DOCSLIB.ORG

A Transnational Reading of Allen Ginsberg and the Soviet Estradny Movement

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Transnational Reading of Allen Ginsberg and the Soviet Estradny Movement Avant­Gardes at the Iron Curtain: A Transnational Reading of Allen Ginsberg and the Soviet Estradny Movement by Gregory M. Dandeles A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2017 Doctoral Committee: Professor John A. Whittier­Ferguson, Chair Associate Professor Julian Arnold Levinson Associate Professor Joshua L. Miller Associate Professor Benjamin B. Paloff Gregory M. Dandeles [email protected] ORCID iD: 0000­0003­4716­2210 © Gregory M. Dandeles 2017 i Table of Contents: List of Figures iii Abstract iv Introduction: Avant­Gardes at the Iron Curtain 1 Chapter I: Transnational Beatnik: Russia in Allen Ginsberg’s Early Poetry 19 Chapter II: Red Cats: Allen Ginsberg in Translation and Propaganda 35 Chapter III: Planet News in 1965: The Estradny Movement’s Impact on Ginsberg’s Poetry 69 Conclusion: Avant­Gardes After the Iron Curtain 114 Appendix 122 Bibliography 130 ii List of Figures Fig. 1. The caption of this Soviet­era propaganda says “Freedom, American Style.” 27 Fig. 2. This Khrushchev­era poster promises “Hybrid seeds are the key to high 47 corn yields!” Fig. 3. The cover of a Russian pamphlet of “Howl” (Вой) depicting the “Moloch” 50 figure Fig. 4. “The Moloch of Totalitarianism,” by Nina Galitskaya 51 Fig. 5. The cover of “Red Cats” painted by Lawrence Ferlinghetti 63 Fig. 6. Andrei Voznesensky, “Portrait of Allen Ginsberg,” hair and open cuffs, 1991 65 Fig. 7. Sheet music for “On Jessore Road,” published with the poem in Collected 109 Poems Fig. 8. Images of Ginsberg and Dylan, both wearing the same top hat; from the 110 liner notes of Bringing It All Back Home Fig. 9. The unpublished, Russian draft of “Angelic Black Holes” 115 Fig. 10. From Ginsberg’s March 22, 1965 journal Entry on first meeting with 122 Voznesensky Fig. 11. Yevgeny Yevtushenko’s “The Ohm­issar of American Poetry” (Омиссар 123 Американской Поэзии) translated by Greg Dandeles and Irina Zadnepryanaya in Chapter II Fig. 12 “Night I am Approaching the Throne,” written in Ginsberg’s journal as he 126 entered the USSR by train on March 18, 1965 Fig. 13. “Kremlin Museum Rock,” an early example of Ginsberg composing 127 spontaneous music intended to paint a portrait of his surroundings (in this case Moscow’s Red Square) Fig. 14. August 1961 issue of Foreign Literature, the first Soviet publication of an 129 Allen Ginsberg poem iii Abstract : “ Avant­Gardes at the Iron Curtain” uncovers how Ginsberg’s family connections to Russia, his interest in Russian Futurist and Estradny poetry, his travels to the Soviet Union and other Soviet Bloc countries in 1965, as well as his collaborations and friendships with Russian poets Andrei Voznesensky and Yevgeny Yevtushenko profoundly shaped his shift in the late sixties to a new style of aural composition and excursions into new genres and modes of performance. Because of his complex position between two cultures at war, Ginsberg is able to satirically critique both the American and the Soviet governments from a politically neutral yet activist transnational position . Chapter one of this dissertation claims that Ginsberg cultivates, in his early works, a Russian identity based on his family connections to Russia that simultaneous undermines American exceptionalism by drawing parallels between the two countries’ governments while, at the same time, he uses his own conflicted Russian and American identities to channel Whitman’s ideals of American pluralism and their potential restorative powers for American democracy. Chapter two explains how Russian translations of Ginsberg's most famous poems failed as Soviet propaganda while nevertheless succeeding in inspiring young Russian poets of the Estradny movement to introduce subtly dissident politics into official Soviet publications in the form of confessional poetry. This Estradny poetry, in turn, influenced Ginsberg after making its way back to America in the form of Red Cats , a collection of poems conceived of by Ginsberg and Lawrence Ferlinghetti in 1962. Chapter three argues that Ginsberg’s travels to the Soviet Union in 1965 led to major shifts in his approach to articulating politics in poetry, his method of poetic composition, and his commitment to poetry’s oral tradition and its potential role in popular culture. When we see Ginsberg’s post­1965 poetry in the global context of its inception, poems long thought by US critics to be inert are revealed to be politically and psychologically complex portraits of Vietnam­era Cold War America. Ginsberg’s understanding and often hagiographic appreciation of Estradny poetry’s power as a popular aural art form resulted in his incorporating his own version of their poetics into much of his post­1965 poetry, which transcends the political, cultural, and language barriers that divided the East and West in the 1960s. While language, cultural, and political divisions between the US and Russia have