338 research outputs found
Tropical ginsberg: the resonance of Allen Ginsberg on the Tropicália
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Through a dialogical relation between poems and song lyrics, and the socio-political contexts which surrounded these texts, this research discusses the resonance that North American poet, Allen Ginsberg, had over the Brazilian musical movement, the Tropicália. The corpora are the poems "Howl" (1956), "America" (1956), "Supermarket in California" (1955), "Sunflower Sutra" (1955), "Song" (1954), and "Wild Orphan" (1952), written by Allen Ginsberg, and the songs "Batmacumba" (1968), composed by Caetano Veloso, and Gilberto Gil, "Baby" (1968), composed by Caetano Veloso, "Geléia Geral" (1968), composed by Gilberto Gil and Torquato Neto, "Alegria, Alegria" (1967), composed by Caetano Veloso, and "Domingo no Parque" (1967), composed by Gilberto Gil. The main theoretical and critical parameters of this research include: Mikhail Bakhtin and his reflections on intertextuality; James J. Farrell, who believes that the American counterculture began with the Beats; Claudio Willer, who stresses the importance of Allen Ginsberg to the Beat movement, as well as to the birth of the American counterculture; Christopher Dunn, who emphasizes the historical, social, and political relevance of the Tropicália; and Celso Favaretto, who discusses in depth the complexity of most of the Tropicália songs. Based on such parameters, this research suggests that the life and work of Allen Ginsberg had great resonance over the creation of the Tropicália.Através de uma relação dialógica entre poesia e letras de música e o contexto sócio-político que circundava tais textos, este estudo discute a ressonância que o poeta Norte Americano, Allen Ginsberg, teve sobre o movimento musical Brasileiro, a Tropicália. A corpora são os poemas "Howl" (1956), "America" (1956), "Supermarket in California" (1955), "Sunflower Sutra" (1955), "Song" (1954), e "Wild Orphan" (1952), escritos por Allen Ginsberg, e as músicas "Batmacumba" (1968), composta por Caetano Veloso, e Gilberto Gil, "Baby" (1968), composta por Caetano Veloso, "Geléia Geral" (1968), composta por Gilberto Gil e Torquato Neto, "Alegria, Alegria" (1967), composta por Caetano Veloso, e "Domingo no Parque" (1967), composta por Gilberto Gil. Os principais parâmetros teóricos e críticos desta pesquisa incluem: Mikhail Bakhtin e suas reflexões sobre intertextualidade; James J. Farrell, que acredita que a contracultura Americana começou com os Beats; também em Claudio Willer, que salienta a importância de Allen Ginsberg no movimento Beat e no nascimento da contracultura Americana; Christopher Dunn, que enfatiza a relevância histórica, social e política da Tropicália; e Celso Favaretto, que discute em profundidade a complexidade da grande maioria das músicas da Tropicália. Baseando-se em tais parâmetros identificados, esta dissertação sugere que a vida e obra de Allen Ginsberg tiveram grande ressonância sobre a criação da Tropicália
Candor and Apocalypse in Allen Ginsberg's Howl
No full textWhy is Howl such a different poem? Why did it arouse such discussion on its publication? Why do we still read it today? The aim of this essay is to pinpoint the quality of the poem, dealing primarily with its prosody as well as the candor of the author. The conclusion is that Howl has qualities which, without regard to personal taste, are appealing, and thus lasting
Can\u27t You Hear the Wind Howl. Slipcase,
No full textVHS. Can\u27t You Hear the Wind Howl? is a documentary on the legendary bluesman Robert Johnson. The screenplay was written by John Compton and Peter Meyer and was produced and directed by Meyer. Danny Glover hosts the documentary and Keb Mo plays Robert Johnson.https://egrove.olemiss.edu/ms_matinee/1141/thumbnail.jp
Deconstructing "Howl": The Literary Roots of Allen Ginsberg's Masterpiece
No full textQuesta tesi esplora il lavoro di Allen Ginsberg, concentrandosi in particolare sulla sua opera più celebre, "Howl", diventata emblema della Beat Generation. Questo movimento, guidato da figure come Jack Kerouac, Allen Ginsberg e William S. Burroughs, si proponeva di rompere con le convenzioni sociali e culturali, promuovendo la spontaneità e la libertà individuale. Nonostante la loro apparente ribellione contro le norme letterarie tradizionali, la tesi dimostra come le radici dei Beats, ed in particolare quelle di Allen Ginsberg, siano profondamente immerse in una ricca tradizione letteraria e filosofica che ha preparato il terreno per la loro espressione artistica. L'autore ha infatti attraversato un percorso trasformativo ispirato da vari autori, come William Blake, William Carlos Williams, Walt Whitman e Jack Kerouac, che hanno plasmato il suo stile nel corso della sua carriera. Inoltre, la sua identità spirituale, così come la cultura e il contesto storico in cui Ginsberg è inserito, sono cruciali per comprendere la sua poetica. "Howl" non solo è l'opera che ha portato Ginsberg al successo, ma rappresenta anche il raggiungimento della maturità di questo sviluppo letterario. Attraverso un'analisi dettagliata di "Howl" e di alcune delle opere più significative dell'autore, la tesi cerca di comprendere come queste influenze abbiano contribuito a modellare la sua innovativa voce letteraria.
