垮掉的一代 / Beat Generation – 中英文维基百科词条融合

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1. 正文（发布于知乎专栏）

第一部分（概述、词源、简史、重要地点、参与者）请点击这里访问

第二部分（剩余部分）请点击这里访问

2. 参见（维基百科的相关词条）| See also

3. 英文词条参考文献 | References

3.1 引用列表（与文中标号对应）

  1. ^ Evans, Mike, The Beats: from Kerouac to Kesey : an illustrated journey through the Beat Generation, Running Press, Introduction
  2. ^ The Beat Generation – Literature Periods & Movements.
  3. ^ Charters, Ann (2001). Beat Down to Your Soul: What was the Beat Generation?. Penguin Books. ISBN 0141001518.
  4. ^ Charters (1992) The Portable Beat Reader.
  5. ^ Ann Charters, introduction, to Beat Down to Your Soul, Penguin Books (2001) ISBN 978-0-14100-151-7 p. xix “[…] the conclusion of the obscenity trial in San Francisco against Lawrence Ferlinghetti for publishing Ginsberg’s Howl and Other Poems […] in which Judge Clayton W. Horn concluded for the defendant that ‘Howl’ had what he called ‘redeeming social content.'”, p. xxxiii “After the successful Howl trial, outspoken and subversive literary magazines sprung up like wild mushrooms throughout the United States.”
  6. ^ Ted Morgan, Literary Outlaw, New York: Avon, 1988. p. 347, trade paper edition ISBN 0-380-70882-5: “The ruling on Naked Lunch in effect marked the end of literary censorship in the United States.”
  7. ^ “Beat movement (American literary and social movement) – Encyclopædia Britannica”. britannica.com. Retrieved November 30, 2014.
  8. ^ “Beat to his socks, which was once the black’s most total and despairing image of poverty, was transformed into a thing called the Beat Generation…” James Baldwin, “If Black English Isn’t a Language, Then Tell Me, What is it?,” The New York Times, July 29, 1979.
  9. ^ “The word ‘beat’ was primarily in use after World War II by jazz musicians and hustlers as a slang term meaning down and out, or poor and exhausted. The jazz musician Mezz Mezzrow combined it with other words, like ‘dead beat’ …” Ann Charters, The Portable Beat reader, 1992, ISBN 0-670-83885-3, ISBN 978-0-670-83885-1.
  10. ^ “Hebert Huncke picked up the word [beat] from his show business friends on the Near North Side of Chicago, and in the fall of 1945 he introduced the word to William Burroughs, Allen Ginsberg, and Jack Kerouac.” Steven Watson, “The Birth of the Beat Generation” (1995), p. 3, ISBN 0-375-70153-2.
  11. ^ The exuberance is much stronger in the published On the Road, than in its manuscript (in scroll-form). Luc Sante: “In the scroll the use of the word “holy” must be 80 percent less than in the novel, and psalmodic references to the author’s unique generation are down by at least two-thirds; uses of the word “beat”, for that matter, clearly favor the exhausted over the beatific.” New York Times Book Review, August 19, 2007.
  12. ^ Beard, Rick, and Leslie Berlowitz. 1993. Greenwich Village: Culture and Counterculture. New Brunswick, N.J. Published for the Museum of the City of New York by Rutgers University Press. 167.
  13. ^ “In this essay “Beat” includes those American poets considered avant-garde or anti-academic from c. 1955 – 1965.”, Lee Hudson, “Poetics in Performance: The Beat Generation” collected in Studies in interpretation, Volume 2, ed Esther M. Doyle, Virginia Hastings Floyd, 1977, Rodopi, ISBN 90-6203-070-X, 9789062030705, p. 59.
  14. ^ “… resistance is bound to occur in bringing into the academy such anti-academic writers as the Beats.”, Nancy McCampbell Grace, Ronna Johnson, Breaking the rule of cool: interviewing and reading women beat writers, 2004, Univ. Press of Mississippi, ISBN 1-57806-654-9, ISBN 978-1-57806-654-4, p. x.
  15. ^ “The Black Mountain school originated at the sometime Black Mountain College of Asheville, North Carolina, in the 1950s and gave rise to an anti-academic academy that was the center of attraction for many of the disaffiliated writers of the period, including many who were known in other contexts as the Beats or the Beat generation and the San Francisco school.” Steven R. Serafin, Alfred Bendixen, The Continuum Encyclopedia of American Literature, 2005, Continuum International Publishing Group, ISBN 0-8264-1777-9, ISBN 978-0-8264-1777-0, p. 901.
