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The Quest Motif in Snyder's the Back Country
LUCI MARÍA COLLIN LA VALLÉ* ? . • THE QUEST MOTIF IN SNYDER'S THE BACK COUNTRY Dissertação apresentada ao Curso de Pós- Graduação em Letras, Área de Concentração em Literaturas de Língua Inglesa, do Setor de Ciências Humanas, Letras e Artes da Universidade Federal ' do Paraná, para a obtenção do grau de Mestre em Letras. Orientador: Profa. Dra. Sigrid Rénaux CURITIBA 1994 f. ] there are some things we have lost, and we should try perhaps to regain them, because I am not sure that in the kind of world in which we are living and with the kind of scientific thinking we are bound to follow, we can regain these things exactly as if they had never been lost; but we can try to become aware of their existence and their importance. C. Lévi-Strauss ii ACKNOWLEDGMENTS First of all, I would like to acknowledge my American friends Eleanor and Karl Wettlaufer who encouraged my research sending me several books not available here. I am extremely grateful to my sister Mareia, who patiently arranged all the print-outs from the first version to the completion of this work. Thanks are also due to CAPES, for the scholarship which facilitated the development of my studies. Finally, acknowledgment is also given to Dr. Sigrid Rénaux, for her generous commentaries and hëlpful suggestions supervising my research. iii CONTENTS ABSTRACT vi RESUMO vi i OUTLINE OF SNYDER'S LIFE viii 1 INTRODUCTION 01 1.1 Critical Review 04 1.2 Cultural Influences on Snyder's Poetry 12 1.2.1 The Counter cultural Ethos 13 1.2.2 American Writers 20 1.2.3 The Amerindian Tradi tion 33 1.2.4 Oriental Cultures 38 1.3 Conclusion 45 2 INTO THE BACK COUNTRY 56 2.1 Far West 58 2.2 Far East 73 2 .3 Kail 84 2.4 Back 96 3 THE QUEST MOTIF IN THE BACK COUNTRY 110 3.1 The Mythical Approach 110 3.1.1 Literature and Myth 110 3 .1. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
Gary Snyder's Eco-Buddhist Deconstruction of "Self" and "Nature"
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2002 Emptiness of "The Wild"| Gary Snyder's eco-Buddhist deconstruction of "self" and "nature" David J. Kerber The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Kerber, David J., "Emptiness of "The Wild"| Gary Snyder's eco-Buddhist deconstruction of "self" and "nature"" (2002). Graduate Student Theses, Dissertations, & Professional Papers. 2217. https://scholarworks.umt.edu/etd/2217 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. î ■i Maureen and Mike MANSFIELD LIBRARY The University of JVIONTANA Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. * * Please check "Yes" or "No" and provide signature * * Yes, I grant permission _____ No, I do not grant permission _____ Author's Signature Date Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. THE EMPTINESS OF “THE WILD”: GARY SNYDER’S ECO-BUDDHIST DECONSTRUCTION OF “SELF” AND “NATURE” By David J. Kerber B.S. Willamette University, 1999 presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana May 2002 Approved by: irperson: Dean, Graduate School: S - ZZ-02.____ Date UMI Number: EP35489 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
The History and Philosophy of the Postwar American Counterculture
The History and Philosophy of the Postwar American Counterculture: Anarchy, the Beats and the Psychedelic Transformation of Consciousness By Ed D’Angelo Copyright © Ed D’Angelo 2019 A much shortened version of this paper appeared as “Anarchism and the Beats” in The Philosophy of the Beats, edited by Sharin Elkholy and published by University Press of Kentucky in 2012. 1 The postwar American counterculture was established by a small circle of so- called “beat” poets located primarily in New York and San Francisco in the late 1940s and 1950s. Were it not for the beats of the early postwar years there would have been no “hippies” in the 1960s. And in spite of the apparent differences between the hippies and the “punks,” were it not for the hippies and the beats, there would have been no punks in the 1970s or 80s, either. The beats not only anticipated nearly every aspect of hippy culture in the late 1940s and 1950s, but many of those who led the hippy movement in the 1960s such as Gary Snyder and Allen Ginsberg were themselves beat poets. By the 1970s Allen Ginsberg could be found with such icons of the early punk movement as Patty Smith and the Clash. The beat poet William Burroughs was a punk before there were “punks,” and was much loved by punks when there were. The beat poets, therefore, helped shape the culture of generations of Americans who grew up in the postwar years. But rarely if ever has the philosophy of the postwar American counterculture been seriously studied by philosophers. -
Roger Dunsmore Came to the University of Montana in 1963 As a Freshman Composition Instructor in the English Department
