The White Negro
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Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance. -
Norman Mailer
Norman Mailer: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Mailer, Norman Title: Norman Mailer Papers Dates: 1919-2005 Extent: 957 document boxes, 44 oversize boxes, 47 galley files (gf), 14 note card boxes, 1 oversize file drawer (osf) (420 linear feet) Abstract: Handwritten and typed manuscripts, galley proofs, screenplays, correspondence, research materials and notes, legal, business, and financial records, photographs, audio and video recordings, books, magazines, clippings, scrapbooks, electronic records, drawings, and awards document the life, work, and family of Norman Mailer from the early 1900s to 2005. Call Number: Manuscript Collection MS-2643 Language: English Access: Open for research with the exception of some restricted materials. Current financial records and records of active telephone numbers and email addresses for Mailer's children and his wife Norris Church Mailer remain closed. Social Security numbers, medical records, and educational records for all living individuals are also restricted. When possible, documents containing restricted information have been replaced with redacted photocopies. Administrative Information Provenance Early in his career, Mailer typed his own works and handled his correspondence with the help of his sister, Barbara. After the publication of The Deer Park in 1955, he began to rely on hired typists and secretaries to assist with his growing output of works and letters. Among the women who worked for Mailer over the years, Anne Barry, Madeline Belkin, Suzanne Nye, Sandra Charlebois Smith, Carolyn Mason, and Molly Cook particularly influenced the organization and arrangement of his records. The genesis of the Mailer archive was in 1968 when Mailer's mother, Mailer, Norman Manuscript Collection MS-2643 Fanny Schneider Mailer, and his friend and biographer, Dr. -
Norman Mailer, Towering Writer with Matching Ego, More Article Dies at 84 Sophistic Sig Adv Den Cha
LIKE RABBITS Welcome to TimesPeople TimesPeople Lets You Share and Discover the Bes Get Started HOME PAGE MY TIMES TODAY'S PAPER VIDEO MOST POPULAR TIMES TOPICS Books WORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYL ART & DESIGN BOOKS Sunday Book Review Best Sellers First Chapters DANCE MOVIES MUSIC www.squishable.com Norman Mailer, Towering Writer With Matching Ego, More Article Dies at 84 Sophistic Sig adv den Cha Ads by Go What is S You Are N Scientolog Scientology Turkey C Disigned f now. www.walka Be a Grie Advance y online. www.newde Charley Gallay/Getty Images Norman Mailer in Los Angeles in February. More Photos > By CHARLES McGRATH Published: November 10, 2007 SIGN IN TO MOST POPUL RECOMMEND Norman Mailer, the combative, controversial and often outspoken E-MAILED novelist who loomed over American letters longer and larger than any COMMENTS (40) writer of his generation, died today in Manhattan. He was 84. E-MAIL SEND TO PHONE 1 of 10 © 2009 John Zimmerman. All rights reserved. 7/9/2009 10:54 PM LIKE RABBITS PRINT He died of acute renal failure at Mount 1. Month Multimedia Sinai Hospital early this morning, his REPRINTS Dignit 2. Well: family said.Mr. Mailer burst on the SHARE scene in 1948 with “The Naked and the 3. GLOB Dead,” a partly autobiographical novel 4. IPhon about World War II, and for the next 5. Maure six decades he was rarely far from the 6. State o One B center stage. He published more than 7. -
The Beats: the Representation of a Battered Generation
THE BEATS: THE REPRESENTATION OF A BATTERED GENERATION Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree Master of Arts in English By Nada Alabdullah Dayton, Ohio May, 2014 THE BEATS: THE REPRESENTATION OF A BATTERED GENERATION Name: Alabdullah, Nada APPROVED BY: Albino Carrillo, MFA Associate Professor of English University of Dayton Bryan A. Bardine, Ph.D. Coordinator of Teaching Assistant Training Editorial Board, Metal Music Studies University of Dayton Andrew Slade, Ph.D Associate Professor and Director of Graduate Studies Department of English University of Dayton ABSTRACT THE BEATS: THE REPRESENTATION OF A BATTERED GENERATION Name: Alabdullah, Nada University of Dayton Advisor: Prof. Albino Carrillo In the 1950's and 60's, a new era was marked in poetry; it no longer dealt with nature or love