Beat Generation

The Women writers of the Beat Generation legacy is greatly shaped by including this word in the middle of the subject: “women”. As part of a literary generation known for its use of spontaneous prose, the space for free creation, and a road with an adventure model distinctly inscribed by male writers, what kind of roads do these women writers travel? Also, considering the Beat Generation's legacy of spiritual search and freedom in literature, how do these women work within these lines, and what models of roads do they trace? This research seeks to think together about how the idea of freedom is constructed in the text and its presence in the signifier ‘woman’. This signifier is thought of in this dissertation in a dialogue with its perception in the psychoanalysis field, such as Lacan's (2008) views and “The Woman don’t exist”, and the relationship between the femininity and the “escape” (Lacan, 1999), as well as taking into account Hélène Cixous' (2024) idea of writing as a space of having no home and wandering. If we consider that whenever there is a road, side roads are built from its existence, what does it mean to “escape” from this line? This research is based on the hypothesis that it is possible to create an extra road, “extra” side roads that are formed in a desiring model without an end, as always there is an “extra” that can enter this chain. Such organization, characterized by a deviation, highlights the wandering; the impermanency and omissions marks. Considerations that allow us, finally, to think of these writings as operating within a logic of their own: the escape.

The aim of the present study is to account for the significance of mobility in American culture and its reflection in literature. In order to reach this goal, the thesis observes the role of mobility in the history of the United States, its transformation in the twentieth century, and the manifestation of this motif in the works of Jack Kerouac. Through the analysis of his novels, including On the Road, The Dharma Bums, Desolation Angels, Lonesome Traveler, and Big Sur, the thesis identifies some of the recurrent themes associated with the motif of journey and further interprets them in the context of postwar America. With the support of an array of secondary literature, this research approaches mobility as a constitutive part of the American identity and Jack Kerouac as one of its most ardent advocates. The introduction probes the contemporary preoccupation with space and the necessity of interrogating its intersection with time. While incorporating both of these dimensions, moveme...

Begegnungen mit dem "Anderen", durch Darstellungen, die von scheinbar fremdartigen Kreaturen bis hin zu inneren Dämonen reichen, stehen im Mittelpunkt des Oeuvres von William S. Burroughs und tragen dazu bei, dass seine Arbeiten so herausfordernd und bewegend sind. Seine Darstellungen der Chinesen, die oft übersehen werden, fallen besonders auf, weil sie an unerwarteten Orten und in unerwarteten Kontexten auftauchen, auch weil sie meist in einem positiven Licht dargestellt werden. Dieser Artikel stellt diese Referenzen in einen historischen, textuellen und biografischen Kontext und betrachtet dabei ihre Bedeutung im zeitgenössischen Kontext, was Paul Giles als "amerikanische Weltliteratur" und die "Verweltlichung" der Beat-und Proto-Beat-Literatur bezeichnet. Burroughs' Naked Lunch (1959) präsentiert chinesische Schriftzeichen mit einem direkten Bezug zu Drogen, die somit als Metapher für etwas dienen, das gleichzeitig attraktiv und abstoßend ist, und damit Burroughs' schwankende und oft ambivalente Haltung gegenüber dem fremden Anderen widerspiegeln. Solche Darstellungen können als Destabilisierung nationaler Identitäten angesehen werden und legen die ambivalenten diskursiven Prozesse des Othering offen, was seine Werke zu komplexen, facettenreichen Kritiken der zeitgenössischen US-amerikanischen Rassennarrative und des Neokolonialismus macht. Diese Darstellungen können auch als Herausforderung der Vorstellung einer dominanten Hegemonie gesehen werden, während sie gleichzeitig hervorheben, wie Aspekte des Orientalismus durch die Konstruktion von Minderheitengruppen sichtbar werden. Diese Texte demonstrieren Burroughs' Verständnis von Identitätspolitik und Machtverhältnissen, vor allem, weil sie als Parodie auf zeitgenössische Stereotypen angesehen werden können, die von der Metapher der "gelben Gefahr" (der konstruierten westlichen Angst vor dem östlichen Anderen) geprägt sind, in einem bewussten Versuch, solche willkürlichen Konstruktionen zu untergraben.

This article aims to use a recently published poetry collection as a reference point to explore some of the major debates that have engulfed the poetry world since the internationalisation of Japanese haiku as a poetry form, which revolves around the following questions: what constitutes a proper haiku? What form in non-Japanese languages would best represent its original structures? Would a free form better express its original spirit? Crucially, can a verse that is not intended to be a haiku be labelled as such only for its visual or semantic implications?

Allen Ginsberg's life and career can only be described as exceptional. Fond of pushing limits and challenging boundaries, Ginsberg produced a staggering body of work that garnered attention not just for its innovative style and personal candor, but for its range of theme and willingness to meaningfully engage the world in a bid to change it. Ginsberg is essential to an understanding of 20th century poetry. But Ginsberg was not just a poet. He was an icon, instantly recognizable to his legions of fans in underground circles, and it is impossible to overstate the importance of Ginsberg as a countercultural fi gure. Taking a broadly chronological approach, this volume provides a comprehensive overview of the major issues, themes, and moments essential to understanding Ginsberg, his work, and his outsized infl uence on the cultural politics of the postwar both in the US and globally.
While Ginsberg was certainly influenced by earlier generations of writers stretching back to the Metaphysical Poets, contemporary writers were also instrumental in helping him craft his own poetic vision. Foremost among them was his friend Jack Kerouac, who became a source of inspiration, guidance, and mentorship for Ginsberg throughout his life. This chapter explores the twenty-five years of profound yet tumultuous relationship that developed between the two writers, from their encounter in New York City in 1944 to Kerouac’s death in 1969. While their passionate and sometimes turbulent friendship sparked Ginsberg’s creative energy, Ginsberg drew heavily on Kerouac’s themes and stylistics – including his writing method of “spontaneous prose” – which became central to his own poetical voice. Though their relationship eventually fractured in the 1960s owing to political differences and rivalry, Kerouac continued to play a crucial role in shaping Ginsberg’s growth both as a writer and as an individual.

