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论文作者:留学生论文论文属性:硕士毕业论文 dissertation登出时间:2020-12-23编辑:vicky点击率:4453
论文字数:37588论文编号:org202012202208367155语种:中文 Chinese地区:中国价格:$ 22
摘要:本文是一篇英语论文范文,根据坎贝尔的说法,英雄的冒险始于离开“平凡的世界”,进入一个新的奇迹王国(同上)。
But sympathy, the core of a troubadour, was carried on by Dylan when he transformed it into what Kimberly Davis would call “cross-racial empathy” towards black people, the new group in need of identification and support in the 1960s. Although Norman Mailer and Jack Kerouac both previously identified with blackness in their works, theirs wore a mask of imperialist nature. Instead, Dylan managed from 1962 to 1963 to stand in the shoes of black people and protest on their behalf, against the unjust and dehumanizing treatment by the prominent WASP society.
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Chapter 3 Beat Ethos of Mobility (1964-1966) .................... 39
3.1 Kerouac’s Old Road and Influence ............................. 39
3.1 Dylan’s Appropriation of Beat Ethos of Mobility ........................ 41
3.2 The Flaws of Beat Ethos of Mobility ........................ 40
Chapter 4 Transcendentalism and Emersonian Individualism .................... 52
4.1 Locating A“ Representative Writer” .............................. 53
4.2 The Notion of Mobility in “Circle” ......................... 54
4.3 Nonconformity in “Self-Reliance” ............................ 55
Conclusion: A Hero’s Journey in the 1960s ...................... 58
Chapter 4 Transcendentalism and Emersonian Individualism
4.1 Locating A“ Representative Writer”
Since this chapter deals with an intellectual ethos in the works of art, it is necessary to inspect first what art should be for Emerson. Advocating an individualistic principle for the creation of art, Emersonian aesthetics is expressed no better than in his essay “Art,” where Emerson envisions the ideal art to be ever-evolving, unbound, socially-conscientious, and universally understood. Emerson elucidates these features of true art one by one.
Firstly, true art enjoys a fluidity like that of water, which can fundamentally be attributed to the fluidity of human psyche: “the soul is progressive, it never quite repeats itself, but in every act attempts the production of a new and fairer whole” (Emerson, 1950, p.305). Dylan’s work in the 1960s, as monitored in the previous chapters, transformed itself frequently in different periods, which enjoyed a sense of artistic fluidity in terms of themes and styles.
Secondly, Emerson highlights on the significance of originality and improvisation in artistic creation, where the artist “must not be in any manner pinched or hindered by his material” (Ibid, p.310). In an optimal scenario for the creation of art, the artist would frequently be struck by the inspirations spout one after another, and “with each moment he alters the whole air, attitude, and expression of his clay” (Ibid, p.309).
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