  16. ^ Genter, Robert (2004). “”I’m Not His Father”: Lionel Trilling, Allen Ginsberg, and the Contours of Literary Modernism”. College Literature. 31 (2): 22–52. doi:10.1353/lit.2004.0019. JSTOR 25115190. S2CID 171033733.
  17. ^ “Curious About Columbia?”. c250.columbia.edu. Retrieved August 17, 2022.
  18. ^ Morgan, Literary Outlaw (1988), pp. 163–165.
  19. ^ Morgan, Literary Outlaw (1988), pp 205–6.
  20. ^ McDarrah, Fred W., and Gloria S. McDarrah. 1996. Beat Generation: Glory Days in Greenwich Village. New York: Schirmer Books.
  21. ^ Beard and Berlowitz. 1993. Greenwich Village. “The Beat Generation in the Village.” 165–198.
  22. ^ Beard and Berlowitz. 1993. Greenwich Village. “The Beat Generation in the Village.” 170.
  23. ^ Beard and Berlowitz. 1993. Greenwich Village. “The Beat Generation in the Village.” 178.
  24. ^ “Beat Party Nominates Anti-Presidential Choice”. July 21, 1960.
  25. ^ “Anti-Presidential Nominee Named on 5th Beat Ballot”. July 21, 1960.
  26. ^ Jonah Raskin, American Scream: Allen Ginsberg’s “Howl” and the Making of the Beat Generation: “Wally Hedrick, a painter and veteran of the Korean War, approached Ginsberg in the summer of 1955 and asked him to organize a poetry reading at the Six Gallery… At first, Ginsberg refused. But once he’d written a rough draft of Howl, he changed his ‘fucking mind,’ as he put it.”
  27. ^ Wills, David S. (October 7, 2015). “Sixty Years After the Six Gallery Reading”. Beatdom. Retrieved June 10, 2024.
  28. ^ Ginsberg, Allen. Howl. 1986 critical edition edited by Barry Miles, Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography ISBN 0-06-092611-2 (pbk.)
  29. ^ McClure, Michael. Scratching the Beat Surface: Essays on New Vision from Blake to Kerouac. Penguin, 1994. ISBN 0-14-023252-4.
  30. ^ Smith, Mike (November 7, 2013). “Adaptation And The Environmental Beat: Poet-Activist Gary Snyder Lands In Albuquerque | Weekly Alibi”. Retrieved June 10, 2024.
  31. ^ Bradley J. Stiles, Emerson’s contemporaries and Kerouac’s crowd: a problem of self-location, Fairleigh Dickinson University Press, 2003, ISBN 0-8386-3960-7, ISBN 978-0-8386-3960-3, p. 87: “Although Kerouac did not introduce Eastern religion into American culture, his writings were instrumental in popularizing Buddhism among mainstream intellectuals.”
  32. ^ “Pacific Northwest Seasons: Ross Lake: Paddling in the Path of Beat Poets”. pacificnwseasons.blogspot.com. September 22, 2008. Retrieved November 30, 2014.
  33. ^ “Reed Magazine: When the Beats Came Back (1/6)”. reed.edu. Retrieved November 30, 2014.
  34. ^ “Reed Digital Collections : Search Results”. cdm.reed.edu. Retrieved November 30, 2014.
  35. ^ Knight, Brenda, Women of the Beat Generation: The Writers, Artists, and Muses at the Heart of a Revolution, 978-1573241380, Conari Press, 1998.
  36. ^ Kakutani, Michiko (November 10, 2008). “A Jack Kerouac-William S. Burroughs Collaboration: ‘And the Hippos Were Boiled in Their Tanks'”. The New York Times. ISSN 0362-4331. Retrieved September 12, 2017.
  37. ^ *“Archived copy” (PDF). Archived from the original (PDF) on March 28, 2012. Retrieved 2011-10-10. TV interview 1982 poets Hedwig Gorski and Robert Creeley discuss Beats. Special Robert Creeley issue, Turkey.
  38. ^ [1] Interview 2013 by Greece Blues site Michalis Limnios BLUES @ GREECE.
  39. ^ Morgan, Bill (2011). The Type Writer Is Holy: The Complete, Uncensored History of the Beat Generation. Berkeley, CA: Counterpoint.
  40. ^ Prothero, Stephen (1991). “On the Holy Road: The Beat Movement as Spiritual Protest”. The Harvard Theological Review. 84 (2): 205–222. doi:10.1017/S0017816000008166. S2CID 162913767.
  41. ^ Hemmer, Kurt, ed. (2007). Encyclopedia of Beat Literature. Facts On File, Inc. p. 111. ISBN 978-0-8160-4297-5. These early books, too, are windows into the poet’s efforts to find a place for his homosexual identity in the repressive pre-Stonewall United States.