As a gendered form of Life Writing, memoirs constitute a sociopolitical manifesto or ideological site where subjectivity, identity, memory, and cultural history intersect to recount women’s stories and portray their lived experiences within a given society at a particular time. This idea proves to be evident in several contemporary memoirs, including Joyce Johnson’s Minor Characters: A Beat Memoir (1983) and Hettie Jones’s How I Became Hettie Jones (1990). The two Beat memoirs serve as vivid testimonies of their writers’ avant-garde feminist activism and countercultural participation in the United States during the Cold War era of the late 1940s through the 1960s. On that premise, this paper examines the various embodiments of gendered rebellion and (counter)cultural resistance in the aforementioned memoirs. Focusing on the different representations of fashion, the female body, and sexuality, this paper highlights how Johnson’s Minor Characters and Jones’s How I Became Hettie Jones demonstrate an overt resistance to patriarchy, conformist mainstream culture, and postwar conservatism. In other words, this paper initially offers a comparative approach to American postwar culture with reference to its young women and the dominant gender codes. Drawing on Nancy K. Miller’s theorization of women’s Life Writing and memoir, this article tackles the two texts with a dual emphasis on their shared historical context and the cultural engagement they both reflect. Through Angela McRobbie’s feminist conceptualization of subcultural practices, this article also analyzes how the two selected Beat memoirs assert their writers’ political and authorial agency and reclaim their history/ ies as female rebels. Ultimately, this paper reveals how Johnson and Jones, as two female Beats, subverted the normative standards of their society and challenged the internal subcultural sexism within the Beat Generation movement, creating their own female-coded narratives and revising the male-coded autobiographical accounts of mobility and rebellion constructed by their male counterparts. 

Keywords: Dress; Female-coded narratives; Gender; Memoirs; Postwar America; Rebellion; Sexuality; Subcultural practice; Beat Generation women.

Objective
The family unit, as the first and most fundamental social structure, plays a decisive role in organizing individual and collective life. However, in the modern era, this institution faces more serious challenges than ever before. One of the most significant is the phenomenon of divorce, which has been on a rising trend in Iran over recent decades. This study focuses on the city of Islamabad-e Gharb in Kermanshah province to explore women's lived experiences of divorce and the factors contributing to it. The importance of this research lies in its specific context: the study area, despite its traditional ethnic and cultural structures, is undergoing rapid transformations due to modernity and expanding global communication. These changes have directly impacted the institution of the family and marital relationships. Theoretically, this research is based on the ideas of Anthony Giddens, particularly his concept of the "pure relationship." Giddens argues that in modern societies, the continuity of marital life is no longer based on economic obligations or traditional pressures but on foundations like love, intimacy, and the realization of individuality. The main goal of this research is to explain how the absence of these foundations and the emergence of new demands for individual identity contribute to the rising divorce rate in a semi-traditional society like Islamabad-e Gharb.
Methodology
This study was conducted with a qualitative approach, using in-depth, semi-structured interviews. The research population included women and men who have experienced divorce or are on the verge of separation. Sampling was purposeful and continued until theoretical saturation was reached, with 16 individuals ultimately being studied. The collected data were analyzed through a process of primary and secondary coding, where key concepts were extracted from the interview transcripts, categorized, and finally transformed into main themes. The primary criterion for analysis was to understand the meanings and feelings of the participants regarding their divorce experiences and to represent them within Giddens' theoretical framework. This method allowed for the disclosure of the complex, multi-layered dimensions of divorce in a specific socio-cultural context.
Findings
The results of the research show that divorce in Islamabad-e Gharb is the product of the interaction of a set of conditions and lived experiences of women and men within a particular cultural and social environment.
One prominent factor was the structural dominance of men in the family and women's experience of suppressed individuality. In such structures, major decisions are in the hands of men, and women are often considered to lack agency or choice. This experience was accompanied by feelings of powerlessness, being ignored, and having their wishes and opinions disregarded, leading to tension and separation.
Another significant factor was the lack of love and intimacy in marital relationships. Unlike traditional models where marriage was defined by economic arrangements and social pressures, participants emphasized that in the current conditions, only a pure relationship based on love can guarantee the continuation of a shared life. Even couples with favorable economic status decided to separate due to the absence of emotional connection.
The desire for self-realization also played a key role in women's decisions to end their marriages. Many of them saw marriage as an opportunity to escape family constraints and develop their personal talents, but in practice, they faced even greater limitations imposed by their husbands. This dissatisfaction led to divorce as a way to regain identity and personal independence.
Other notable findings included the experience of early and child marriages. Women entered married life at a young age without psychological and social readiness, left their education unfinished, and faced challenges in fulfilling the roles of wife or mother due to a lack of necessary skills. This situation pushed them toward separation.
Domestic violence was also frequently mentioned in the narratives. Women spoke of verbal, psychological, and physical violence, emphasizing that this violence deprived them of a sense of security and peace. This abuse often had generational roots, and the experience of violence in their parents' families contributed to the continuation of this cycle.
Some women also spoke of forced marriages, which occurred under family or socio-economic pressure and lacked mutual consent and affection. This instability weakened the relationship from the very beginning and made divorce inevitable.
In some narratives, infidelity and extramarital relationships were raised as a consequence of the lack of love and intimacy. Women stated that in the absence of their husbands' affection, they gradually became inclined toward other relationships or faced their husbands' infidelity. The rise of social media also provided a suitable platform for the formation of these relationships, exacerbating the marital crisis.
Finally, differences in the socialization process for girls and boys were identified as another contributing factor to divorce. The different expectations of families and society regarding gender roles led to conflicting attitudes in married life, and these conflicts resulted in a rift and separation.
Overall, the findings indicate that divorce in Islamabad-e Gharb is the result of a confluence of multiple factors: from traditional and patriarchal structures to cultural changes brought by modernity, and from the experience of violence and unwanted marriages to the desire for independence and self-realization. Each of these factors, either alone or in interaction with one another, has brought the family institution into crisis.
Conclusion
The data analysis shows that divorce in Islamabad-e Gharb, beyond economic issues or institutional weaknesses, is rooted in cultural and identity transformations. The new generation of women, compared to previous generations, has more agency in defining their individual identity and is less willing to accept traditional roles. On the other hand, late modernity, with the expansion of communication, the emergence of media, and increased individual awareness, has created new expectations for marital life—expectations that quickly lead to a crisis if love, intimacy, and mutual respect are absent.
Based on Giddens' theory, it can be concluded that the continuation of marital life in today's society requires the realization of a pure relationship—a relationship that will only be sustainable with mutual consent and love. Therefore, forced marriages, child marriages, and relationships based on patriarchal structures are increasingly prone to collapse.
Ultimately, the present research shows that the rising divorce rate in Islamabad-e Gharb is in line with the major trends of modernity in Iran. The emergence of a generation that desires independence, self-realization, and the experience of pure love has meant that marriage is no longer accepted merely as an institution for survival or adherence to tradition. Therefore, divorce should be analyzed not only as a social pathology but as a manifestation of the struggle between tradition and modernity and between collective obligations and individual desires.
Accordingly, social policies in the family domain, if they aim to reduce the divorce rate, must focus on teaching life skills, strengthening dialogue between couples, supporting women in their pursuit of self-realization, and re-evaluating educational and socialization patterns. Only under such conditions can we expect the family institution to become more resilient to the pressures of late modernity and for a stable balance to be established between individual desires and collective obligations

