criticism. Burroughs’ belief in a magical universe shapes his work. Ginsberg is heavily influenced by the Jewish exegetical tradition. Kerouac and Corso’s work contains Catholic themes. My study rectifies some tendencies in current criticism which I find problematic: a dismissal of the Beats as a countercultural phenomenon rather than a literary movement, a tendency to frame Beat religion and spirituality in vague language, and a tendency to focus solely on Buddhism within the movement. My study illustrates that the Beat authors’ work contains serious religious and spiritual content, that they take part in American religious and literary traditions, and that the authors engage with major social issues of the post-war period.
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Vézina, Raphaëlle. "Cuvée 44 ; : suivi de L'héritage de la réception d’On the Road et de la posture d'écrivain de Kerouac selon les époques." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69524.
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Ce mémoire en recherche-création se décline en deux parties; un roman et un essai. Le roman et l'essai se répondent, en traitant tous les deux de la période des années 50, qui représente le contexte du roman On the Road qui sera analysé dans l'essai, mais aussi le moteur créatif qui a inspiré le roman Cuvée 44. Le roman, Cuvée 44, s'inspire de la filiation des romans de route et de quête personnelle dont On the Road est un des précurseurs. Il relate la vie mouvementée de Francine Boudreau, une jeune femme de quinze ans qui quitte son Québec natal en 1959 pour un monde de possibilités qui s'offrent à elle aux États-Unis, durant les années 50 et 60. Le lecteur est transporté un peu partout au pays, alors que la jeune femme tente de se poser quelque part. L'essai, quant à lui, traite de la réception de l'œuvre phare de Kerouac, On the Road, afin d'observer comment elle a évolué selon les décennies. En faisant ressortir les diverses critiques du roman de l'écrivain de la Beat Generation, on peut ainsi ressortir les différentes postures qui lui sont accordées au travers des époques, pour en voir les constantes et les disparités.
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Alabdullah, Nada A. A. "The Beats: The Representation of a Battered Generation." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398678807.
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King, Jeffrey Warren. "On the Road from Melville to Postmodernism: The Case for Kerouac's Canonization." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1921.
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With the publication of On the Road in 1957, Jack Kerouac became a cultural phenomenon. Crowned the "King" of the Beat Generation, Kerouac embodied the restlessness of Cold War-era America. What no one realized at the time, however, was that the movement that he supposedly led went against Kerouac's own beliefs. Rather than rebellion, Kerouac wanted to write in a way that no one had written before. Heavily influenced by, among others, Mark Twain, Fyodor Dostoevsky, Marcel Proust, Herman Melville, and, especially, James Joyce, Kerouac used the influence of his predecessors to formulate his own style of writing-spontaneous prose. The critics who label Kerouac as a cultural icon akin to James Dean fail to see Kerouac as a serious author. The removal of the cultural fanfare surrounding Kerouac shows the truth about his writing, his influences, and his influence on late-twentieth century literature, including the entire postmodern movement.
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com, johnstubley@yahoo, and John Stubley. ""the lonely and the road (novel) Whats your road, man?: my experiences with the life and work of Jack Kerouac in relation to the development of the lonely and the road (exegesis)." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20081210.120038.
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Thirty thousand feet above the Pacific Oceansomewhere between Sydney and Los Angelesthe narrator of the lonely and the road doesnt really know where he is going, or why. His is a quest written spontaneouslyon-the-go. It is a journey of uncertain motivation, of uncertain means, towards uncertain ends. From Los Angeles, to Vegas, to the Rocky Mountain states and beyond, the narrator travels with and learns from his friends, his family and even his ex-girlfriend as he searches for that which continues to elude him. But what is that exactly? Does it even exist?
While the novel details a journey, the exegesis is a phenomenological account of the intersecting of my road with that taken by Jack Kerouac. It explores my experiences with the life and work of Kerouacthe creator of spontaneous prosein relation to the development of my writing, up to and including this novel. In doing so, the exegesis is itself a quest that seeks to understand more fully the essence of Kerouacs and my own representation of the quest motif in content and in form. Both the exegesis and the novel, then, constitute part of the search for my own artistic road, and aim to assist others in search of theirs.
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Sendra, Sophie. "Réflexions philosophiques sur les réalités non-ordinaires d'une littérature de la perception : Huxley, Kerouac, Castaneda." Nice, 2007. http://www.theses.fr/2007NICE2003.
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Ce travail de recherche s’interroge sur la fonction et la signification des états de réalité non-ordinaires que l’on appelle également états de modification de la conscience. Au travers des théories philosophiques de la conscience et de la perception, nous verrons de quelle façon celles-ci ont évolué de Descartes aux sciences cognitives. Loin de nous focaliser sur une analyse liée essentiellement à la philosophie, nous inclurons dans notre recherche l’étude d’une littérature de la perception, celle-là même qui se manifesta outre-atlantique à partir de la seconde moitié du XXème siècle. En nous intéressant exclusivement aux passages les plus significatifs de certains ouvrages d’écrivains tels que Aldous Huxley, Jack Kerouac et Carlos Castaneda, nous tenterons de cerner les limites perceptives de notre conscience. Nous nous interrogerons sur la possibilité d’une philosophie ouverte et sur une éventuelle relativité de la perception au travers de ces états de réalité non-ordinairesThis research work tries to question on the function and the signification of states of nonordinary reality also called states of modification of conscience. Through philosophic theories of conscience and perception, we’ll see how they evolued from Descartes to cognitives sciences. Far from focus ourselves on an analysis tied to philosophy, we’ll include in our research a study of a litterature of perception, the american ones wich begin in the second half of the 20th century. Exclusively focusing on significatives excerpts of some books by writers like Aldous Huxley, Jack Kerouac and Carlos Castaneda, we’ll try to define the perceptives limits of our conscience. We’ll question ourselves on a possibility of a wider philosophy and on a possible relativity of perception through these states of nonordinary reality
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Loundagin, G. John. "Signing the blues : toward a theoretical model based on the intertextuality of psycholinguistic metonymy and jazz phraseology for reading the texts of Jack Kerouac and Langston Hughes." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897530.
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That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify.Department of English
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Arthur, Jason G. "Thinking locally provincialism and cosmopolitanism in American literature since the Great Depression /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4823.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 29, 2007) Vita. Includes bibliographical references.