垮掉的一代与都市流行文化
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摘要
"垮掉的一代"运动不仅仅是20世纪50年代美国的一场先锋派文学运动,同时也是一场对都市公共文化产生强烈影响的文化运动。通过对都市公共生活的积极参与,垮掉派文人带动了诸如"咖啡馆运动"、"黑人文化崇拜"等都市生活时尚,开辟了新的都市公共空间。在这些空间里,工作与娱乐、白人性与黑人性、郊区与都市这样的问题凸显出来,反映了第二次世界大战后美国都市生活的新特点。
引文
[1]Laurel Klinger-Vartabedian and Robert A.Vatarbedian,"Media and Discourse in the Twentieth-Century Coffeehouse Movement",The Journal of Popular Culture,Vol.26,Issue 3,5 Mar.2004,pp.211-218.
[2]"The Alluring Cupful",Newsweek,8 Oct.,1956,cited in laurel Klinger-Vartabedian and Robert A.Vatarbedian,"Media and Discourse in the Twentieth-Century Coffeehouse Movement",Ibid.,p.212.
[3]See Laurel Klinger-Vartabedian and Robert A.Vatarbedian."Media and Discourse in the Twentieth-Century Coffeehouse Movement",Ibid.,pp.212-215.
[4]Herbert Gold,Bohemia:Digging the Roots of Cool,New York:Simon&Schuster,1993,p.43.
[5]Thomas Albright,"The Elevated Underground:The North Beach Period",Rolling Renaissance:San Francisco Underground Art in Celebration:1945-1968,sponsored by Intersection,center for Religion and the Arts,1976,p.15.
[6]Thomas Albright,"The Elevated Underground:The North Beach Period",Rolling Renaissance:San Francisco Underground Art in Celebration:1945-1968,sponsored by Intersection,center for Religion and the Arts,pp.16-17.
[7]Todd Gitlin,The Sixties:Years of Hope,Days of Rage,New York:Bantam,1993,pp.52-53.
[8]See Paul O'Neil,"The Only Rebellion Around",Life 47(30 Nov.,1957),Laurel Klinger-Vartabedian and Robert A.Vatarbedian,"Media and Discourse in the Twentieth-Century Coffeehouse Movement",Ibid.,p.216.
[9]Buzz Poole,"Coffee Culture",Whole Earth,Summer 2002,p.10.
[10]Albert S.Broussard,Black San Francisco:The Struggle for Racial Equality in the West,1900-1954,University Press of Kansas,1993,Introduction:pp.4-5.
[11]See Philip Elwood,"San Francisco Jazz",Rolling Renaissance:San Francisco Underground Art in Celebration:1945-1968,Ibid.,p.21.
[12]W.T.Jr.Lhamon,Deliberate Speed:The Origins of a Cultural Style in the American1950s.Cambridge:Harvard University Press,1990,pp.39-40.
[13]Jim Burns,Beats,Bohemians and Intellectuals,Nottingham:Trent editions,2000,p.86.
[14]凯鲁亚克,《在路上》,文楚安译,桂林:漓江出版社,2001,第189-190页。
[15]James Baldwin,"The Black Boy Looks at the White Boy",Nobody Knows My Name:More Notes of a Native Son,New York:Dial,1961,cited in Mel Van Elteren,"The Subculture of Beats:A Sociological Revisit",The Journal of Popular Culture,Vol.26,Issue 3,5 Mar.2004,Ibid.
[16]Ned Polsky,"Comment on Norman Mailer's Essay'The White Negro'",cited in Mel Van Elteren,"The Subculture of Beats:A Sociological Revisit",Ibid.,p.83.
[17]See Mel Van Elteren,"The Subculture of Beats:A Sociological Revisit",Ibid.,p.83.
[18]Cesar Grafia,Modernity and its Discontents,Harper Torchbooks,1967,p.181.
[19]Lorenzo Thomas,"Communication by Homs:Jazz and Redemption in the Poetry of the Beats and The Beats Art",African American Review,Summer 1992,Vol.26,Issue2,p.291.
[20]Ronald Cohen,"Singing Subversion:Folk Music and the Counterculture in the 1950s",Van Minnen,Cornelis A.,Van Der Bent,Japp,Van Elteren,Mel,ed.,Beat Culture:Thel950s and Beyond,VU University Press,1999,Ibid.,p.119.
[21]See Joel Forman,ed.,The Other Fifties:Interrogating Midcentury American Icons,The Board of Trustees of the University of Illinois,1997,p.71.
[22]See Joel Forman,ed.,The Other Fifties:Interrogating Midcentury American Icons,The Board of Trustees of the University of Illinois,1997,p.71.
[23]William T.Lawlor,ed.,Beat Culture:Icons,Lifestyle,and Impact,Santa Barbara:ABC-CLIO Inc.,2005,p.342.
[24]《达摩流浪汉》(The Dhama Burns,1958)是凯鲁亚克一部小说的名字,以加里。史奈德为小说主人公的原型,描写垮掉派的另类生活方式。
[25]William T.Lawlor,ed.,Beat Culture:Icons,Lifestyle,and Impact,2005,Ibid.p.344.