It is hard to overstate the importance of William Blake (1757–1827) within Allen Ginsberg’s life and poetry. The numinous event that Ginsberg experienced in 1948, which he would later call his “Blake vision,” became a key part of his self-fashioning as a countercultural visionary, a prophet in a tradition that stretched back through Blake to Milton and the Bible. As an expert salesman, Ginsberg also became a dedicated proselytizer for Blake, whose work he promoted not only through poetry but also college classes, interviews, music, and his vast personal network. Ginsberg thereby positioned Blake as a lodestar of the counterculture and ultimately influenced Blake’s position within popular culture and academia itself. However, Ginsberg’s narrative of his “Blake vision” also changed significantly over time, and Ginsberg’s strong link to Blake has sometimes obscured the importance to Ginsberg’s work of other Romantics, such as William Wordsworth.

Abhijnanasakuntalam Art, from time immemorial has been put to assessment. Evaluations have instilled confidence in the creator or performer. Even before scripts find form, poetry has enjoyed a definite status through the spoken word. The rich rhythms and rhymes have made it easy to remember and transfer it from generations to generations. With the advent of print technology

Dans ce travail, nous nous proposons de voir dans quelle mesure  le conflit dans les oeuvres littéraires naît des différentes perceptions de la réalité des protagonistes. Nous nous pencherons sur deux oeuvres particulières, à savoir L’amie prodigieuse d’Elena Ferrante et Pour un oui ou pour un non de Nathalie Sarraute. Nous développerons cette problématique en deux axes. D’abord, nous montrerons que, des fois, les différentes perceptions des protagonistes peuvent être des catalyseurs de complicité. Ensuite, nous analyserons les différentes perceptions des protagonistes en tant que sources de conflits sans solution.

This study explores the shifting spatiality of the American West during 1960s American counterculture by comparing Jack Kerouac's On the Road and Hunter S. Thompson's Fear and Loathing in Las Vegas. In both narratives, the writer-protagonists reflectively embody the Zeitgeist, constructing an era's self-image. While both use the automobile to navigate the roads of the American West, they produce distinct geographical imaginations. In Kerouac's pre-sixties landscape, the road functions as a limitless frontier—a site of rhythmic discovery where the spatial movement of the Beat Generation parallels the improvisational flow of bebop. Here, automotive wandering is a form of self-expansion and romantic individualism. In contrast, Thompson's post-sixties journey unfolds within the psychological claustrophobia of the Nevada desert during the counterculture's twilight. In this psychedelic landscape, the road is no longer a path to freedom but a terminal loop of escape, soundtracked by the communal yet distorted energy of rock music. By analyzing these texts through their musical and spatial constructions, this paper argues that the road trip serves as a barometer of the socio-cultural transformation from postwar affluence to Vietnam-era disillusionment. It traces a trajectory from the open horizons of ideal freedom to the degraded spaces of stagnant alienation, demonstrating how the spatiality of the mid-century American West was reimagined from a site of primitive freedom into a landscape of cultural exhaustion.

