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crimination, segregation in public places, persecution, and even lynching. For any white man, to relate to such black experience could be difficult.

But sympathy, the core of a troubadour, was carried on by Dylan when he transformed it into what Kimberly Davis would call “cross-racial empathy” towards black people, the new group in need of identification and support in the 1960s. Although  Norman  Mailer  and  Jack  Kerouac  both  previously  identified  with blackness in their works, theirs wore a mask of imperialist nature. Instead, Dylan managed from 1962 to 1963 to stand in the shoes of black people and protest on their behalf, against the unjust and dehumanizing treatment by the prominent WASP society.

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Chapter 3 Beat Ethos of Mobility (1964-1966) .................... 39

3.1  Kerouac’s Old Road and Influence ............................. 39

3.1  Dylan’s Appropriation of Beat Ethos of Mobility ........................ 41

3.2  The Flaws of Beat Ethos of Mobility ........................ 40

Chapter 4 Transcendentalism and Emersonian Individualism .................... 52

4.1  Locating A“ Representative Writer” .............................. 53

4.2  The Notion of Mobility in “Circle” ......................... 54

4.3  Nonconformity in “Self-Reliance” ............................ 55

Conclusion: A Hero’s Journey in the 1960s ...................... 58

Chapter 4 Transcendentalism and Emersonian Individualism

4.1  Locating A“ Representative Writer”

Since this chapter deals with an intellectual ethos in the works of art, it is necessary  to  inspect  first  what  art  should  be  for  Emerson.  Advocating  an individualistic principle for the creation of art, Emersonian aesthetics is expressed no better than in his essay “Art,” where Emerson envisions the ideal art to be ever-evolving,  unbound,  socially-conscientious,  and  universally  understood. Emerson elucidates these features of true art one by one. 

Firstly, true art enjoys a fluidity like that of water, which can fundamentally be attributed to the fluidity of human psyche: “the soul is progressive, it never quite repeats itself, but in every act attempts the production of a new and fairer whole” (Emerson, 1950, p.305). Dylan’s work in the 1960s, as monitored in the previous  chapters,  transformed  itself  frequently  in  different  periods,  which enjoyed a sense of artistic fluidity in terms of themes and styles.

Secondly,  Emerson  highlights  on  the  significance  of  originality  and improvisation in artistic creation, where the artist “must not be in any manner pinched or hindered by his material” (Ibid, p.310). In an optimal scenario for the creation of art, the artist would frequently be struck by the inspirations spout one after  another,  and  “with  each  moment  he  alters  the  whole  air,  attitude,  and expression of his clay” (Ibid, p.309). 

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