continued to prevent many critics from fully appreciating Ginsberg’s post­1965 shift towards aural composition and overt political intervention, my transnational reading claims that reading these poems in their appropriate global context can help us better understand their political exigence, complex historical origins, aural aesthetics, and their impact on popular American culture and music. This transnational study is intended to improve our understanding of some of Ginsberg’s most frequently undervalued works, but it is also an argument­by­example of the importance of reading across national and linguistic borders as a way of advancing our understanding of the cultures both inside and beyond those borders. iv Introduction: Avant­Gardes at the Iron Curtain I search for the language that is also yours­­ almost all our language has been taxed by war. ­­Allen Ginsberg, “Wichita Vortex Sutra” Allen Ginsberg said in a 1983 interview with Danish scholars Inger Thorup Lauridsen and Per Dalgard: “I am basically a Russian poet, put in an American scene” (28). This dissertation seeks to explore the implications of this statement by uncovering the Russian poetic and cultural influences that run through Ginsberg’s life and work and then tracing how that work, in turn, influenced the poetry and culture of both the United States and the Soviet Union. Ginsberg’s connections to Russia through his Russian­born mother, his interest in Russian Futurism, travels to the Soviet Union and other Soviet Bloc countries at the height of the Cold War, and his collaborations and friendships with Russian poets Andrei Voznesensky and Yevgeny Yevtushenko profoundly shaped his work in ways that have not yet been explored. Chapter one of this dissertation claims that Ginsberg cultivates, in his early works, a Russian identity based on his family connections to Russia that simultaneous undermines American exceptionalism by drawing parallels between the two countries’ governments while, at the same time, he uses his own conflicted Russian and American identities to channel Whitman’s ideals of American pluralism and their potential restorative powers for 1 American democracy. Chapter two examines how Russian translations of Allen Ginsberg's most famous poems failed as Soviet propaganda while succeeding in inspiring young Soviet poets of the Estradny (Эстрадный) movement to introduce subtly dissident politics into official Soviet publications in the form of confessional poetry. This Estradny poetry, in turn, influenced Ginsberg after making its way back to America in the form of Red Cats, a collection of poems conceived of by Ginsberg and Lawrence Ferlinghetti in 1962. Finally, chapter three examines how Ginsberg’s travels to the Soviet Union in 1965 led to major shifts in his approach to politics in poetry, his method of poetic composition, and his commitment to poetry’s oral tradition and potential role in popular culture. When you see the larger role Allen Ginsberg played in shaping the late 20th century Soviet literature, his poems, long thought to be inert in the US, are revealed to be politically and psychologically complex, while the Estradny poets these works inspired can be seen as far more sophisticated and subtly insurgent than Western critics have previously thought. Ginsberg’s own understanding and appreciation of Estradny poetry resulted in his incorporation of their poetics into much of his post­1965 poetry, which transcends the political, cultural, and language barriers that divided the East and West in the 1960s. While these divisions have continued to prevent critics from fully appreciating Ginsberg’s post­1965 shift towards aural composition and overt political intervention, this transnational reading seeks to explore how reading these poems in the global context in which they were written can help us better understand their political exigence, complex historical origins, aural aesthetics, and their impact on popular culture and music. In doing so, Beat scholars can reclaim the mantle of 2 “beatnik” from a term of opprobrium and Ginsberg’s poetry from the realm of pop culture pastiche. This transnational study is intended to improve our understanding of some of Ginsberg’s most frequently undervalued works, but it is also an argument­by­example of the importance of reading across national and linguistic borders as a way of advancing our understanding of the cultures both inside and beyond those borders and especially those on the other side of international conflicts. Transnational Readings of the Global Beat Movement
Load more

Recommended publications
  • Uncovering the Underground's Role in the Formation of Modern London, 1855-1945
    University of Kentucky UKnowledge Theses and Dissertations--History History 2016 Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945 Danielle K. Dodson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.339 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Dodson, Danielle K., "Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945" (2016). Theses and Dissertations--History. 40. https://uknowledge.uky.edu/history_etds/40 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • January 24,1885