A recent edition of the journal Nature carried a research report
with the self-explanatory title ‘AI-generated poetry is indistinguishable from human-written poetry and is rated more favorably.’ The authors reported two experiments to determine whether non-expert human readers could differentiate between AI-authorship and human authorship. In the first of these experiments, the human poets they employed included Geoffrey Chaucer, Shakespeare, Samuel Butler, Lord Byron, Walt Whitman, Emily Dickinson, T.S. Eliot, Allen Ginsberg, Sylvia Plath, and Dorothea Lasky, each with a five-poem sample.....

Este artículo examina la relación genealógica entre la Generación Beat y los mecanismos de control cultural contemporáneos conocidos como "cultura de la cancelación" o "policía cultural". La tesis central es que dichos mecanismos no constituyen una antítesis de la contracultura beat sino su consecuencia estructural directa: el producto predecible del ciclo por el que toda burbuja creativa, al institucionalizarse, adopta los instrumentos de control que cualquier institución requiere para sobrevivir. El argumento se despliega en cuatro momentos históricos verificados (1957-2026) y se apoya en un marco teórico que pone en diálogo a Heath y Potter, Thomas Frank, Herbert Marcuse, Carlos Granés y Naomi Klein. Se incluye evidencia empírica de los casos de integración corporativa (Gap, 1993; Nike, 1994) y de policía cultural digital (CONAPRED/Chumel Torres, México, 2020; Coachella/Sabrina Carpenter, 2026). El artículo concluye que el fundamento filosófico del mecanismo de cancelación fue teorizado desde dentro del propio movimiento-por Marcuse en 1965-y que la inversión del artista transgresor en guardián moral y del político institucional en nuevo transgresor es la expresión más visible del ciclo en su fase final. Palabras clave: Generación Beat, policía cultural, cultura de la cancelación, cooptación cultural, wokismo, hiperrealismo moral, tolerancia represiva, contracultura Abstract (English) This article examines the genealogical relationship between the Beat Generation and contemporary cultural control mechanisms known as "cancel culture" or "cultural policing." The central thesis holds that these mechanisms do not constitute an antithesis of Beat counterculture but rather its direct structural consequence: the predictable outcome of the cycle by which every creative bubble, upon institutionalizing, adopts the control instruments any institution requires to survive. The argument unfolds across four verified historical moments (1957-2026) and draws on a theoretical framework placing Heath and Potter, Thomas Frank, Herbert Marcuse, Carlos Granés, and Naomi Klein in dialogue. Empirical evidence is drawn from documented cases of corporate integration (Gap, 1993; Nike, 1994) and digital cultural policing (CONAPRED/Chumel Torres, Mexico, 2020; Coachella/Sabrina Carpenter, 2026). The article concludes that the philosophical foundation of the cancellation mechanism was theorized from within the movement itself-by Marcuse in 1965and that the inversion of the transgressive artist into moral guardian and the institutional politician into new transgressor is the most visible expression of the cycle in its final phase.

چکیده:

این مقاله با رویکردی میان‌رشته‌ای و تحلیلی، به بازخوانی پدیده «لات»، «لمپن» و «گروه‌های فشار» در تاریخ سیاسی ایران معاصر می‌پردازد و استدلال می‌کند که این نیروها نه به‌مثابه انحرافاتی حاشیه‌ای، بلکه به‌عنوان عناصری کارکردی در سازوکارهای قدرت و اقتدار سیاسی ایفای نقش کرده‌اند. در این چارچوب، پژوهش حاضر با تفکیک مفهومی میان خرده‌فرهنگ‌های شهریِ مبتنی بر «لوطی‌گری» و «جاهل‌مسلکی» از یک‌سو، و «لمپنیسم سیاسی» به‌مثابه ظرفیتی برای اعمال خشونت غیررسمی در خدمت قدرت از سوی دیگر، به تحلیل تداوم و تحول این پدیده از دوره پهلوی تا جمهوری اسلامی می‌پردازد.
مقاله با بررسی نمونه‌های تاریخی کلیدی—از پروژه دولت‌سازی متمرکز در دوران پهلوی اول و نقش شبکه‌های خیابانی در کودتای ۲۸ مرداد ۱۳۳۲، تا نهادینه‌شدن گروه‌های فشار، بسیج ایدئولوژیک و خشونت نیمه‌نهادی در جمهوری اسلامی—نشان می‌دهد که چگونه «خشونت نیابتی» به ابزاری تکرارشونده برای مدیریت بحران‌های سیاسی، حذف رقبا و مهندسی فضای عمومی بدل شده است. افزون بر این، پژوهش حاضر با تمرکز بر پیوند این پدیده با پوپولیسم، ایدئولوژی دینی، ساختارهای حامی‌پرور و زبان تحقیر، ابعاد فرهنگی، روان‌شناختی و گفتمانی بازتولید لمپنیسم را واکاوی می‌کند.
در امتداد این تحلیل، مقاله به تحولات معاصر در فضای رسانه‌ای و دیجیتال پرداخته و ظهور اشکال نوینی از «لمپنیسم پلتفرمی» را بررسی می‌کند که در قالب خشونت کلامی، حملات هماهنگ آنلاین، انسان‌زدایی از مخالفان و بازتولید کیش رهبری بروز می‌یابد. این روند نه‌تنها در ساختار قدرت رسمی، بلکه در بخشی از اپوزیسیون راست افراطی در دیاسپورای ایرانی نیز قابل مشاهده است؛ امری که نشان‌دهنده تداوم یک منطق سیاسی فراتر از مرزهای جغرافیایی است.
یافته‌های این پژوهش حاکی از آن است که لمپنیسم سیاسی را باید به‌مثابه «اقتصاد عاطفی خشونت» و سازوکاری برای تولید انسجام درون‌گروهی از طریق طرد و حذف دیگری فهمید. بر این اساس، مقاله در پایان بر ضرورت مرزبندی صریح نیروهای دموکراسی‌خواه با این منطق تأکید کرده و نشان می‌دهد که هرگونه گذار پایدار به دموکراسی، مستلزم نقد هم‌زمان ساختارهای اقتدارگرا و فرهنگ لمپنیِ حاکم بر زبان و کنش سیاسی است.
این مقاله با ارائه تحلیلی نوآورانه از پیوند میان تاریخ سیاسی، فرهنگ شهری و اشکال نوین خشونت، می‌کوشد افق‌های تازه‌ای برای فهم پویایی‌های قدرت در ایران معاصر بگشاید و زمینه‌ای برای گفت‌وگوی انتقادی در میان پژوهشگران و علاقه‌مندان این حوزه فراهم آورد.

