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论文作者:www.51lunwen.org论文属性:本科毕业论文 Thesis登出时间:2014-08-26编辑:felicia点击率:18859
论文字数:6755论文编号:org201408211411005129语种:英语 English地区:中国价格:免费论文
关键词:杰克·凯鲁亚克文学运动生活方式在路上Jack KerouacBeat Generationliterature movement
摘要:本文是一篇英国文学毕业论文。杰克·凯鲁亚克引领了“垮掉的一代”的文学运动,并将此运动推向高潮,这场运动不仅对于文学领域是极为重要极为有意义的,而且与音乐和促进个人发展的视觉艺术紧密相关。本文对凯鲁亚克进行了紧要的分析,并探讨了当时的生活方式和盛行思想。
The author's avatar in “The Subterraneans”, is French Canadian. His name is “Leo Percepied” and it has been appropriated for psychoanalysis. Kurt Mayer claims that as his first name is that of Kerouac's father, and his last, literally translates as“pierced foot,” the character's name is an obvious Oedipal reference. The character's destiny echoes Jack's, as he abandons pretentions to being middle class, and ultimately returns to his mother's house. Jack, of course, always returned to “Memére”- Gabrielle Kerouac, what Mayer refers to as the “only consistent relationship in his life”.
The novel begins provocatively, “this is the story of an unself-confident man, at the same time of an egomaniac,” As the novel progresses we find the anxious character being transported from New York to San Francisco. Perhaps this displacement somehow stands for the distance the author puts between himself and those peopling his narrative- although we know that, as the Buddhists say “wherever you go- there you are”, and there can be never be any real success in efforts to distance oneself from one's labels. In Giamo's words, it is “as though Kerouac wants to disavow early on the role of spokesman of the beats, let alone king or father.”
Conclusion
It is essential to bear in mind that the accolade of “King of the Beats” was not coined by Kerouac, but has been adopted by his followers. It is an implicitly patriarchal title, one that has subsequently invoked a range of responses framed by psychoanalytic paradigms. Several convincing arguments have shown that the patterns of Kerouac's writing have been deliberately modelled on the musical inflection of jazz.
More interestingly, though, is the notion that his work is not “spontaneous” in the sense so often asserted, but is, like jazz music, compiled from pre-selected “riffs”. This does not necessarily undermine the regal title, but it would seem to compromise the usual assumption of the term “Beat” as some harnessed and continuous natural mystery, like a heartbeat, or the endless rhythms of nature. In other words, if Kerouac is the father of Beat, it is because he created the word itself, and the conscious generation of the term is identical to the conscious construction of the prose style. This need not be a criticism of Kerouac, but on occasions where people have misunderstood the nature of Kerouac's “spontaneity”, it has certainly been presented as such.
Examining the “King” part of the title has opened up the oedipal question. Since Kerouac's work has been seen to be both so emphatically autobiographical and so uncompromisingly unconscious, there is a clear case for Freudian interpretation. His fictional work documents several instances where Kerouac appears to be thematising his anxiety around familial rivalry, his anxious disassociation from females, and the paradoxical yearning to return to the feminine source. I found that oedipal analysis led me to an assessment of Kerouac's realism, and have expounded on the notion that water is often one (and only one) signifier of “origin” in Kerouac's work, and that the r本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。