  42. ^ Hemmer, Kurt, ed. (2007). Encyclopedia of Beat Literature. Facts On File, Inc. p. 32. ISBN 978-0-8160-4297-5. And then, before the end of the decade, Burroughs had gone—leaving cold-war America to escape his criminalization as a homosexual and drug addict, to begin 25 years of expatriation.
  43. ^ “Hetero- and Homo-Social Relationships in Jack Kerouac’s On the Road”. Not-So-Gentle Reader blog. July 23, 2009. Archived from the original on November 6, 2013. Retrieved November 30, 2014.
  44. ^ Lundberg, John (October 16, 2011). “The Great Drug-Induced Poems”. Huffington Post. Retrieved September 12, 2017.
  45. ^ Allen Ginsberg, The Essential Ginsberg, Penguin UK, 2015.
  46. ^ “Substance Use”. Beatdom. September 14, 2010. Retrieved September 12, 2017.
  47. ^ McClure, Michael. Scratching the Beat Surface.
  48. ^ “Throughout these interviews [in Spontaneous Mind] Ginsberg returns to his high praise of William Blake and Walt Whitman. Ginsberg obviously loves Blake the visionary and Whitman the democratic sensualist, and indeed Ginsberg’s literary personality can be construed as a union of these forces.” Edmund White, Arts and letters (2004), p. 104, ISBN 1-57344-195-3, ISBN 978-1-57344-195-7.
  49. ^ “Ginsberg’s intense relationship with Blake can be traced to a seemingly mystical experience he had during the summer of 1948.” ibid, p. 104.
  50. ^ Ted Morgan, Literary Outlaw (1988), p.36-37 of trade paper edition, “When Billy [William Burroughs] was thirteen, he came across a book that would have an enormous impact on his life and work. Written by someone calling himself Jack Black, You Can’t Win was the memoir of a professional thief and drug addict.”
  51. ^ According to William Lawlor: “André Breton, the founder of surrealism and Joans’s [sic] mentor and friend, famously called Joans the ‘only Afro-American surrealist’ (qtd. by James Miller in _Dictionary of Literary Biography_ 16: 268)”, p. 159, Beat culture: lifestyles, icons, and impact, ABC-CLIO, 2005, ISBN 1-85109-400-8, ISBN 978-1-85109-400-4. Ted Joans said, “The late André Breton the founder of surrealism said that I was the only Afro-American surrealist and welcomed me to the exclusive surrealist group in Paris”, p. 102, For Malcolm: poems on the life and the death of Malcolm X, Dudley Randall and Margaret G. Burroughs, eds, Broadside Press, Detroit, 1967. There is some question about how familiar Breton was with Afro-American literature: “If it is true that the late André Breton, a founder of the surrealist movement, considered Ted Joans the only Afro-American surrealist, he had not read Kaufman; at any rate, Breton had much to learn about Afro-American poetry.” Bernard W. Bell, “The Debt to Black Music”, Black World/Negro Digest March 1973, p. 86.
  52. ^ Allen Ginsberg commented: “His interest in techniques of surreal composition notoriously antedates mine and surpasses my practice … I authoritatively declare Lamantia an American original, soothsayer even as Poe, genius in the language of Whitman, native companion and teacher to myself.” Allen Ginsberg, Bill Morgan, Deliberate Prose: Selected Essays 1952–1995, p. 442, “Philip Lamantia, Lamantia As Forerunner”, HarperCollins, 2001, ISBN 9780060930813.
  53. ^ Miles (2001) Ginsberg.
  54. ^ “In ‘Author’s Introduction,’ which is included in Lonesome Traveler (1960), Kerouac … goes on to mention Jack London, William Saroyan, and Ernest Hemingway as early influences and mentions Thomas Wolfe as a subsequent influence.” William Lawlor, Beat culture: lifestyles, icons, and impact, 2005, ISBN 1-85109-400-8, ISBN 978-1-85109-400-4 p. 153. “And if one considers The Legend of Dulouz, one must acknowledge the influence of Marcel Proust. Like Proust, Kerouac makes his powerful memory the source of much of his writing and again like Proust, Kerouac envisions his life’s literary output as one great book.” Lawlor, p. 154.
  55. ^ Garton-Gundling, Kyle. “Beat Buddhism and American freedom”. thefreelibrary.com. Johns Hopkins University Press. Archived from the original on December 26, 2020. Retrieved May 11, 2019.
  56. ^ Ginsberg, Allen A Definition of the Beat Generation, from Friction, 1 (Winter 1982), revised for Beat Culture and the New America: 1950–1965.
