O’Donohue, John. “The Inner Landscape of Beaty.” Host Krista Tippett. OnBeing. American Public Media, 30 April 2009. MP3 file. 15 October 2016.
In John O’Donohue's interview with Krista Tippett on "The Inner Landscape of Beaty," he used the word "glamour and beauty" to explain the connection between interior lives and exterior appearance with respect culture. He explains the meaning of "beauty" using a Greek word Kalon and relating it to calling. O’Donohue claims that the physical or geographical landscape in which we live makes a difference in our quotidian lives. O’Donohue describes "Anam Cara" as a soul friend. He was mainly attributing "anam cara" to someone who you can confess and reveal the hidden intimacies of your life. O’Donohue contrasts
The world was in 1950 at a point of multiple crossroads. After two World Wars an exemplary series of bad events followed, like the Cold War and the atomic menace. But it was also the beginning of some prosperity. People started again to gather material values. Nevertheless, the slow awakening from the fog of war was a process too complex to be generally accepted. In an apparently healing world there were still too many fears and too many left behind. On this ground of alienation, isolation and despair Allen Ginsberg’s “Howl” emerged together with the Beat movement. John Tytell observed that the “Beat begins with a sense of natural displacement and disaffiliation, a distrust of efficient truth, and an awareness that things are often not what
Hubbs, Nadine. "'I Will Survive': musical mappings of queer social space in a disco anthem." Popular Music, 2007: 231-244.
Paul Bowles was an “American novelist, poet, [classical music] composer, translator, short-story writer,” and film scorer who married the novelist Jane Auer (Birch and Hooper 82). He was a harsh critic of western civilization, Americanization, technology, “mechanization, pollution, noise – all the things that twentieth century has brought and scattered over the world” (Caponi, Conversations 184). This made him to remove himself physically and psychologically from America (Perlow 189) and establish himself in 1947 in Morocco, because it seemed to be more aloof from the modern world. After 1948 the couple lived intermittently in Tangier and thus the place changed to a spiritual zone for hippies and members of Beat Generation1 because Bowles’s version of existentialism was central for them.
Anam Cara was seen as a soul friend or companion. It was important to find your anam Cara; to be aware of whom he/ she was. An anam Cara h...
Beauty in John 's wanting of pain, an aspect which makes us human. Ugliness in his suicide, an ultimate form of solitude.
After reading more on Walt Whitman, I found it interesting to learn more about his poem "Beat! Beat! Drums!" and how it was a rally call for the North during the civil war. When reading more about Walt Whitman and the civil war, I also found it interesting how when Whitman saw a name similar to his brother's on a list of fallen and wounded soldiers, he immediately began to search for his brother to make sure he was alive. Thankfully, he found him alive, but his journey affected him greatly. While trying to find his brother, it was said that seeing the rage of war greatly affected Whitman. It is also admirable that Whitman served as a volunteer nurse within army hospitals.
In the late 1940s, Beat poetry began in New York City and migrated west to San Francisco where by the late 1950s, they established and left a legacy. The poets were ignited from a movement against social conformity. They questioned mainstream politics, material society, and censorship or restrained literary traditions. Like many typical young persons, they rebelled against expectations in reach for “higher consciousness” through psychedelic drug use, alcohol consumption, sexual discovery, and spiritual exploration. With their lawlessness, addictions, discontent, and egos, these bohemian artists lived a life of spontaneity and creativity, but not without casualties. Gary Snyder commented on the subject of "casualties" of the Beat Generation:
This piece ranks right below “Alice”, a powerful piece inspired by the modal journeys of Alice Coltrane, in the competition for the most outstanding piece on the album. On the latter, one can find the bassist adventuring himself in unexpected portions of the song, always in the company of the inventive drummer, whose pulse acquires a rock flow that vehemently drives us to a dramatic finale. The liquidity in Parks’ progressions bestows the same effect as an oasis in a desert, irrigating and nourishing on all
In his poem, Whitman clearly depicts an ideal American society through a metaphor of harmonious singing. Throughout the poem, Whitman describes different equal roles in society, such as “the shoemaker singing as he sits on his bench” (Whitman, I Hear America Singing). The rendered community in the poem exemplifies a society in which all members
Deconstruction or poststructuralist is a type of literary criticism that took its roots in the 1960’s. Jacques Derrida gave birth to the theory when he set out to demonstrate that all language is associated with mental images that we produce due to previous experiences. This system of literary scrutiny interprets meaning as effects from variances between words rather than their indication to the things they represent. This philosophical theory strives to reveal subconscious inconsistencies in a composition by examining deeply beneath its apparent meaning. Derrida’s theory teaches that texts are unstable and queries about the beliefs of words to embody reality.
Morgan, Bill. The Beat Generation in San Francisco: A Literary Tour. San Francisco: City Lights, 2003. Print.
It was post WWII America during the Beat generation that one of the most controversial poems was written. In this poem the writer openly discusses sexuality, drug use, and transcendental inferences. Although this poem Howl, was once deemed obscene the poet himself, Allen Ginsberg, was highly respected by many. Incidental to societies strive for conformity, Ginsberg, floundered much of his life. Succinctly, the writer himself was an open homosexual, supporter of drug use, who marched to the beat of his own drum. When the lust to escape the reality of life becomes so intense, one may find oneself addicted to the ecstasies of an artificial paradise.
Campbell, James. “The place of dead roads.” This is the Beat Generation. Los Angeles: U of California
Much has been written about the Beat generation, especially about the hold its radical freedom has exerted on the American imagination. The Beats who stand out in most of our minds are men and the freedom they enjoyed--a freedom of movement, of creativity, of sexuality--is coded as a particularly male kind of freedom. My paper will suggest that in their autobiographical texts On the Road and The First Third Jack Kerouac and Neal Cassady construct a travelling masculinity in an attempt to escape bourgeois patriarchal structures without abandoning traditional patriarchal definitions of masculine power.
The generation was a group of authors that had influence on culture a literature in post-Wost War II era. The “Beat Generation” emerged in America in 1950s and 1960s, which was a suffocating age. There was no mercilessly for individuality and freedom. The beat movement not only announced the born of a new literary conception, but also it brought an overall liberation of mind. And the most important thing was the attachment to the choice of their life made in the hard times. Nearly all the members were gays, and had the experience of drug smoking. They also found interest in the spiritual quests and exploration of various religions.