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in itself is of course another “natural” tie, binding this writer to the natural world. When, in Big Sur, he talks of the meandering river/path leading into/out of the picture, he is describing the same path into and out of meaning which he himself treads. As a fugitive of consciousness, he travels from work to signifier -in the sense of both meaning, and of the artist, the maker of meaning, and his conclusions merge meaning and its maker into a single signifier. As an author, Kerouac functions as a human conduit to bring external reality to “textual reality”- and is guided in this venture by the original source, the world outside. All this is reinforced, and microcosmically present, in Kerouac's easy fluctuation into and out of the page, into and out of the rythm- all of which implies a certain arbitrariness of the page. This is not carelessness, but merely the flip-side of significance. It simply doesn't matter to Kerouac whether a symbol works in one direction or another, the importance is the motion- the action- itself.

This is particularly evident in the repeated jazz references in “On the Road”. The musical analogy for temporal progression is made explicit as Kerouac's fundamental modus operandi. When he describes his unique philosophy of composition, “blow as deep as you want to blow,” it seems he imagines the writer as a kind of horn-player. He attaches his methodology to a rationale for his bizarre habits of punctuation,

“ Method. No periods separating sentence-structures already arbitrarily riddled with false colons and timid usually needless commas- but the vigorous space dash separating rhetorical breathing (as jazz musicians drawing breath between outblown phrases)”

The words occurring between dashes resemble linguistic entities unaligned with the conventional subject-verb arrangement of English sentences. These linguistic configurations appear to obey a different notion of time to the “real” world, with its “real” language. Traditionally, a sentence fixes time by acting as a frame for the past-present-future sequence. The conventional sentence does not allow the motion, flash, and fluctuation of Kerouac's writing ambition. In this way, the musical analogy enables Kerouac to construct a notion of time outside of the temporal constriction of conventional literature. His work is less poetic, non-linear, and dislocated. A phrase need not refer to the outside world, for it can now begin and end with reference only to its own rhythm- a truly poetic quality,

“ 'measured pauses which are the essentials of our speech'-'divisions of the sounds we hear'-'time and how to note it down' (William Carlos Williams).” So Kerouac's prose is measured with breath, and timing holds the key to its rendition. As he describes the process,

“Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-wrds, blowing (as per jazz musician) on subject of image”

On the Road is an attempt to solve the time/space problems Kerouac is troubled by, but his success is always qualified by what we might term psychoanalytic obstacles. However much he attempts to overrule the order of cause and effect, past and present, this aut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。