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tency, is described with passion. The sounds seem to express, yet barely contain, the power of the place: as the river water cascades over the long weir, traffic roars in the background. All this combined with the anthropomorphically cragged vista of the grotto itself creates a sense of almost unbearably powerful otherness, an origin in nature now frighteningly alien to the human soul.

Kerouac's realism in Big Sur may be summarised as the doomed ambition to structure impossible desire. The labour of the carefully constructed “Beat” pattern is present in the background, as a sort of displaced metaphor for the mental and physical effort of writing. Thus Kerouac's “Beat” takes the anti-mimetic definition of realism one step further- since writing does not have to relate to what it depicts, it will resist immediacy, but relate in specific and indirect ways to the author's private life. In many ways, Kerouac's enterprise resembles that of a visual artist at least as much as an aural or literary construction. Courbet's paintings, for example, www.51lunwen.org operate in a very similar way to Kerouac's works. They share this meta-symbolism, with particular interest in representing origins as water, or indeed as female genitalia- and also aspire to an impossible merging with lost roots. In Courbet's art the impossible merger is one of body and work; for Kerouac it is the artifice of language and the unruly inevitability of the natural- taking him as close as anything ever can to his father. An erotics of the word and image is then inevitable, and Kerouac finds one fully-formulated and ready to use, in Freudian psychoanalysis.

While studies on Courbet resituate sexual difference within the (male) painter-beholder, rather than between him and his representations, Jack Kerouac does something subtly different. Through its emphasis on the writing/experiencing incommensurability, Kerouac resituates sexual difference within the (male) writer/reader rather than between the artist and their work. The authorial voice is only ostensibly the source of psychoanalytic narrative- in fact the same narrative can be sourced through theoretical channels (backwards “into the page”) to the writer, and, if we believe him, to the reader too.

“ It grew exceedingly hot and strange…We were going though swamps and alongside the road at ragged intervals strange Mexicans in tattered rags walked along with machetes hanging from their rope belts, and some of them cut at the bushes. They all stopped to watch us without expression. Through the tangled bush we occasionally saw thatched huts with African-like bamboo walls, just stick huts. Strange young girls, dark as the moon, stared from mysterious verdant doorways,”

Psychoanalysis corroborates Kerouac's general preoccupation with the fantasy of origination, in the case of Big Sur, the origination as personified in the figure of the father. In this imagery from On the Road, the dark girls are linked to the moon, loaded words like “thatch” and “bush” are always used alongside “machetes” and eery expressionlessness. Reading Kerouac like a goya painting or a poem, we can easily recognise the guilty violence involved. Kerouac's unedited unconsciousness reveals his sense of alienation, as the girls who are so strange are 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。