In the realm of literature, the question of ethics in fiction has long been a topic of debate. As society continues to evolve, so too do the moral and ethical standards by which we judge the works of fiction. In contemporary realism, a genre that strives to depict the complexities of everyday life, the preservation of ethical values in storytelling is of paramount importance. This essay will explore the ways in which contemporary realist authors navigate the fine line between art and morality, seeking to maintain the integrity of their work while also upholding ethical principles. By analyzing various works of fiction within the realm of contemporary realism, we will delve into the complexities of this balancing act, ultimately seeking to understand how authors can effectively preserve ethics in their storytelling without sacrificing the essence of their art.

In his October 9, 2021, Moses Greeley Parker Lecture, "Writing in Kerouac's Shadow," Stephen O'Connor explores the complex relationship between modern Lowell writers and the enduring literary legacy of Jack Kerouac. O'Connor highlights the challenge of capturing the city's identity while forging a unique voice, moving beyond the comparisons to Kerouac. He also offers an appriciation and a critique of Jack Kerouac as a writer and a man.

Advertencia preliminar. La situación de Cuba es tan apocalíptica, en medio de tantas amenazas de exterminio de civilizaciones centenarias, de regreso por doquier a la Edad Media occidental y de reproducción de infiernos dantescos en la tierra hoy, que clama al cielo. Dicho en buen cubano, su solución final está "en mientes". En lo que acontece lo que tiene que-a no confundir con lo que debe-acontecer, no hay mejor arma humana que apelar a "la suerte del cubano" en una forma tradicional.

This essay argues that Wally Hedrick’s practice constitutes a sustained system of artistic refusal operating across form, space, career, and circulation. Rather than producing stable works, Hedrick converts artistic activity into acts of cancellation (the Black Paintings), environmental enclosure (War Room), and withdrawal (the artist’s strike). These operations are not expressive or thematic, but structural, targeting the conditions under which contemporary art requires continuous production, visibility, and institutional participation.

Situating Hedrick within a condition of compulsory circulation, the essay shows how refusal operates not outside the system but within it, interrupting contribution while remaining subject to later absorption. In contrast to the terminal ambitions of modernist abstraction—exemplified by Ad Reinhardt—Hedrick’s practice sustains ongoing negation without resolution. Refusal emerges as a precise but unstable operation: it suspends participation without producing exit, exposing the limits of non-participation under conditions in which the system continues to require and absorb what is withheld.

Petra Carlsson Redell suggests that although traditional theology has failed, this failure serves as a productive site of unmaking, ongoing rupture, and recomposition. She proposes surrealist theology as a hybrid practice that merges the power critique and existential honesty of radical (death-of-God) theology with the relational materiality and immanence of process thinking. This framework rejects the image of a sovereign, independent God—which the author identifies as a mirror for oppressive structures like toxic white masculinity—and instead envisions divinity as a multitude and creative force found in every crevice of a dying world.

Methodologically, Redell advocates for theology as a collaborative "jazz session" or "dream-work," inspired by the "exquisite corpse" techniques of artist Ted Joans. Through the experimental seminars of the International Congress for Infrathin Studies (ICIS), surrealist theology utilizes chance operations to revive a collective imagination capable of responding to planetary crises. Using metaphors such as Catherine Keller’s starling murmurations and the biblical leaven, the text describes a theo-political resistance that is decentralized and relational, where small, local impulses scale into collective transformation. Ultimately, surrealist theology is presented as a practice of "failing better," where faith becomes the art of co-creating a more livable reality.

This paper explores the shift from logocentric (text-based) drama to the "Visual Theater," a medium where the hierarchy of the stage is redefined. Rather than serving as a backdrop for the spoken word, visual elements-movement, vocal expression, spatial architecture, object manipulation, and multimedia-are analyzed as the primary "vocabulary" of the performance. Drawing on interdisciplinary perspectives from performance studies, visual arts, and semiotics, the paper analyzes how directors and creators construct layered visual "languages". The research examines how visual theater bypasses traditional narrative structures to engage the audience through sensory affect and "image-thinking." Key focus areas include: • The Scenographic Text: How the stage environment functions as a live, evolving protagonist. • The Non-Verbal Syntax: The rhythmic and spatial patterns that replace traditional dialogue. • Spectator Cognition: The shift from "reading" a play to "experiencing" a visual landscape. Ultimately, this research proposes that visual theater is not merely an aesthetic alternative but a fundamental rethinking of theatrical communication-one that reflects contemporary modes of seeing, processing, and experiencing reality.