January 30 Introduction to the Series Roger Dunsmore Bio: Roger Dunsmore came to the University of Montana in 1963 as a freshman composition instructor in the English Department. In 1964 he also began to teach half- time in the Humanities Program. He taught his first course in American Indian Literature, Indian Autobiographies, in 1969. In 1971 he was an originating member of the faculty group that formed the Round River Experiment in Environmental Education (1971- 74) and has taught in UM’s Wilderness and Civilization Program since 1976. He received his MFA in Creative Writing (poetry) in 1971 and his first volume of poetry.On The Road To Sleeping ChildHotsprings was published that same year. (Revised edition, 1977.) Lazslo Toth, a documentary poem on the smashing of Michelangelo’s Pieta was published in 1979. His second full length volume of poems,Bloodhouse, 1987, was selected by the Yellowstone Art Center, Billings, MX for their Regional Writer’s Project.. The title poem of his chapbook.The Sharp-Shinned Hawk, 1987, was nominated by the Koyukon writer, Mary TallMountain for a Pushcat Prize. He retired from full-time teaching after twenty-five years, in 1988, but continues at UM under a one- third time retiree option. During the 1988-89 academic year he was Humanities Scholar in Residence for the Arizona Humanities Council, training teachers at a large Indian high school on the Navajo Reservation. A chapbook of his reading at the International Wildlife Film Festival, The Bear Remembers, was published in 1990. Spring semester, 1991, (and again in the fall semester, 1997) he taught modern American Literature as UM’s Exchange Fellow with Shanghai International Studies University in mainland China. -
5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
$5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD. -
The Black Power Movement
A Guide to the Microfilm Edition of BLACK STUDIES RESEARCH SOURCES Microfilms from Major Archival and Manuscript Collections General Editors: John H. Bracey, Jr. and Sharon Harley The Black Power Movement Part 1: Amiri Baraka from Black Arts to Black Radicalism Editorial Adviser Komozi Woodard Project Coordinator Randolph H. Boehm Guide compiled by Daniel Lewis A microfilm project of UNIVERSITY PUBLICATIONS OF AMERICA An Imprint of CIS 4520 East-West Highway • Bethesda, MD 20814-3389 Library of Congress Cataloging-in-Publication Data The Black power movement. Part 1, Amiri Baraka from Black arts to Black radicalism [microform] / editorial adviser, Komozi Woodard; project coordinator, Randolph H. Boehm. p. cm.—(Black studies research sources) Accompanied by a printed guide, compiled by Daniel Lewis, entitled: A guide to the microfilm edition of the Black power movement. ISBN 1-55655-834-1 1. Afro-Americans—Civil rights—History—20th century—Sources. 2. Black power—United States—History—Sources. 3. Black nationalism—United States— History—20th century—Sources. 4. Baraka, Imamu Amiri, 1934– —Archives. I. Woodard, Komozi. II. Boehm, Randolph. III. Lewis, Daniel, 1972– . Guide to the microfilm edition of the Black power movement. IV. Title: Amiri Baraka from black arts to Black radicalism. V. Series. E185.615 323.1'196073'09045—dc21 00-068556 CIP Copyright © 2001 by University Publications of America. All rights reserved. ISBN 1-55655-834-1. ii TABLE OF CONTENTS Introduction ............................................................................................................................ -
The Poetry of Gary Snyder 3K'(QJOLVKWKHVLV8QLYHUVLW\RI6RXWK)ORULGD)ORULGD
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
The Berkeley Poetry Conference
THE BERKELEY POETRY CONFERENCE ENTRY FROM WIKIPEDIA: http://en.wikipedia.org/wiki/Berkeley_Poetry_Conference Leaders of what had at this time had been termed a revolution in poetry presented their views and the poems in seminars, lectures, individual readings, and group readings at California Hall on the Berkeley Campus of the University of California during July 12-24, 1965. The conference was organized through the University of California Extension Programs. The advisory committee consisted of Thomas Parkinson, Professor of English at U.C. Berkeley, Donald M. Allen, West Coast Editor of Grove Press, Robert Duncan, Poet, and Richard Baker, Program Coordinator. The roster of scheduled poets consisted of: Robin Blaser, Robert Creeley, Richard Durerden, Robert Duncan, Allen Ginsberg, Leroi Jones (Amiri Baraka), Joanne Kyger, Ron Lowewinson, Charles Olson, Gary Snyder, Jack Spicer, George Stanley, Lew Welch, and John Wieners. Leroi Jones (Amiri Baraka) did not participate; Ed Dorn was pressed into service. Seminars: Gary Snyder, July 12-16; Robert Duncan, July 12-16; LeRoi Jones (scheduled), July 19-23; Charles Olson, July 19-23. Readings (8-9:30 pm) New Poets, July 12; Gary Snyder, July 13; John Wieners, July14; Jack Spicer, July 15; Robert Duncan, July 16; Robin Blaser, George Stanley and Richard Duerden, July 17 New Poets, July 19; Robert Creeley, July 20; Allen Ginsberg, July 21; LeRoi Jones, July 22; Charles Olson, July 23; Ron Loewinsohn, Joanne Kyger and Lew Welch, July 24 Lectures: July 13, Robert Duncan, “Psyche-Myth and the Moment of Truth” July 14, Jack Spicer, “Poetry and Politics” July 16, Gary Snyder, “Poetry and the Primitive” July 20, Charles Olson, “Causal Mythology” July 21, Ed Dorn, “The Poet, the People, the Spirit” July 22, Allen Ginsberg, “What's Happening on Earth” July 23, Robert Creeley, “Sense of Measure” Readings: Gary Snyder, July 13, introduced by Thomas Parkinson. -
