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Road dust heavengoing: Reading the development of Jack Kerouac's spontaneous prose in 'On the Road', 'The Subterraneans', and 'Tristessa'.

机译:尘土飞扬的道路:阅读杰克·凯鲁亚克(Jack Kerouac)自发散文在《在路上》,《地下》和《克里斯蒂娜》的发展。

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摘要

Since its publication in 1957, On the Road has too often monopolized the attention of commentators upon Jack Kerouac's novels. His improvisatory writing style---which he named "spontaneous prose"---has always attracted critics, although, more recently, many have chosen to focus upon the roles of race, class and gender. Yet commentators have too often failed to explore how Kerouac developed his aesthetic of spontaneous prose in his subsequent novels The Subterraneans (1958) and Tristessa (1960). Instead, they have emphasized race, class and gender at the expense of Kerouac's continued wrestling with form and style, structure and texture. In "Road Dust Heavengoing," I shall explore the origin of Kerouac's extemporaneous aesthetic in On the Road, his emergent interest in psychology in The Subterraneans and his complex spiritual inflection in Tristessa. He initially wanted his writing to be a simulation of jazz. His project with language and storytelling markedly changed, however, when he redefined the stream of consciousness as a psychological occurrence. The Subterraneans represents this shift in Kerouac's style, as the text combines the energies of psychotherapy and Catholic confession. His discovery of Buddhism led to yet another stylistic reappraisal. The stream of consciousness became a spiritual tool, a voice which could attempt to make sense of the metaphysical world. Tristessa, a meditation on suffering and balance, speaks for this period of Kerouac's life and demonstrates how far Kerouac moved beyond the stylistic limitations of On the Road.
机译:自从1957年出版以来,《路上》就经常垄断评论家对杰克·凯鲁亚克小说的关注。他的即兴创作风格(他称之为“自发散文”)一直吸引着批评家,尽管最近,许多人选择关注种族,阶级和性别的作用。然而,评论员却常常未能在其后继的小说《地下》(The Subterraneans,1958年)和Tristessa(1960年)中探索凯鲁亚克是如何发展自发散文美学的。取而代之的是,他们强调种族,阶级和性别,以牺牲Kerouac不断为形式,样式,结构和质地而奋斗的代价。在“道路尘埃飞向天堂”中,我将探讨凯鲁亚克的即兴美学在《上路》中的起源,他在地下对心理学的新兴兴趣以及在特里萨的复杂精神转向。最初,他希望自己的作品模仿爵士乐。但是,当他将意识流重新定义为心理事件时,他的语言和讲故事计划就发生了显着变化。由于文本结合了心理治疗和天主教认罪的能量,地下代表了凯鲁亚克风格的这种转变。他对佛教的发现导致了另一种风格上的重新评估。意识流成为一种精神工具,一种可以试图理解形而上学世界的声音。 Tristessa是一位关于苦难与平衡的冥想,讲述了凯鲁亚克一生的这段时期,并展示了凯鲁亚克超越了《在路上》风格的局限。

著录项

  • 作者

    Arendt, Paul Michael.;

  • 作者单位

    Villanova University.;

  • 授予单位 Villanova University.;
  • 学科 Literature Modern.Literature American.
  • 学位 M.A.
  • 年度 2010
  • 页码 80 p.
  • 总页数 80
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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