This thesis explores the work of Allen Ginsberg, particularly focusing on his most famous work, "Howl," which became an emblem of the Beat Generation. This movement, led by figures like Jack Kerouac, Allen Ginsberg and William S. Burroughs, aimed to break with social and cultural conventions, promoting spontaneity and individual freedom. Despite their apparent rebellion against traditional literary norms, the thesis demonstrates how the roots of the Beats, especially those of Allen Ginsberg, are deeply embedded in a rich literary and philosophical tradition that set the stage for their artistic expression. The author underwent a transformative journey influenced by various writers such as William Blake, William Carlos Williams, Walt Whitman and jack Kerouac, who shaped his style throughout his career. Additionally, understanding Ginsberg's spiritual identity and the contemporary culture and historical context he inhabited is crucial to figure his poetry out. "Howl" not only brought Ginsberg success but also represents the maturity of his literary development. Through a detailed analysis of "Howl" and some of the author's most significant works, the thesis seeks to understand how these influences contributed to shaping his innovative literary voice
Author Under Sail The Imagination of Jack London, 1902-1907
No full textIn this second volume of Author Under Sail Jay Williams investigates the life of Jack London as a professional writer at the turn of the 1900s, as his publications spanned The Call of the Wild to The Iron Heel and The Road. While documenting key life events, especially his rising fame, this biography explores London's necessity to illustrate the inner workings of his own vast imagination through his socialist essays and fiction.Cover -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Introduction -- 1. Howl, O Heav'nly Muse! -- 2. Jesus in the Theater of Socialism -- 3. Jack London's Place in American Literature -- 4. Theater of War, Theater at Home -- 5. Revolution, Evolution, and the Scene of Writing -- 6. The Jack London Show Goes on the Road -- 7. Red Atavisms and Revolution -- 8. Earthquake Apocalypse and Building the City, Boat, and House Beautiful -- 9. The Future of Socialism and the Death of the Individual -- 10. The Road Never Ends -- Notes -- Bibliography -- IndexIn this second volume of Author Under Sail Jay Williams investigates the life of Jack London as a professional writer at the turn of the 1900s, as his publications spanned The Call of the Wild to The Iron Heel and The Road. While documenting key life events, especially his rising fame, this biography explores London's necessity to illustrate the inner workings of his own vast imagination through his socialist essays and fiction.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
The visceral screen: Between the cinemas of John Cassavetes and David Cronenberg, a Barthesian perspective
No full textThe thesis discusses two directors who are never considered together in academic discourse. Cassavetes’ perceived focus on events led by the dynamics of performance and his looseness of technique opposes the calculated compositions of the Cronenberg film, with its aesthetic of horrific images and its gallery of emotionally detached protagonists. Yet it is between such opposing methods of cinematic expression that the ineffable qualities of film aesthetics can be discovered. Cassavetes’ cinema achieves this by revelling in a surplus of activity that exceeds narrative, while the indescribable characteristics of the Cronenberg oeuvre is achieved through a systematic emptying of the image’s meaning through a simultaneous commitment to paring back emotion and portraying of images that are controversial and inconceivable. Taken together, the thesis identifies these aspects of film as ‘the visceral,’ a facet of the moving image that most certainly exists, but is resolutely, and disturbingly resistant to interpretation.
Roland Barthes’ writings are integral to a theory of the visceral. His re-evaluation of Saussurean semiology as a method of analyzing and undoing ideologically-imposed meanings informs readings of sequences from Cassavetes and Cronenberg’s films. Following Barthes, the thesis suggests that the existence of the visceral is realized as a resistance to ideological interpretations of the image, and so cannot be described. Ultimately, the inability of semiology to fully grasp certain aspects of the filmed image is put forward as a rejoinder to theories of the fiction film as principally a narrative medium
Dynamical response of Bose-Einstein condensates to oscillating gravitational fields
No full text© 2018 The Author(s). Published by IOP Publishing Ltd on behalf of Deutsche Physikalische Gesellschaft. A description of the dynamical response of uniformly trapped Bose-Einstein condensates (BECs) to oscillating external gravitational fields is developed, with the inclusion of damping. Two different effects that can lead to the creation of phonons in the BEC are identified; direct driving and parametric driving. Additionally, the oscillating gravitational field couples phonon modes, which can lead to the transition of excitations between modes. The special case of the gravitational field of a small, oscillating sphere located closely to the BEC is considered. It is shown that measurement of the effects may be possible for oscillating source masses down to the milligram scale, with a signal to noise ratio of the order of 10. To this end, noise terms and variations of experimental parameters are discussed and generic experimental parameters are given for specific atom species. The results of this article suggest the utility of BECs as sensors for the gravitational field of very small oscillating objects which may help pave the way towards gravity experiments with masses in the quantum regime
Ginsberg’s Animating Typewriter : Mixing Senses and Media in <em>Howl</em> (2010)<em></em>
No full textEpstein and Friedman’s 2010 movie Howl is partly a portrait of Allen Ginsberg, author of the poem ‘Howl’, and partly a documentary about the 1957 obscenity trial against his publisher Lawrence Ferlinghetti. The film thus follows the ‘biopic’ trend of the last decades, where authors and their work are made the subject of feature films (Finding Neverland, Becoming Jane, Capote, Bright Star, etc.). This particular case, however, is more complicated and perhaps more demanding than the conventional biopic, because the movie also adapts Ginsberg’s Howl from poetry to animation film. Consequently, the beat poem exists in several medial forms in the film: it is represented through poetry reading as performance; it is read aloud as evidence in court; it is shown as written text; and, finally, it is transformed into the visual animation work of artist Eric Drooker. This article demonstrates how complex media relations in cinema, in this caseHowl, can be discussed using perspectives developed in intermedial theory. By way of a formal and sensorial analysis of selected scenes the article also discusses the views on the artist and artistic creation constructed in the film, in order to reframe the formal analysis as an ideological interpretation.</p
- …