or even family, but with controversial social issues. A group of battered poets, who became frustrated with the constant crushing of people's individuality and freedom, decided to speak up. They called themselves The Beat Generation; they represented everything that is beautiful, truthful, and serene, which was revolutionary at the time. Allen Ginsberg was one of the founding fathers of this group of writers. His poetry mirrored the constant social and cultural oppression of the American people. This thesis discusses the contemporary American poet Allen Ginsberg and his views on life, society, cultural, and politically controversial issues. Allen Ginsberg’s poetry speaks volumes about individual freedom and love. iii ACKNOWLEDGMENTS I would like to express my deepest gratitude to my advisor Professor Albino Carrillo for his continuous support and motivation as I wrote my thesis. -
A Forum How the Fifties Became the Sixties
8 Historically Speaking • January/February 2008 THE SIXTIES RECONSIDERED: A FORUM AMERICANS OFTEN DIVIDE 20TH-CENTURY U.S. HISTORY the 1950s was for later developments in the 1960s. Yet he emphasizes that the conti- into decades. The Jazz Age, the Great Depression, and the Turbulent Sixties are nuity thesis has serious limitations. The 1960s witnessed a series of societal and cul- bounded neatly into ten-year spans. Historians of recent America have reacted to that tural transformations that were unique to the decade. Terry H. Anderson, Alice decadal view. The past, they contend, never conforms so nicely to such neat categories. In Echols, Paul Lyons, and David Farber respond, and Whitfield concludes with his re- the lead piece to this forum on the 1960s Stephen J. Whitfield considers how important joinder. HOW THE FIFTIES BECAME THE SIXTIES Stephen J. Whitfield n the United States, the first decade and a To highlight the unobstructed path into the half or so after the Second World War Sixties, the case of Allen Ginsberg is especially Iseemed to lock into place a certain set of convenient. As early as May 1946, the Colum- conventions—from the broad acceptance of bia undergraduate was insisting that modernity the New Deal to the older ideal of domesticity, required “Orphic creativeness, juvenescent sav- from the virtue of the American way of life to agery, primitive abandon.” These were the very its extension to grateful foreigners, from very attributes that the counterculture would exalt moderate progress in race relations to moder- two decades later, the Dionysian qualities that ate reverence for reverence itself. -
The Beat Generation: a Rhetoric of Negation Redacted for Privacy Abstract Approved: Thurston E
AN ABSTRACT OF THE THESIS OF Julie Irene Mackaman for the degree of Master of Arts (Interdisciplinary Studies) in Speech, English, Education presented on July 28, 1976 Title: The Beat Generation: A Rhetoric of Negation Redacted for Privacy Abstract approved: Thurston E. Doler The Beat Generation was an American counter-culture movement in the 1950's. Comprised of nomadic writers, poets, actors, musicians, and artists, the Beat movement represented no systematic philosophy and its most dis- tinguishing characteristic was its apolitical disengage- ment from society. The Beats offered no substantive alternatives to the existing social order, but they sus- tained themselves as a collective literary body for nearly fifteen years by a shared opposition to society. Quint- essentially an anti-movement, the Beat Generation held a fragile power. By dropping out of society and saying "No" to the social hierarchy, the Beats raised important questions about the relation of the individual to society. At the leading edge of the Beat Generation were the writers who voiced and penned the movement's refusal to participate in what was perceived as a hypocritical social facade. Jack Kerouac, Allen Ginsberg, and William S. Burroughs formed the nucleus of a "charmed circle" of literary friends who formulated a rhetoric which negated America's preoccupation with materialism, conformity, and security in the "apathetic fifties." The Beat writers at- tempted to undermine the credibility of the social struc- ture by using America in the fifties as an "anti-model." Without recommending any kind of definitive behavior, they gave a license to virtually any behavior which op- posed society. -
The Humanities, the Individual and the "System"!
