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„As Always the Lunch Is Naked‟ Jack Kerouac‟S
Universiteit Gent Academiejaar 2006-2007 „AS ALWAYS THE LUNCH IS NAKED‟ FORMAL EXPERIMENTS OF THE BEAT GENERATION FOCUSSING ON JACK KEROUAC‟S SPONTANEOUS PROSE AND WILLIAM BURROUGHS‟S CUT-UPS Promotor: Gert Buelens Verhandeling voorgelegd aan de faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad licenciaat in de taal- en letterkunde: Germaanse Talen door Lien De Coster 2 ACKNOWLEDGEMENTS I‟d like to thank Gert Buelens, my promoter, Ishrat Lindblad, Olga Putilina, and Rickey Mantley for their revisions, useful comments, enthusiasm and interest. 3 DEDICATION Last year, when I lived in Sweden, I caught a lung inflammation after I went swimming in the ice. One day during my long recovery, a friend of mine brought me a book. It was The Dharma Bums by Jack Kerouac. When I finally got better we talked about it, and for the first time I heard about the Beats. Back then my friend had a hard time defining who they were and my understanding did not come that evening – it came gradually through frequenting Wirströms, the wonderful jazz bar where the musicians made „IT‟ happen every week during the Tuesday jam session, through a lot of walking and talking in the everchanging everlasting woods, through travelling by myself, with my backpack as my only companion. Gradually it came - till the day the friend who had given me the book sent me a letter. When I read it, I knew I understood; 4 Monday, March 6, 2006, 4:53 AM last night i meet a old man(60 i think) spanish man in that party where i invite you... -
Duncan's American Radio, Inc. May 1985
AMERICAN RADIO WINTER 1985 SUPPLEMENT Compiled and edited by: JAMES H. DUNCAN, JR. DUNCAN'S AMERICAN RADIO, INC. BOX 2966 KALAMAZOO, MI 49003 MAY 1985 www.americanradiohistory.com r. 4 S w+ nrY 1N to# r' . A. ti W -. A2.0 r`ila °`.' 4 t. zex w 2.44r v 3!r 7é R i A.' _ J r h. .? x'4 744- k fkr. Yj *ADA `rÿ ; . M `fi- dl,_, -'4 k e YA } i T www.americanradiohistory.com INTRODUCTION This is the fourth Winter Supplement to American Radio. Data was gathered from the Winter 1985 Arbitron sweeps (January 3 - March 27,1985). The next edition of American Radio will be issued in early August. It will be the "Spring 85" edition and it will cover approximately 170 markets. ALL ARBITRON AUDIENCE ESTIMATES ARE COPYRIGHTED (1985) BY THE ARBITRON RATINGS COMPANY AND MAY NOT BE QUOTED OR REPRODUCED WITHOUT THEIR PERMISSION. Copyright © 1985 by James Duncan, Jr. This book may not be reproduced in whole or part by mimeograph or any other means without permission. PRINTED IN THE UNITED STATES OF AMERICA Address correspondence to : JAMES H. DUNCAN, JR. DUNCAN'S AMERICAN RADIO, INC. BOX 2966 KALAMAZOO, MI 49003 (616) 342 -1356 INDEX ARBITRON INDIVIDUAL MARKET REPORTS (in alphabetical order) Baltimore Houston Philadelphia San Diego Boston Kansas City Phoenix San Francisco Chicago Los Angeles Pittsburgh San Jose Cleveland Louisville Portland, OR Seattle Dallas -FT. Worth Miami Sacramento Tampa -St. Pete Denver New York St. Louis Washington Detroit www.americanradiohistory.com BALTIMORE Arbitron Rank /Pop (12 +): 16/1,911,300 Stations: 40/25 Est. -
Young Howard the Making of a Male Lesbian a Novel by T.L. Winslow (C) Copyright 2000 by T.L. Winslow. All Rights Reserved. This
C:\younghoward\younghoward.txt Friday, June 07, 2013 2:30 PM Young Howard The Making Of A Male Lesbian A Novel by T.L. Winslow (C) Copyright 2000 by T.L. Winslow. All Rights Reserved. This novel is a work of fiction. Names, characters, places, and incidents either are the products of the author's imagination or are used fictitiously, and any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. -1- C:\younghoward\younghoward.txt Friday, June 07, 2013 2:30 PM PREFACE This is my secret autobiography of my childhood. I keep it in encrypted form on my personal computer where only I can get at it. My password is pAtTypUkE. I don't want it to be published or known while I'm alive, but kept only for my private masturbation fantasies. I will supply the password to it in my will, with instructions to my lawyer to release it fifty years after my death. In case anybody cracks it, beware of the curse of Tutankhamen and respect its privacy. In the extremely unlikely event that somebody does crack it and publish it, I'm warning you: at least have the human decency to obliterate my name and label it as fiction. I make millions a year and can hire detectives and sue your ass off can't I? Labelled as fiction about a fictional character, I have plausible deniability and so do you. Humor me, okay? Note from the Editor. This document was indeed hacked and then mutilated as it circulated furiously around the Howard fan sites on the Web, with many Billy Shakespeares making anonymous additions. -