    PORTT, A NT) DAILY PRESS. ESTABLISHED JUNE 23, 1862·—VOL, 22. PORTLAND, S\TURDAY MORNING, OCTOBER 4, 1884- SlfffiittffiSffil PRICE THREE CENTS. ————MB————___ ____________ WKCIAL NOTICES. ROOMS TO LET. THE PORTLAND DAILY PRESS, IN COLUMBUS. BCXTON AND ROLL». SERJEANT KELLY. the government in this case to show an act Cross Examination—Made no notée of what Published erery a*y (Snndayi excepted) by the whereby the State of Maine in its sovereign ownrr-Λ at the examination, bat this is what RENT—One famished front room. Shaw large PORTLAND Closing D>r Of Tfceir Vialh Annual capacity had ceded to the United States ex- I understood. FOR724 CONGRESS ST. octl-1 PUBLISHING COMPANY, and clusive over the after trial I heard a remark At 87 EIcbanOk Stkkbt, Poktlasd, Mb. Great Demonstrations in Mr. Fair. On Trial for the Alleged Man- jurisdiction territory in which Re direct—Soon TO Fort Popham is located. If this can be done about the testimony, bat I don't know that it BJE>ET. Blaine's Honor. The ninth annual cattle show and fair of slaughter of Frank Δ, Smith, tue question of jariidiction is settled. bad any influence in fixing the matter apon WEATHER IN DIPATIQNB. Mr. Lant «aid he did not wish at this mv mind. TTNFURNIShED room*at the St «ultan Hotel, the Bnxton and Hollis Agricultural Society is at point No. 19β Middle Street. Fort Popham. to discuss the question of jariediction. He Rev Frank Sewall, of Urbana, Ohio, testi- • thing of the The last pleasure seeker The Dining Boom will be thoroughly renorated Washington, Ôot.
    [Show full text]
  • H.D., Daughter of Helen: Mythology As Actuality
    University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 2009 H.D., Daughter of Helen: Mythology as Actuality Sheila Murnaghan University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classics Commons Recommended Citation (OVERRIDE) Murnaghan, Sheila. “H.D., Daughter of Helen: Mythology as Actuality,” in Gregory A. Staley, ed., American Women and Classical Myths, Waco: Baylor University Press, 2009: 63-84. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/84 For more information, please contact [email protected]. H.D., Daughter of Helen: Mythology as Actuality Abstract For H.D., classical mythology was an essential means of expression, first acquired in childhood and repossessed throughout her life. H.D.’s extensive output of poems, memoirs, and novels is marked by a pervasive Hellenism which evolved in response to the changing conditions of her life and art, but remained her constant idiom. She saw herself as reliving myth, and she used myth as a medium through which to order her own experience and to rethink inherited ideas. If myth served H.D. as a resource for self-understanding and artistic expression, H.D. herself has served subsequent poets, critics, and scholars as a model for the writer’s ability to reclaim myth, to create something new and personal out of ancient shared traditions. Disciplines Arts and Humanities | Classics This book chapter is available at ScholarlyCommons: https://repository.upenn.edu/classics_papers/84 Gregory A. Staley, editor, American Women and Classical Myths (Waco, Tex.: Baylor University Press, 2009) © Baylor University Press.
    [Show full text]
  • By Way of Old Petersburg: Desmond O'grady and Russian Poetry
    VTU Review: Studies in the Humanities and Social Sciences Volume 5 Issue 1 2021 “St. Cyril and St. Methodius” University of Veliko Tarnovo By Way of Old Petersburg: Desmond O’Grady and Russian Poetry Alla Kononova University of Tyumen The article takes on a direction which has great potential for further studies of contemporary Irish poetry: studying the work of Irish poets through their relation to Russian literature. It focuses on the reception and reimagining of Russian poetry in the work of Desmond O’Grady, one of the leading figures in Irish poetry, who started writing in the mid-1950s. The article studies three poems by O’Grady which are ad- dressed to his Russian counterparts: “Missing Andrei Voznesensky,” “Joseph Brodsky Visits Kinsale,” and “My City,” a translation from Anna Akhmatova’s “Poem without a Hero.” None of these poems has yet been subject of thorough critical analysis. Each of the poems has become a signpost on O’Grady’s poetic map and an important element of his own “private mythology.” When analysed in the wider context of Irish poetry, they help form a clearer picture of the influence Russian literature has had on contemporary Irish poets. Keywords: comparative literature, Irish literature, contemporary Irish poetry, Desmond O’Grady, Irish-Russian literary connections, Andrei Voznesensky, Joseph Brodsky, Anna Akhmatova. Desmond O’Grady (1935–2014) is one of the most remarkable figures in Irish poetry of the twentieth and twenty-first centuries. He is sometimes described as a phenomenon “unusual among Irish poets of his generation for both his interest in modernist experimentation and his immersion in the poetry of other cultures” (Mills).