[26]William T.Lawlor,ed.,Beat Culture:Icons,Lifestyle,and Impact,2005,p.343.
[27]“Beatnik”是旧金山的专栏作家赫布·凯恩(Herb Canne)根据当时发射的苏联卫星“sputnik”杜撰的一个词。
[28]See Todd Gitlin,The Sixties:Years of Hope,Days of Rage,Ibid.,p.52.
[2]"The Alluring Cupful",Newsweek,8 Oct.,1956,cited in laurel Klinger-Vartabedian and Robert A.Vatarbedian,"Media and Discourse in the Twentieth-Century Coffeehouse Movement",Ibid.,p.212.
[3]See Laurel Klinger-Vartabedian and Robert A.Vatarbedian."Media and Discourse in the Twentieth-Century Coffeehouse Movement",Ibid.,pp.212-215.
[4]Herbert Gold,Bohemia:Digging the Roots of Cool,New York:Simon&Schuster,1993,p.43.
[5]Thomas Albright,"The Elevated Underground:The North Beach Period",Rolling Renaissance:San Francisco Underground Art in Celebration:1945-1968,sponsored by Intersection,center for Religion and the Arts,1976,p.15.
[6]Thomas Albright,"The Elevated Underground:The North Beach Period",Rolling Renaissance:San Francisco Underground Art in Celebration:1945-1968,sponsored by Intersection,center for Religion and the Arts,pp.16-17.
[7]Todd Gitlin,The Sixties:Years of Hope,Days of Rage,New York:Bantam,1993,pp.52-53.
[8]See Paul O'Neil,"The Only Rebellion Around",Life 47(30 Nov.,1957),Laurel Klinger-Vartabedian and Robert A.Vatarbedian,"Media and Discourse in the Twentieth-Century Coffeehouse Movement",Ibid.,p.216.
[9]Buzz Poole,"Coffee Culture",Whole Earth,Summer 2002,p.10.
[10]Albert S.Broussard,Black San Francisco:The Struggle for Racial Equality in the West,1900-1954,University Press of Kansas,1993,Introduction:pp.4-5.
[11]See Philip Elwood,"San Francisco Jazz",Rolling Renaissance:San Francisco Underground Art in Celebration:1945-1968,Ibid.,p.21.
[12]W.T.Jr.Lhamon,Deliberate Speed:The Origins of a Cultural Style in the American1950s.Cambridge:Harvard University Press,1990,pp.39-40.
[13]Jim Burns,Beats,Bohemians and Intellectuals,Nottingham:Trent editions,2000,p.86.
[14]凯鲁亚克,《在路上》,文楚安译,桂林:漓江出版社,2001,第189-190页。
[15]James Baldwin,"The Black Boy Looks at the White Boy",Nobody Knows My Name:More Notes of a Native Son,New York:Dial,1961,cited in Mel Van Elteren,"The Subculture of Beats:A Sociological Revisit",The Journal of Popular Culture,Vol.26,Issue 3,5 Mar.2004,Ibid.
[16]Ned Polsky,"Comment on Norman Mailer's Essay'The White Negro'",cited in Mel Van Elteren,"The Subculture of Beats:A Sociological Revisit",Ibid.,p.83.
[17]See Mel Van Elteren,"The Subculture of Beats:A Sociological Revisit",Ibid.,p.83.
[18]Cesar Grafia,Modernity and its Discontents,Harper Torchbooks,1967,p.181.
[19]Lorenzo Thomas,"Communication by Homs:Jazz and Redemption in the Poetry of the Beats and The Beats Art",African American Review,Summer 1992,Vol.26,Issue2,p.291.
[20]Ronald Cohen,"Singing Subversion:Folk Music and the Counterculture in the 1950s",Van Minnen,Cornelis A.,Van Der Bent,Japp,Van Elteren,Mel,ed.,Beat Culture:Thel950s and Beyond,VU University Press,1999,Ibid.,p.119.
[21]See Joel Forman,ed.,The Other Fifties:Interrogating Midcentury American Icons,The Board of Trustees of the University of Illinois,1997,p.71.
[22]See Joel Forman,ed.,The Other Fifties:Interrogating Midcentury American Icons,The Board of Trustees of the University of Illinois,1997,p.71.
[23]William T.Lawlor,ed.,Beat Culture:Icons,Lifestyle,and Impact,Santa Barbara:ABC-CLIO Inc.,2005,p.342.
[24]《达摩流浪汉》(The Dhama Burns,1958)是凯鲁亚克一部小说的名字,以加里。史奈德为小说主人公的原型,描写垮掉派的另类生活方式。
[25]William T.Lawlor,ed.,Beat Culture:Icons,Lifestyle,and Impact,2005,Ibid.p.344.
[26]William T.Lawlor,ed.,Beat Culture:Icons,Lifestyle,and Impact,2005,p.343.
[27]“Beatnik”是旧金山的专栏作家赫布·凯恩(Herb Canne)根据当时发射的苏联卫星“sputnik”杜撰的一个词。
[28]See Todd Gitlin,The Sixties:Years of Hope,Days of Rage,Ibid.,p.52.