Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg

In the twentieth century, one can find some of the most illuminating examples of artistic protest and social commitment such as the works by the English antiwar soldier-poets1, the Harlem Renaissance group, modernists like Yeats and Eliot, the Angry Young Men, the Beats, the Black Mountain Poets, th...

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Autor principal: Portela, Alejandra
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2013
Acceso en línea:https://revistas.unc.edu.ar/index.php/CultyLit/article/view/13721
Aporte de:
Revista de Culturas y Literaturas Comparadas de Universidad Nacional de Córdoba
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spelling I10-R337-article-137212018-09-06T15:11:51Z Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg Portela, Alejandra In the twentieth century, one can find some of the most illuminating examples of artistic protest and social commitment such as the works by the English antiwar soldier-poets1, the Harlem Renaissance group, modernists like Yeats and Eliot, the Angry Young Men, the Beats, the Black Mountain Poets, the négritude movement, counter-culture artists and, lately, postcolonial writers, among others. In this paper, I will focus on two works, Notebook of a Return to the Native Land (Cahier d’un retour au pays natal, 1939) by Aimé Césaire and Howl (1956) by Allen Ginsberg. As literary history has shown, there are certain works -or counter-texts- that not only reject the oppressive forces of cultural imperialism but also defy conventional literary analysis. Usually, these counter-texts disseminate overflowing connotations and images, undermine and destabilize fixed theoretical categories and resist interpretation based upon pre-determined critical paradigms. Taking this into account, my central contention is that both Césaire’s Notebook and Ginsberg’s Howl—in spite of belonging to different geographical, historical and aesthetic contexts—display formal, thematic and politically concordant features, which represent some of the most violent and painful howls at the ruins of civilization. Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2013-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/CultyLit/article/view/13721 Revista de Culturas y Literaturas Comparadas; Vol. 4 (2013): Diálogos, sujetos, discursos. 2591-3883 1852-4737 spa https://revistas.unc.edu.ar/index.php/CultyLit/article/view/13721/13874 Derechos de autor 2016 Alejandra Portela
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-337
container_title_str Revista de Culturas y Literaturas Comparadas
language Español
format Artículo revista
author Portela, Alejandra
spellingShingle Portela, Alejandra
Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg
author_facet Portela, Alejandra
author_sort Portela, Alejandra
title Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg
title_short Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg
title_full Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg
title_fullStr Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg
title_full_unstemmed Howls in the Lands of Aborted Dreams: Aimé Césairre and Allen Ginsberg
title_sort howls in the lands of aborted dreams: aimé césairre and allen ginsberg
description In the twentieth century, one can find some of the most illuminating examples of artistic protest and social commitment such as the works by the English antiwar soldier-poets1, the Harlem Renaissance group, modernists like Yeats and Eliot, the Angry Young Men, the Beats, the Black Mountain Poets, the négritude movement, counter-culture artists and, lately, postcolonial writers, among others. In this paper, I will focus on two works, Notebook of a Return to the Native Land (Cahier d’un retour au pays natal, 1939) by Aimé Césaire and Howl (1956) by Allen Ginsberg. As literary history has shown, there are certain works -or counter-texts- that not only reject the oppressive forces of cultural imperialism but also defy conventional literary analysis. Usually, these counter-texts disseminate overflowing connotations and images, undermine and destabilize fixed theoretical categories and resist interpretation based upon pre-determined critical paradigms. Taking this into account, my central contention is that both Césaire’s Notebook and Ginsberg’s Howl—in spite of belonging to different geographical, historical and aesthetic contexts—display formal, thematic and politically concordant features, which represent some of the most violent and painful howls at the ruins of civilization.
publisher Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar
publishDate 2013
url https://revistas.unc.edu.ar/index.php/CultyLit/article/view/13721
work_keys_str_mv AT portelaalejandra howlsinthelandsofaborteddreamsaimecesairreandallenginsberg
first_indexed 2024-09-03T21:19:01Z
last_indexed 2024-09-03T21:19:01Z
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