    [Show full text]
  • Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique.
    [Show full text]
  • “Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (Guest Post)*
    “Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (guest post)* Allen Ginsberg, c. 1959 The Poem That Changed America It is hard nowadays to imagine a poem having the sort of impact that Allen Ginsberg’s “Howl” had after its publication in 1956. It was a seismic event on the landscape of Western culture, shaping the counterculture and influencing artists for generations to come. Even now, more than 60 years later, its opening line is perhaps the most recognizable in American literature: “I saw the best minds of my generation destroyed by madness…” Certainly, in the 20h century, only T.S. Eliot’s “The Waste Land” can rival Ginsberg’s masterpiece in terms of literary significance, and even then, it is less frequently imitated. If imitation is the highest form of flattery, then Allen Ginsberg must be the most revered writer since Hemingway. He was certainly the most recognizable poet on the planet until his death in 1997. His bushy black beard and shining bald head were frequently seen at protests, on posters, in newspapers, and on television, as he told anyone who would listen his views on poetry and politics. Alongside Jack Kerouac’s 1957 novel, “On the Road,” “Howl” helped launch the Beat Generation into the public consciousness. It was the first major post-WWII cultural movement in the United States and it later spawned the hippies of the 1960s, and influenced everyone from Bob Dylan to John Lennon. Later, Ginsberg and his Beat friends remained an influence on the punk and grunge movements, along with most other musical genres.
    [Show full text]
  • Poetry Magazine
    Poetry Magazine 2008- January Articles Made to Measure, The Red Sea Devotion: The Garment District Nocturnal, Divine Rights Devotion: The Burnt-Over District Stephen Edgar Bruce Smith callas lover, cruel, cruel summer The History of Mothers of Sons D.A. Powell Lisa Furmanski Man of War, Argonaut's Vow Pink Ocean Carol Frost Stuart Dybek The Solipsist The Taste of Silence Troy Jollimore Adam Kirsch Citation Responsibilities Joshua Mehigan Joanie V. Mackowski Repetition,The Late Worm, Clamor and Quiet Cut Out For It Ange Mlinko Kay Ryan Closing the Circle Getting Where We're Going Jhumpa Lahiri John Brehm A Night in Brooklyn The Dead Remember Brooklyn The Rain-Streaked Avenues of Central Queens D. Nurkse Moose Dreams, Dogwood William Johnson Biographer Samuel Menashe La Porte Rachel Webster There's Nothing More Wendy Videlock Poetry Magazine 2008- Feb. Articles Midsummer, Dawn Leaving Prague: A Notebook Louise Glück Alexei Tsvetkov bon bon il est un pays, Mort de A.D. Four Takes à elle l’acte calme, Ascension D. H. Tracy La Mouche, Arènes de Lutèce Samuel Beckett Letter to the Editor James Matthew Wilson Fowling Piece Heidy Steidlmayer Letter to the Editor Sean Lysaght An Old Woman’s Painting Letter to the Editor Jim Carmin Lynn Emanuel Letter to the Editor Michael Hudson Full Fathom Jorie Graham Letter to the Editor Robert Longoni J. Learns the Difference Between Letter to the Editor Adam Zagajewski Poverty and Having No Money Jeffrey Schultz Stemming from Stevens Lisa Williams Ladybirds Larissa Szporluk Rose Thorns Molly McQuade Kertész: Latrine,Ross: Children of the Ghetto,Ross: Yellow Star Doisneau: Underground Press Sudek: Tree Petersen: Kleichen and a Man Kolár: Housing Estate George Szirtes Sincerity and Its Discontents in American Poetry Now Peter Campion Poetry Magazine 2008- March Articles Nights on Planet Earth Campbell McGrath Letter to the Editor William Watt Containment, The Catch Letter to the Editor Michael A.E.