HYDROTECHNIKA is/was a Journal of the Hellenic Hydrotechnical Association. The collection at hand includes 16 Volumes published between 1991-2006. In the first year (1991), 2 issues of Volume 1 were published (Issues 1.1 and 1.2-3). At the end of each Volume/Issue, the corresponding contents are listed

True to its culture of breaking boundaries and overlapping edges, postmodern art, as well as theory has become a veritable terrain for artistic experimentation and innovation as advocated by Ezra Pound's phrase "Make it New". It is definitely in the light of showcasing such novelty that this paper is borne. The paper sets out to discuss postmodern poetics drawing examples from the poems of five authors: Charles Oslon, Frank O'Hara, Allen Ginsberg, John Cage and Robert Duncan. The article basically sets out to answer the question what is postmodern or cyber poetry and what are its defining aesthetics? It also attempts a comparative analysis of postmodernist poetics and the aesthetics of the poets under study. The paper is hinged on the hypothesis that besides unintelligibility and indeterminacy, personism and spontaneity,-the distancing of the author and proceduralism (the self-consciousness of postmodern improvisation), self-reflexivity, and reader engagement are some of the hall marks of postmodern poetry. By debunking grammar and syntax, and emphasizing pastiche and the meaninglessness of their poems; these poets demonstrate that far from organic unity and decorum, postmodern poetry exemplifies playful pluralism and "other" worlds and voices of contemporary postmodern experience. The paper submits that postmodern poets are derivative poets who engage in post-language lyric, and cyber technology as a form of poetics.

I saw that poetry didn’t belong to me, it wasn’t my province; it was older and larger and more powerful than I, and it would exist beyond my life-span. And it was, in turn, only one of the means of communicating with those worlds of imagination and vision and magical and religious knowledge which all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists heard and saw and ‘tuned in’ on. Poetry was not a communication from ME to ALL THOSE OTHERS, but from the invisible magical worlds to me . . . everybody else, ALL THOSE OTHERS.1

cultural negotiation has always been associated by mainstream academia with literature, film, and media; however, recent academic trends have taken translated texts as a medium for narrating nations and negotiating cultures. This paper explores negotiation as a characteristic of the translation process. Tangier is characterized by elements that make it a subject matter for translators, leading the city's conversion into a contact zone where intercultural chronicles have occurred, most importantly, cultural translation. This paper focuses on Moroccan-translated literature by american expatriates between the 1950s and 1980s and takes Paul Bowles's For Bread Alone (1972/1982) as a case study. This study adopts newmark's taxonomy of translation procedures as a theoretical framework. The findings of this paper show that translator's procedural selection, co-authorship, and socio-cultural dynamics of the contact zone influence the TT and accentuate the source text's context as the nation's representative and its story's official narrator, altering the emphasis from the act of translating to translation as a discursive product. Furthermore, Bowles's translation confirms cultural translation theories by producing a hybrid and resilient discourses that undermine the hegemony of classical translation theories advocating for domesticating the source texts.

This essay describes the panel discussion that was held at Hunter College on November 6, 1958 that was the only meeting between Jack Kerouac and Kingsley Amis. The topic of the event was: 'Is there a Beat Generation'.

Beatdom is a journal that focuses on the 1950’s Beat Generation and related countercultural movements.

The quest for transcendence is a central narrative impulse in the works of Kerouac and Ginsberg, conceived as an alternative epistemological, philosophical, and temporal project to modern American civilisation and closely tied to the search for visions. In Kerouac’s road novels, the narrator’s interaction with natural elements shows how the allegorisation of nature conveys a mystical sense of timelessness through visions of modern American landscapes. In Ginsberg’s early poetry, particularly “Howl,” the Prophetic mode uproots experiences from the here-and-now and elevates them to a spiritual plane, generating queer visions that oscillate between the temporal and the universal. The essay argues that these allegorical and Prophetic modes function as literary strategies for the visionary, producing a synchrony that collapses linear time and establishes a queer temporality (Muñoz) through which heterodox modes of being emerge. These modes of being are grounded in a transcendental ontology, anticipated by Emerson, in which the embodiment of nature’s spiritual essence is essential to the visionary experience.

L'artcolo, intitolato "Perché tanta brutta poesia?" (tradotto in greco da Konstantinos Moussas e pubblicato su Frear il 21/06/2021), propone un'esegesi del declino qualitativo della produzione lirica odierna, rintracciandone le cause in una duplice frattura: tecnica ed ontologica.