WINFRlED FLUCK The Humanities, the Individual and the "System"! "Hence Watergate was only a trap set by the system to catch its adver saries ..." (246). This is a quotation taken from Jean Baudrillard's essay "The Precession of Simulacra." It is also a way of describing Western so cieties that has become quite common among intellectuals and scholars in the humanities. As early as 1959, in his seminal essay on "The White Ne gro," Norman Mailer wrote: It is on this bleak scene that a phenomenon has appeared: the American existen tialist - the hipster, the man who knows that if our collective condition is to live with instant death by atomic war, relatively quick death by the State as l'univers concentrationnaire, or with a slow death by conformity with every creative and rebellious instinct stifled (at what damage to the mind and the heart and the liver and the nerves no research foundation for cancer will discover in a hurry), if the fate of twentieth-century man is to live with death from adolescence to premature senescence, why then the only life-giving answer is to accept the terms of death, to live with death as immediate danger, to divorce oneself from society, to exist without roots, to set out on that uncharted journey into the rebellious imperatives of the self. In short, whether the life is criminal or not, the decision is to encour age the psychopath in oneself .... (339)2 I This paper brings together arguments that I have developed at greater length in the following essays: "Literature, Liberalism, and the Current Cultural Radicalism," "The Humanities in the Age of Expressive Individualism and Cultural Radicalism," and "'The American Romance' and the Changing Functions of the Imaginary." 2 In the subsequent passage, Mailer speaks of "a partially totalitarian society" (339). -
The Influence of African American Culture on the Beats
“Dragging Themselves Through the Negro Streets at Dawn”: The Influence of African American Culture on the Beats Presented to the Liberty University Faculty Christopher Robinson, BA April 1, 2009 ii Table of Contents Introduction……………………………………………………...…………..………………….1 Chapter One: African American Cultural Influence on the Beats..…………..…………….…14 Chapter Two: Influence of Blues on the Beats………...…………………….......……………43 Chapter Three: Influence of Jazz on the Beats………………..………………………………68 Conclusion………………………………………………………………….…………….......103 Works Cited………………………………………….…………………………………........108 Robinson 1 ‘ Introduction Robinson 2 Following its victory in the Second World War, America paradoxically faced a period of prosperity and peace coupled with many underlying insecurities and tensions. There was a great deal of anxiety caused by the advent of the atom bomb, the great destruction of Europe during the war, and the growing fear of Soviet aggression. Just as there had been an effort to unite Americans against the earlier threats of German and Japanese hostility, Americans attempted to create a united front in the United States to combat the growing fear of Communism throughout the world. Members of the American middle class felt tremendous pressure to conform to mainstream culture, and this push toward homogeneity further ostracized those on the margins of society, such as African Americans. Many African Americans who fought for civil rights, such as Langston Hughes, Richard Wright, and Amiri Baraka, were branded as Communists. Along with a growing sense of conformity, technological advances, increased nationalism and economic growth helped to strengthen the middle class in the United States. This provided the middle class with increased wealth and a strong sense of identity. The Beats, reacting to society’s emphasis on homogeneity, created a counter culture literary movement that was strongly influenced by African American culture, especially the uniquely African American genres of music: blues and jazz. -
The Source of Hip
City University of New York (CUNY) CUNY Academic Works Publications and Research Baruch College 2002 The Source of Hip Shelly J. Eversley CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_pubs/194 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Shelly Eversley The Source of Hip In 1956 integration for Norman Mailer involved a contrast: "the Negro had his sexual supremacy and the white had his white supremacy" (286). Mailer's verbal pyrotechnics were the result of a bet with Independent edi tor Lyle Stuart. Stuart and Mailer argued over the question of freedom in the mass media and whether the popular press would publish articles con cerned with the more controversial implications of desegregation. At the same time Mailer felt "I had burned out my talent" (286), and in order to recover, he would have "to say what I knew to say in a langqage so ugly it could not be ignored" (288). His incendiary statements won him the bet--no newspaper in the South was willing to print his cmrunents. But, because of its association with "the Negro" and with sex, his now "ugly" language would render him Hip. J-.lis new approach earned him the attention of some of the nation's most prominent writers and criticst and it inspired his "trip into the psychic wild" that culminated in his "The White Negro" (1957), an essay he claims is "one of the best things I have done" (289). -