    [Show full text]
  • Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies At
    Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies at 101 An unapologetic proponent of “poetry as insurgent art,” he was also a publisher and the owner of the celebrated San Francisco bookstore City Lights. By Jesse McKinley Feb. 23, 2021 Lawrence Ferlinghetti, a poet, publisher and political iconoclast who inspired and nurtured generations of San Francisco artists and writers from City Lights, his famed bookstore, died on Monday at his home in San Francisco. He was 101. The cause was interstitial lung disease, his daughter, Julie Sasser, said. The spiritual godfather of the Beat movement, Mr. Ferlinghetti made his home base in the modest independent book haven now formally known as City Lights Booksellers & Publishers. A self-described “literary meeting place” founded in 1953 and located on the border of the city’s sometimes swank, sometimes seedy North Beach neighborhood, City Lights, on Columbus Avenue, soon became as much a part of the San Francisco scene as the Golden Gate Bridge or Fisherman’s Wharf. (The city’s board of supervisors designated it a historic landmark in 2001.) While older and not a practitioner of their freewheeling personal style, Mr. Ferlinghetti befriended, published and championed many of the major Beat poets, among them Allen Ginsberg, Gregory Corso and Michael McClure, who died in May. His connection to their work was exemplified — and cemented — in 1956 with his publication of Ginsberg’s most famous poem, the ribald and revolutionary “Howl,” an act that led to Mr. Ferlinghetti’s arrest on charges of “willfully and lewdly” printing “indecent writings.” In a significant First Amendment decision, he was acquitted, and “Howl” became one of the 20th century’s best-known poems.
    [Show full text]
  • Alicia Ostri Ker's Propaganda for Motherhood
    Laura Major Alicia Ostri ker's Propaganda for Motherhood In western culture, pregnancy and childbirth have been conceptualized, sometimes even by feminists, in ways that limit or deprive women of subjectivity. Since the 1960s a number ofAmerican womenpoets have been re-imagining motherhood, and more spec$callypregnan y and childbirth, in ways that challenge existing construc- tions of these experiences. Thispaper discusses one such challenge, which is atypical in its overtly rhetorical nature. Alicia Ostriker wrote "Propaganda Poem: Maybe for Some YoungMamasJ'inreaction to an incidentthat occurredin the 1970s when, after reading herpregnancypoem to agroup of women students who eyuated mothering to oppression, she was scorned. Her poem addresses these students and attempts to revise their conceptions of maternity andfeminism. Ostrikerpresents a model of the motherAnfantdyadthat opposes both the medicalmodelandthe Ijreminist"mode1held by Ostrikeri students. Ostriker explicitly explores the concept of lovefor an infant child, subtly infusing an element of sensuality into this relationship. Knowing that this description of love is insuflcient to convince her students, the poet climaxes her ')ropaganda" by reversing the girls' notions ofpower and resistance. Although the poet aims to convince, she is honest and thus writes the "Postscript To Propaganda," where she recognizes some of the physical and emotional hardships of motherhood. "Propaganda Poem" moves3om an idealizedpicture of motherhood, to a largely negative portrayal andFnally in part three, "What Actually,"to a more realist conclusion, where Ostriker attempts topresent her ideologicalpointof view, according to which, choice is the key word in re-imagining motherhood. In western culture, pregnancy and childbirth have been conceptualized, some- times even by feminists, in ways that limit or deprive women of subjectivity.
    [Show full text]
  • The Sixties Counterculture and Public Space, 1964--1967
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • One Nation: Power, Hope, Community
    one nation power hope community power hope community Ed Miliband has set out his vision of One Nation: a country where everyone has a stake, prosperity is fairly shared, and we make a common life together. A group of Labour MPs, elected in 2010 and after, describe what this politics of national renewal means to them. It begins in the everyday life of work, family and local place. It is about the importance of having a sense of belonging and community, and sharing power and responsibility with people. It means reforming the state and the market in order to rebuild the economy, share power hope community prosperity, and end the living standards crisis. And it means doing politics in a different way: bottom up not top down, organising not managing. A new generation is changing Labour to change the country. Edited by Owen Smith and Rachael Reeves Contributors: Shabana Mahmood Rushanara Ali Catherine McKinnell Kate Green Gloria De Piero Lilian Greenwood Steve Reed Tristram Hunt Rachel Reeves Dan Jarvis Owen Smith Edited by Owen Smith and Rachel Reeves 9 781909 831001 1 ONE NATION power hope community Edited by Owen Smith & Rachel Reeves London 2013 3 First published 2013 Collection © the editors 2013 Individual articles © the author The authors have asserted their rights under the Copyright, Design and Patents Act, 1998 to be identified as authors of this work. All rights reserved. Apart from fair dealing for the purpose of private study, research, criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, chemical, mechanical, optical, photocopying, recording or otherwise, without the prior permission of the copyright owner.
    [Show full text]
  • 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.
    [Show full text]