Tonini, L. (2021). Γιατί τόσο κακή σύγχρονη ποίηση; (Trad. K. Moussas). Pubblicato originariamente su Avamposto Rivista di Poesia

During the first Gulf War, David Blair produced the first independently made electronic film to achieve international distribution: Wax, or The Discovery of Television among the Bees (1991). Blair’s use of ARPANET to screen Wax recalls Ramón Llull’s ingenuity in repurposing an artifact against the beliefs of its creators. A pioneer of nonlinear video editing—a technology now common in software on today’s laptops and smartphones—Blair chose video as his medium because it enabled him to construct a “punning machine” and to work across disciplines such as drawing and performance art. Examining Blair’s practice clarifies William S. Burroughs’ own working methods, his fascination with weaponry, and his use of technologies such as the tape recorder and the e-meter to “queer” time. In Blair’s narrative apparatus, text often arises from the interpretation of images, a strategy that recalls Burroughs’ fold-in method. Blair’s punning, with the Gnostic resonances noted by Kathy Acker, only begins to illuminate Burroughs’ more intricate pursuit of “coordinate points,” yet both artists share an undercurrent of semiotic warfare. To contextualize this affinity, the medieval zairja will be considered as a precedent for Blair’s and Burroughs’ nonlinear approaches to time and semiosis. When Ibn Khaldun questioned its efficacy, the zairja responded it had been invented by the prophet Idris, identified with the biblical patriarch Enoch. Burroughs’ conception of nuclear weapons as “soul-killers” resonates throughout Wax, a film queering patriarchal western missile-land, where Burroughs’ presence is felt through a cameo appearance.

This is a translation of the original essay, in Italian, that prefaces Beat Generation, a companion book to the September 1994 event Beat Generation that took place in Cesena. Over twenty days of programming, it featured musical performances by Steve Lacy & Irene Aebi, the Fugs reunion, Harold Budd & Hector Zazou (their concerts covering the Beat Generation in relation to, respectively, jazz, rock and counterculture, and avantgarde electronic music); poetry readings by Beat poets David Meltzer, John Giorno, Ed Sanders and Tuli Kupferberg; film screenings; a photographic exhibition by Fred McDarrah (one of the few "official" chroniclers showcasing in images Beat life and personalities); a special exhibit of Beat era magazines, journals, mimeographed zines; lectures about Beat generation and literature, photography, film & television. The book, edited by Franco Minganti (Cesena: Comune di Cesena, 1994, pp. 7-13), features original essays commissioned for the event, by notable American and Italian critics and authors.

This article explores the fragmentation and temporal rupture in Diane di Prima’s lesser-known yet captivating play, “The Discontent of the Russian Prince” (1959), a work that broadens the Beat fragmentation aesthetic and contests traditional notions of narrative chronology. Going beyond gender commentary, the article scrutinizes other intriguing aspects of di Prima’s dramatic text, including metatextual references, stage directions, and character dynamics. We analyze instances from the play and concentrate on di Prima's efforts to contest traditional notions of dramatic space, speaker ambiguity, and temporality. Through contingent outcomes and fragmentation, “The Discontent of the Russian Prince” undermines linear narrative chronology and cultivates a rich sense of temporal polyphony. By examining this lesser-known play, our research promotes further investigation of underrepresented dramatic works within the Beat movement and updates our understanding of di Prima.

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This paper introduces Italian countercultural publishing during its "golden decade" from 1967 to 1977, tracing the arrival and evolution of Beat culture in Italy through to the creative wing of the 1977 Movement.It begins with the landmark arrival of Beat influences, exemplified by magazines such as Mondo Beat (the pioneering underground periodical of the Italian beat scene) and the refined Pianeta Fresco (1967–1968), edited by Fernanda Pivano with contributions from Allen Ginsberg, Ettore Sottsass, and others, which blended poetry, psychedelia, and sophisticated graphic design.The analysis then extends to the late 1970s, focusing on the neo-Dadaist leaflets and fanzines produced by the Indiani Metropolitani—the most libertarian and inventive faction of the 1977 Movement. These ephemeral publications, often hand-made or cyclostyled, embodied ironic, iconoclastic, and anti-authoritarian aesthetics inspired by Dada, situationism, and metropolitan rebellion.

This article reframes the Beat Generation through the lens of fractured cosmopolitanism. This critical framework captures the movement's complex and often contradictory engagement with transnational spaces, identities, and cultural politics. While the Beats are frequently mythologised as quintessential American rebels-white, male wanderers seeking spiritual and poetic transcendence-this study argues that uneven global encounters, ideological asymmetries, and exclusionary practices profoundly shaped their literature and lives. Drawing on recent transnational Beat scholarship, the article introduces fractured cosmopolitanism as a way to understand the Beats' simultaneous pursuit of global connection and their entanglement in structures of privilege, including U.S. imperial ideology, whiteness, and masculinist individualism. The article traces five interrelated movements. First, it interrogates the construction of Beat individuality, showing how the myth of the self-made outsider obscures the movement's gendered and racial exclusions. Second, it situates Beat travel within the geopolitics of the Cold War and decolonisation, analysing how sites such as India, Tangier, and Mexico functioned as contact zones rather than blank canvases for a spiritual quest. Third, it offers a corrective to masculinist historiography by foregrounding feminist and racialised voices-including Diane di Prima, Brenda Frazer, Bob Kaufman, and Ted Joansthat redefined the meaning of transnational engagement from below. Fourth, it develops fractured cosmopolitanism as a theoretical model that highlights the Beats' aesthetic and ethical ambivalence: a poetics of rupture rather than synthesis. Finally, through case studies of Allen Ginsberg, Gregory Corso, and Brenda Frazer, the article reveals how the Beats navigated global spaces not as ideal cosmopolitans, but as historically embedded subjects negotiating the contradictions of their time. Ultimately, this study contributes to a more nuanced understanding of the Beat Generation-not as a movement of liberated individuals, but as a conflicted literary community wrestling with the broken promises of global modernity.