The Myth of the American Adam in Late Mailer
Connotations Va!. 5.2-3 (1995/96) The Myth of the American Adam in Late Mailer JOHN WHALEN-BRIDGE Let us begin with the problem of Adam. Lewis's 1955 study, The American Adam, explored a variety of nineteenth-century American writings to show that "the American dialogue" has largely been about notions of American innocence, about whether the American self is Adamically new, fallen into the corruption of history, or fortunately fallen. This notion of innocence has been much criticized for its political effects. American identity has long been predicated on the absence of class- conflict. Cultural myths such as the American Adam have been blamed for the specifically American refusal to examine class-conflict that is sometimes called "American Exceptionalism." The American self-concept, the argument goes, masks over class-conflict, since "the simple genuine self against the whole world," to use Emerson's phrase, is by definition a being without class affiliation. Critics of Lewis (and of similar theorists of American culture and identity) have insisted that myths of American innocence function to narrow the American horizon of expectation, specifically excluding political conflict, such as when Russell Reising accuses Lewis of segregating politics from literature in The Unusable Past: Theory and the Study of American Literature. Lewis is faulted for being "ahistorical," since his study of the American dialogue pays no attention to nineteenth-century controversies such as the slavery debates.1 Whether or not we would agree that Lewis is guilty as charged, the literary criticism his seminal work fostered certainly acquired a sharply ahistorical rhetoric one generation later. -
The Problem with White Hipness: Race, Gender, And
Monson, Ingrid, MUSIC ANTHROPOLOGIES AND MUSIC HISTORIES: THE PROBLEM WITH WHITE HIPNESS: RACE, GENDER, AND CULTURAL CONCEPTIONS IN JAZZ HISTORICAL DISCOURSE , Journal of the American Musicological Society, 48:3 p.396 THE PROBLEM WITH WHITE HIPNESS 397 After thirty years Amiri Baraka's Blues People remains the classic narrative of jazz as an avant-garde subculture that, in its separation from mainstream popular culture and the black middle class, synthe sized a modern, urban, African American aesthetic fluent in "the formal canons of Western nonconformity."4 In Baraka's account the "autonomous blues"-the essence of African American emotional expressivity-has been in constant danger of dilution due to the conformist and assimilationist demands ofa black middle class that has dictated an "image of a whiter Negro, to the poorer, blacker Ne groes."5 Jazz musicians, by identifying with modernist avant-garde notions of formal and stylistic rebellion, provided a link between the social extremes of the African American community: the "rent-party people" at one end of the scale, and "the various levels of parvenu middle class at the other.I'" Baraka argued that it was possible, through a reciprocal exchange between the modern African American artist and the alienated "young white American intellectual, artist, and Bohemian," to articulate an authentic black expressivity within an urban modernity." This hip subculture, comprising black Americans interested in Western artistic nonconformity and white Americans captivated by urban African American styles of music, dress, and speech, fashioned itself as a vanguard cultural force against the "shoddy cornucopia of popular American culture.T It was an elite of the socially progressive and politically aware that constructed itself as both outside of and above the ordinary American, black or white. -
Proquest Dissertations
u Ottawa L'Universitd canadienne Canada's university FACULTE DES ETUDES SUPERIEURES '— FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L,'Universit6 canadierme Canada's university Ashton Howley AUTEUR DE LA THESE / AUTHOR OF THESIS Ph.D. (English Literature) GRADE/DEGREE Department of English 7Acurifnrc"aE7DE?A^ Mailer Again: Studies in the Late Fiction TITRE DE LA THESE / TITLE OF THESIS David Rampton DIRECTEUR (DIRECf RICE) DE LA THESE / THESIS SUPERVISOR EXAMINATEURS (EXAMINATRICES) DE LA THESE / THESIS EXAMINERS J. Michael Lennon David Jarraway Tom Allen Bernhard Radloff Gary W. Slater Le Doyen de la Faculte des etudes superieures et postdoctoral / Dean of the Faculty of Graduate and Postdoctoral Studies Mailer Again: Studies in the Late Fiction ASHTON HOWLEY Thesis submitted to Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements For the PhD program in English Literature Department of English Faculty of Arts University of Ottawa ©Ashton Howley Ottawa, Canada, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-48399-2 Our file Notre reference ISBN: 978-0-494-48399-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats.