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英国文学毕业论文 [3]

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:18741

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。

“Spontaneous bop prosody” would “revolutionize American literature”, just as Joyce had revolutionized English prose, “spontaneous bop” has musical implications far more than literary ones. Kerouac and the other Beat writers listened to music as they worked, and “bop” surely applies to the jazz which accompanied their writing, more than anything; the music of Charlie Parker, Dizzy Gillespie, and Thelonius Monk.


In many ways Kerouac's literary technique is structured on a model of Jazz riffs- the impulse for both being to perfect a deliberate style that does not look deliberate, something which systematically generates an impression of spontaneity. Albert Murray has defined a jazz riff as,


“a brief musical phrase that is repeated, sometimes with very subtle variations, over the length of a stanza as a chordal pattern follows its normal progression…Riffs always seem spontaneous as if they were improvised in the heat of the performance. So much so that riffing is sometimes seen as synonymous with improvisation…not only are riffs as much a part of the same arrangements and orchestrations as the lead melody, but many consist of nothing more than stock phrases, quotations from the same familiar melody, or even clichés that just happen to be popular at the moment.”


Such is the technical “improvisation” of Kerouac's prose. Despite his declared disinterest in music, Kerouac's writing evidences a profound identification of the creation of music with that of literary works. As he states in his Paris Review interview:

“As for my regular English verse, I knocked it off fast… just as a musician has to get out, a jazz musician, his statement within a certain number of bars,” and later likens the writer's craft to that of the hornplayer,


“I formulated the theory of breath as measure, in prose and in verse, never mind what Olson, Charles Olson says, I formulated that theory in 1953 at the request of Burroughs and Ginsberg. Then there's the raciness and freedom and humour of jazz.”


In Kerouac's own terms, then, the beat follows the phrasing of the jazz model. In his theory of “breath as measure” he reveals his acute attention to the sentence- elsewhere denounced- and even acknowledges the control of cadence. His contemporary critics occasionally saw musical rhythm in Kerouac: Tallman found a version of sentimental thirties music in “The Town and the City”, where melody rather than a storyline, controls the work. “On the Road,” however, demonstrates a departure into bebop, “Where the sounds become BIFF, BOFF, BLIP, BLEEP, BOP, BEEP, CLINCK, ZOWIE! Sounds break up. And are replaced by other sounds. The journey is NOW. The narrative is a humpty dumpty heap. Such is the condition of NOW.”


It's impossible to avoid the philosophical and religious implications of this kind of anti-chronology. Just as music appears endless, repeatable, circular and circuitous, such is the freedom of writing unshackled to narrative.


In Kerouac's novel, Big Sur, the message appears to be that since Nature is a part of the self, and to fear it is to fear oneself. The two meanings of Nature become one: “human nature” is animalistic, and this novel is cautionary to the ex论文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。

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