Introduction: One of the most significant manifestations of discrimination against women is domestic violence. Through examining various instances of discrimination against women, international organizations have identified domestic violence as one of the most prevalent forms of discrimination, which prevents women from attaining their legitimate rights. Moreover, violations of public order constitute one of the major consequences of the widespread occurrence of such violence in societies. Although international forums have issued numerous declarations aimed at eliminating domestic violence, public order has been recognized as a key legal concept affected by the persistence of this phenomenon. The present study aims to examine instances of domestic violence against women in the works of Mostafa Mastoor and to analyze their role in disrupting public order.

Methodology: This study adopts an analytical–descriptive approach and relies on library-based sources. It examines violations of public order as one of the significant consequences of domestic violence against women, as reflected in Mostafa Mastoor’s literary works.

Findings: The findings indicate that, in Mastoor’s stories, women are predominantly subjected to private (domestic) violence, most often inflicted by spouses or close family members. Women experience all three forms of violence—physical, psychological, and sexual—with psychological violence occurring more frequently due to the concealed nature of its effects. One of the most prominent consequences of domestic violence against women is the violation of public order, as such violence disrupts social peace and security and undermines moral values within society.

Conclusion:In Mastoor’s works, physical violence against women is commonly manifested in murder and unintended deaths. Neglect, deprivation of children, betrayal, and economic violence—such as forcing women into prostitution—are examples of psychological violence, while rape, prostitution, and forced abortion constitute forms of sexual violence. These behaviors are portrayed as factors that disrupt public order in Mostafa Mastoor’s stories.

The master's thesis reflects on W.S Burroughs oeuvre, it's novelty and transformation of transcendentalist philosophy in the writer's poetics. The work puts the absence of subjectivity in Burroughs' novels into question, traces the evolution of the subject and indicates new conditions of its existence.

پرهیز بهائیان از ورود به بحث‌ها و مجادلات سیاسی رایج، اغلب به‌اشتباه به بی‌تفاوتی سیاسی یا کناره‌گیری از امور عمومی تعبیر می‌شود. اما اگر این موضع نه از منظر هویتی یا اعتقادی، بلکه با رویکرد کارکردی (functional) تحلیل شود، منطق آن روشن می‌گردد.
در رویکرد کارکردی، ایده‌ها و کنش‌ها نه بر اساس نیت‌ها و مقاصد یا شعارها، بلکه بر اساس پیامدهای واقعی و نقش عملی آن‌ها در حل مسائل اجتماعی ارزیابی می‌شوند. پرسش اصلی این نیست که چه کسی بر حق است یا کدام موضع اخلاقاً برتر است، بلکه این است که این نوع کنش یا گفت‌وگو در عمل چه می‌کند؟ چه ظرفیت‌هایی  را می‌سازد یا از بین می‌برد؟
، پرهیز بهائیان از مجادلات سیاسی به ‌معنای بی‌عملی یا بی‌تفاوتی نیست، بلکه تغییر جهت کنش از سیاستِ مجادله‌محور تفرقه انداز ، به کنشِ وحدت‌محور ظرفیت‌ساز است. این انتخاب، بر پایهٔ ارزیابی کارکرد واقعی میادین گوناگون کنش اجتماعی صورت می‌گیرد، نه بر اساس مصلحت‌سنجی‌های کوتاه مدت و قدرت طلبی های منفعت جویانه سیاسی عمدتاً فردی و گروهی یا داوری‌های هویتی و رویکردهای ایدئولوژیک.

The Arabic word in the background spells out Amin, which means "trustworthy."

"An expert in the art of paper marbling and a renowned bookbinder and illuminator, Khurasani worked in the library of Abd al-Rahim Khan-i-Khanan (1556–1627). Rahim was a poet, translator, and military general, fluent in Chagatay Turkic, Persian, Arabic, Sanskrit, and Braj. His library, one of the great private libraries of the Mughal period, would have held books in all these languages."

- Mehrotra, Arvind Krishna. "Mulla Muhammad Amin Khurasani." Poetry, vol. 219, no. 6, Mar. 2022, p. 557.

Ref: Mehrotra, Arvind Krishna. “'We were like cartographers, mapping the city': An interview with Arvind Krishna Mehrotra.” Interview by Laetitia Zecchini. Journal of Postcolonial Writing, vol. 53, nos. 1–2, 2017, pp. 190–206. Taylor & Francis Online, doi.org.

Jack Kerouac played a pivotal role in 20th century American literature. His
innovative style and thematic explorations captured the spirit of  his time, leaving a lasting
legacy on the literary landscape. His work continues to inspire and resonate with readers
today, affirming his place as a defining voice in American literature.

Jack Kerouac played a pivotal role in 20th century American literature. His
innovative style and thematic explorations captured the spirit of  his time, leaving a lasting
legacy on the literary landscape. His work continues to inspire and resonate with readers
today, affirming his place as a defining voice in American literature.

This article argues that the burgeoning British Poetry Revival not only anticipated the Beatles' UK breakthrough of 1963 but also helped frame that cultural moment as the "dawn of the sixties. " It demonstrates that the pioneers of this performative, populist, and café-based movement, from Bernard Kops and Christopher Logue to Royston Ellis and Roger McGough, influenced the fledgling band with their US beat-and jazz-poetry-aligned principles in reaction against the perceived British parochialism and elitism of such poets as Philip Larkin. It further shows how the affinity between the Revival and the Beatles, which took root especially in the cafés of Liverpool, was key to the band's initial assault on postwar pop music. This was an affinity, after all, that foregrounded the Beatles' unstudied musical expression and vitalization of ordinary language on their first album, which led to Logue praising their songwriting for its "disobedience, sexuality, revolution, new values, and other infectious notions.