Killing in the Name of Struggle: Amiri Baraka's Revolutionary Theatre
KILLING IN THE NAME OF STRUGGLE: AMIRI BARAKA’S REVOLUTIONARY THEATRE DOUGLAS KERN PhD THE UNIVERSITY OF YORK DEPARTMENT OF THEATRE, FILM AND TELEVISION JANUARY 2014 ABSTRACT This study explores representations of murder, killing, and death in the revolutionary drama of Amiri Baraka. After a brief Introduction, Chapter 1 serves as an introduction to Baraka’s birth as an activist and provides background regarding the U.S. racial climate in the 1960s as it relates to his activism. Moreover, it presents Baraka’s Black Arts Repertory Theatre School and how it helped establish the Black Arts Movement. Chapter 2 provides a detailed study of Dutchman, Baraka’s first success, to initiate an analysis of killing and murder within his plays. In addition, it examines The Slave and Slave Ship, which present revolutionary models whereby Black Power is sought, and in the case of Slave Ship achieved through the killing of whites. Chapter 3 offers a detailed look at Baraka’s move towards Third World Marxism. After categorically denouncing Nationalism, Baraka’s public embrace of Marxism in 1974 isolated him from the Black theatre he had helped establish. Case studies examine representations of Capitalist killers in What Was the Relationship of the Lone Ranger to the Means of Production? and Song. Chapter 4 begins with a brief introduction to Baraka’s activism in the early 1990s, along with details of his son’s tragic shooting, and culminates with in-depth analyses of Jack Pot Melting: A Commercial, The Election Machine Warehouse, and General Hag’s Skeezag, all published in the ‘90s and performed together for the Nuyorican Poets Café Theater in 1996. -
Jeanne Theoharis a Life History of Being Rebellious
Want to Start a Revolution? Gore, Dayo, Theoharis, Jeanne, Woodard, Komozi Published by NYU Press Gore, Dayo & Theoharis, Jeanne & Woodard, Komozi. Want to Start a Revolution? Radical Women in the Black Freedom Struggle. New York: NYU Press, 2009. Project MUSE., https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/10942 Access provided by The College Of Wooster (14 Jan 2019 17:21 GMT) 5 “A Life History of Being Rebellious” The Radicalism of Rosa Parks Jeanne Theoharis In all these years . it’s strange . but maybe not . nobody asks . about my life . if I have children . why I moved to Detroit . what I think . about what we tried . to do. Something needs to be said . about Rosa Parks . other than her feet . were tired. Lots of people . on that bus . and many before . and since . had tired feet . lots of people . still do . they just don’t know . where to plant them. Nikki Giovanni, “Harvest for Rosa Parks”1 On October 30, 2005, Rosa Parks became the first woman and second African American to lie in state in the U.S. Capitol. Forty thou- sand Americans—including President and Mrs. Bush—came to pay their respects. Thousands more packed her seven-hour funeral celebration at the Greater Grace Temple of Detroit and waited outside to see a horse- drawn carriage carry Mrs. Parks’s coffin to the cemetery.2 Yet what is com- monly known—and much of what was widely eulogized—about Parks is a troubling distortion of what actually makes her fitting for such a national tribute. -
John Logan: a Retrospective
San Jose State University SJSU ScholarWorks Faculty Publications, English and Comparative Literature English and Comparative Literature August 1981 John Logan: A Retrospective Alan Soldofsky San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/eng_complit_pub Part of the Poetry Commons Recommended Citation Alan Soldofsky. "John Logan: A Retrospective" Poetry Flash (1981). This is brought to you for free and open access by the English and Comparative Literature at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications, English and Comparative Literature by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. CAUF Free Number 101 August 1981 Subscriptions $7 1t 1:~ 1 1 :1 1 W~ I : l:::m:l: t;:l:mt11:lf:lllll 0 2007 1581018 6 Caltfonua Stale Library , John Logan and Family. JOHN LOGAN: A RETROSPECTIVE Only the Dreamer Can Change the Dream: Selec· ted Poems, Ecco Press, New York, 1981 , $14.95. Strange 10 be al>le 10 ~ee through the steam The Bridge of Change: Poems 1974·1980, BOA (but sallsl ymg to me pornt of calm. lik e tne viSion o llhC PCIICCI new born) Editions, Brockport , N.Y., 198 1, $4.50. ,or rhe lust 11me With the publication of Only the Dreamer Can Change the the whole Dream and The Bridge of Change, we have once more in print a beautiful body of a loend substantial body of work by one of this country's most valuable (Poem Tears. Spray. and Stoom part r) poets. John Logan·s opus of ntne books thus far, including the In a recent conversation, Logan told me that when he started out Selected Poems, represents a formidable and sustatning accom in poetry his background was in b1ology and physics.