The Impact of Allen Ginsberg's Howl on American Counterculture
CORE Metadata, citation and similar papers at core.ac.uk Provided by Croatian Digital Thesis Repository UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Vlatka Makovec The Impact of Allen Ginsberg’s Howl on American Counterculture Representatives: Bob Dylan and Patti Smith Submitted in partial fulfillment of the requirement for the M.A.in English Language and Literature and Italian language and literature at the University of Rijeka Supervisor: Sintija Čuljat, PhD Co-supervisor: Carlo Martinez, PhD Rijeka, July 2017 ABSTRACT This thesis sets out to explore the influence exerted by Allen Ginsberg’s poem Howl on the poetics of Bob Dylan and Patti Smith. In particular, it will elaborate how some elements of Howl, be it the form or the theme, can be found in lyrics of Bob Dylan’s and Patti Smith’s songs. Along with Jack Kerouac’s On the Road and William Seward Burroughs’ Naked Lunch, Ginsberg’s poem is considered as one of the seminal texts of the Beat generation. Their works exemplify the same traits, such as the rejection of the standard narrative values and materialism, explicit descriptions of the human condition, the pursuit of happiness and peace through the use of drugs, sexual liberation and the study of Eastern religions. All the aforementioned works were clearly ahead of their time which got them labeled as inappropriate. Moreover, after their publications, Naked Lunch and Howl had to stand trials because they were deemed obscene. Like most of the works written by the beat writers, with its descriptions Howl was pushing the boundaries of freedom of expression and paved the path to its successors who continued to explore the themes elaborated in Howl. -
Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations. -
Merton and the Beats Angus Stuart
5 Merton and the Beats Angus Stuart "I am a monk, therefore by definition, as I understand it, the chief friend of beats ... " 1 Thomas Merton said he was a friend of the beats because he was a monk, and as a monk, he of all people should be a friend of the beats, indeed "the chief friend of beats." Yet not all monks by any means necessarily fi t the description "beatnik, peacenik, Trappist Buddhist monk" as his friend Edward Rice dubbed him;2 not all monks could be referred to as "Jack Kerouac's monastic elder brother;"3 not all monks were "beat" in the way Merton was- he clearly had an affinity with the beats even though he had little or no direct contact with them-and his "beatness" is evident at many places in the originality of his writing, showing himself atypical as both a monk and a Catholic. The phrase "beat generation" originated with Jack Kerouac in conversation with friend and aspiring author John Clellon Holmes in 1948.4 They were discussing their own generation of writers in comparison to the previous literary generation of Fitzgerald, Hemingway and others in the 1920s who had become known as the "lost generation." Kerouac picked up on the word "beat" as used by the hipsters, hustlers and street people of Times Square and elsewhere in New York in the 1940s. The word meant not simply tired or worn out but conveyed a sense of being defeated by life; being on the underside of society; no longer belonging or fitting in; living from hand-to-mouth, from day-to-day; a sense of urban subsistence, having to live by one's wits; of being poor. -
COVER Feature
COVER FE ATURE 90 PROVINCETOWN ARTS 2016 Over the Years, Listening and Talking, with Marie Howe By Richard McCann About the writing of the poem, she says: Don’t hold back. She says: Write into things. Shine a light into the underlit places. About the writing of the poem, she says: The hard part is getting past the blah blah blah. Past the I think I think I think. Once, one New Year’s Eve in Provincetown, Heidegger, she says. Vorhanden. Objectively pres- maybe in the late 1990s, a bunch of us were back- ent. Present-at-hand. ing back home down Commercial Street in the Over the years, we have made an unintended snow. Mark Doty. Tony Hoagland. Maybe Nick habit of talking about poetry by talking about Flynn. Marie. And me. The snow had started to that snow. fall while we were huddled in a restaurant, laugh- She says: The things of the world don’t need ing and talking. As soon as we stepped out, we our language. Not in order to become more than could feel the winds pick up. The snowstorm was what they already are. turning into a blizzard. I’ve never had a mentor, not as a writer, except We had to link our arms, just so we could make maybe for Tillie Olsen, who used to tell me stories it down the street. from her life. Walking back one night from a lec- Then Tony called out, I know how each of you ture about the stages of grieving, for instance, not would write about this snow. -
An American in Paris, a Parsi in Athens
ARTEMIS LEONTIS An American in Paris, a Parsi in Athens THHEE DEELPHICLPHIC FEESTIVALSSTIVALS OOFF 1927 and 1930 are among complexity, richness, and ambivalence of her activities. A the most comprehensive efforts in Greece to bring the clue to a more complex order of things can be found in an- Greek past to life for a modern international audience.1 other photograph, taken just two years earlier, showing Eva The revivals of Greek drama, arts and crafts, and athletic and Angelos Sikelianos at Epidaurus with an English tourist competitions at Delphi exemplify the idea that Greeks and two very different figures (fig. 2).4 They are Khorshed have a common cultural origin reaching back to antiquity Naoroji (1894-1966) and her brother. Khorshed is wearing and echoing in the present, and that they are uniquely a simple white tunic while her brother is dressed in a Euro- positioned to reanimate it. Photographed in 1927 among pean suit. From their colouring and features one recognizes the ruins of Delphi (fig. 1),2 Eva Palmer Sikelianos (1874- that they come from the Indian subcontinent. Khorshed’s 1952) producer of the Festivals, epitomizes that idea. traditional dress places her within time and space. It is in Daughter of the eminent New York lawyer Courtlandt harmony with the image she projects as a woman at home Palmer and an heir to the Palmer family’s immense real es- in her Indianness. A little information about her sets her tate fortune,3 she has just spent her inheritance on the Fes- image in motion. A Parsi woman from Bombay, she is the tival. -
Stations Monitored
Stations Monitored 10/01/2019 Format Call Letters Market Station Name Adult Contemporary WHBC-FM AKRON, OH MIX 94.1 Adult Contemporary WKDD-FM AKRON, OH 98.1 WKDD Adult Contemporary WRVE-FM ALBANY-SCHENECTADY-TROY, NY 99.5 THE RIVER Adult Contemporary WYJB-FM ALBANY-SCHENECTADY-TROY, NY B95.5 Adult Contemporary KDRF-FM ALBUQUERQUE, NM 103.3 eD FM Adult Contemporary KMGA-FM ALBUQUERQUE, NM 99.5 MAGIC FM Adult Contemporary KPEK-FM ALBUQUERQUE, NM 100.3 THE PEAK Adult Contemporary WLEV-FM ALLENTOWN-BETHLEHEM, PA 100.7 WLEV Adult Contemporary KMVN-FM ANCHORAGE, AK MOViN 105.7 Adult Contemporary KMXS-FM ANCHORAGE, AK MIX 103.1 Adult Contemporary WOXL-FS ASHEVILLE, NC MIX 96.5 Adult Contemporary WSB-FM ATLANTA, GA B98.5 Adult Contemporary WSTR-FM ATLANTA, GA STAR 94.1 Adult Contemporary WFPG-FM ATLANTIC CITY-CAPE MAY, NJ LITE ROCK 96.9 Adult Contemporary WSJO-FM ATLANTIC CITY-CAPE MAY, NJ SOJO 104.9 Adult Contemporary KAMX-FM AUSTIN, TX MIX 94.7 Adult Contemporary KBPA-FM AUSTIN, TX 103.5 BOB FM Adult Contemporary KKMJ-FM AUSTIN, TX MAJIC 95.5 Adult Contemporary WLIF-FM BALTIMORE, MD TODAY'S 101.9 Adult Contemporary WQSR-FM BALTIMORE, MD 102.7 JACK FM Adult Contemporary WWMX-FM BALTIMORE, MD MIX 106.5 Adult Contemporary KRVE-FM BATON ROUGE, LA 96.1 THE RIVER Adult Contemporary WMJY-FS BILOXI-GULFPORT-PASCAGOULA, MS MAGIC 93.7 Adult Contemporary WMJJ-FM BIRMINGHAM, AL MAGIC 96 Adult Contemporary KCIX-FM BOISE, ID MIX 106 Adult Contemporary KXLT-FM BOISE, ID LITE 107.9 Adult Contemporary WMJX-FM BOSTON, MA MAGIC 106.7 Adult Contemporary WWBX-FM -
Ancient Dramatic Chorus Through the Eyes of a Modern Choreographer
Ancient Dramatic Chorus through the Eyes of a Modern Choreographer Ancient Dramatic Chorus through the Eyes of a Modern Choreographer: Zouzou Nikoloudi By Katia Savrami Ancient Dramatic Chorus through the Eyes of a Modern Choreographer: Zouzou Nikoloudi By Katia Savrami This book first published in English, 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Katia Savrami All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9946-1 ISBN (13): 978-1-4438-9946-8 Translated from the original version in Greek by Menelaos Karantzas, published by DIAN, in 2014, Athens-Greece, CONTENTS Preface ....................................................................................................... vii Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Part One Chapter One ................................................................................................. 8 Influences: Koula Pratsika and Eva Palmer-Sikelianos Chapter Two ............................................................................................. -
F O U N D E D 1 8 6 0 Cover19-20.Qxp 1 8/16/19 2:39 PM Page 1
Cover19-20.qxp_1 8/16/19 2:39 PM Page 1 Bard FOUNDED 1 8 6 0 2019–20 Cover19-20.qxp_1 8/16/19 2:39 PM Page 3 Bard College Catalogue 2019–20 The first order of business in college is to figure out your place in the world and in your life and career. College life starts with introspection, as opposed to a public, collective impetus. We try to urge students to think about their place in the world and to develop a desire to participate from inside themselves. —Leon Botstein, President, Bard College The Bard College Catalogue is published by the Bard Publications Office. Cover: The Richard B. Fisher Center for the Perfoming Arts at Bard College Back cover: The Gabrielle H. Reem and Herbert J. Kayden Center for Science and Computation Photos: Peter Aaron ’68/Esto Bard College PO Box 5000 Annandale-on-Hudson, NY 12504-5000 Phone: 845-758-6822 Website: bard.edu Email: [email protected] CONTENTS Mission 1 Division of Social Studies 155 Anthropology 156 History of Bard 2 Economics 163 Economics and Finance 169 Learning at Bard 18 Historical Studies 170 Curriculum 19 Philosophy 185 Academic Programs and Political Studies 193 Concentrations 24 Religion 202 Academic Requirements and Sociology 208 Regulations 26 Specialized Degree Programs 30 Interdivisional Programs and Concentrations 213 Admission 32 Africana Studies 213 American Studies 214 Academic Calendar 35 Asian Studies 215 Classical Studies 216 Division of the Arts 37 Environmental and Urban Studies 217 Art History and Visual Culture 37 Experimental Humanities 222 Dance 47 French Studies 223 -
U. S. Radio Stations As of June 30, 1922 the Following List of U. S. Radio
U. S. Radio Stations as of June 30, 1922 The following list of U. S. radio stations was taken from the official Department of Commerce publication of June, 1922. Stations generally operated on 360 meters (833 kHz) at this time. Thanks to Barry Mishkind for supplying the original document. Call City State Licensee KDKA East Pittsburgh PA Westinghouse Electric & Manufacturing Co. KDN San Francisco CA Leo J. Meyberg Co. KDPT San Diego CA Southern Electrical Co. KDYL Salt Lake City UT Telegram Publishing Co. KDYM San Diego CA Savoy Theater KDYN Redwood City CA Great Western Radio Corp. KDYO San Diego CA Carlson & Simpson KDYQ Portland OR Oregon Institute of Technology KDYR Pasadena CA Pasadena Star-News Publishing Co. KDYS Great Falls MT The Tribune KDYU Klamath Falls OR Herald Publishing Co. KDYV Salt Lake City UT Cope & Cornwell Co. KDYW Phoenix AZ Smith Hughes & Co. KDYX Honolulu HI Star Bulletin KDYY Denver CO Rocky Mountain Radio Corp. KDZA Tucson AZ Arizona Daily Star KDZB Bakersfield CA Frank E. Siefert KDZD Los Angeles CA W. R. Mitchell KDZE Seattle WA The Rhodes Co. KDZF Los Angeles CA Automobile Club of Southern California KDZG San Francisco CA Cyrus Peirce & Co. KDZH Fresno CA Fresno Evening Herald KDZI Wenatchee WA Electric Supply Co. KDZJ Eugene OR Excelsior Radio Co. KDZK Reno NV Nevada Machinery & Electric Co. KDZL Ogden UT Rocky Mountain Radio Corp. KDZM Centralia WA E. A. Hollingworth KDZP Los Angeles CA Newbery Electric Corp. KDZQ Denver CO Motor Generator Co. KDZR Bellingham WA Bellingham Publishing Co. KDZW San Francisco CA Claude W.