  57. ^ Herb Caen (February 6, 1997). “Pocketful of Notes”. San Francisco Chronicle. sfgate.com. Retrieved January 30, 2010. “…Look magazine, preparing a picture spread on S.F.’s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles’ free booze. They’re only Beat, know, when it comes to work …”
  58. ^ William T. Lawlor (ed.), Beat Culture: Lifestyles, Icons and Impact, p. 309.
  59. ^ Arthur and Kit Knight (ed.), The Beat Vision, New York: Paragon House, 1987, p. 281.
  60. ^ Ginsberg, Howl: Original Draft Facsimile.
  61. ^ “Tracing his definition of the term Beat to the fulfillments offered by beatitude, Kerouac scorned sensationalistic phrases like ‘Beat mutiny’ and ‘Beat insurrection,’ which were being repeated ad nauseam in media accounts. ‘Being a Catholic,’ he told conservative journalist William F. Buckley, Jr. in a late-sixties television appearance, ‘I believe in order, tenderness, and piety,'” David Sterritt, Screening the Beats: media culture and the Beat sensibility, 2004, p. 25, ISBN 0-8093-2563-2, ISBN 978-0-8093-2563-4.
  62. ^ Ed Sanders said in an interview in the film The Source (1999) (at the 1hr 17secs point) that he observed the change immediately after the 1967 Human Be-In event: “And right after the Be-In all of a sudden you were no longer a beatnik, you were a hippie.” Similar remarks by Sanders: an interview with Jessa Piaia in SQUAWK Magazine, Issue #55, commented: “I’ve begun Tales of Beatnik Glory, Volume 3. Set in the Hippie era, it defines that delicate time when reporters no longer called us ‘Beatnik,’ but started to call us ‘Hippie.'”, https://www.angelfire.com/music/squawk/eds2.html; “There was a big article January of 1966, on page one of the Cleveland Plain Dealer, under the heading ‘Beatnik Leader Wants Marijuana.’ It was just before “hippie” replaced ‘Beatnik.'” Ed Sanders, Larry Smith, Ingrid Swanberg, D.A. Levy & the mimeograph revolution (2007).
  63. ^ Gore Vidal quotes Ginsberg speaking of Kerouac: “‘You know around 1968, when we were all protesting the Vietnam War, Jack wrote me that the war was just an excuse for ‘you Jews to be spiteful again.'” Gore Vidal, Palimpsest: A Memoir, 1995, ISBN 0-679-44038-0.
  64. ^ For example, see the meaning of “cool” as explained in the Del Close, John Brant spoken word album How to Speak Hip from 1959.
  65. ^ Allen Ginsberg comments on this in the film “The Source” (1999); Gary Snyder discusses the issue in a 1974 interview, collected in The Beat Vision (1987), Paragon House. ISBN 0-913729-40-X; ISBN 0-913729-41-8 (pbk), edited by Arthur Winfield Knight: “… the next key point was Castro taking over Cuba. The apolitical quality of Beat’s thought changed with that. It sparked quite a discussion and quite a dialogue; many people had been basic pacifists with considerable disillusion with Marxian revolutionary rhetoric. At the time of Castro’s victory, it had to be rethought again. Here was a revolution that had used violence and that was a good thing. Many people abandoned the pacifist position at that time or at least began to give more thought to it. In any case, many people began to look to politics again as having possibilities. From that follows, at least on some levels, the beginning of civil rights activism, which leads through our one whole chain of events: the Movement.

    We had little confidence in our power to make any long-range or significant changes. That was the 50s, you see. It seemed that bleak. So our choices seemed entirely personal existential lifetime choices that there was no guarantee that we would have any audience, or anybody would listen to us; but it was a moral decision, a moral poetic decision. Then Castro changed things, then Martin Luther King changed things …”
  66. ^ Pynchon, Thomas. Slow Learner. Vintage Classics, 2007. ISBN 0-09-953251-4.
  67. ^ “Sterling also identifies [in Mirroshades (1986)] postmodernist authors Thomas Pynchon and William S. Burroughs as forerunners of cyberpunk.” Keith Booker, Anne-Marie Thomas, The Science Fiction Handbook, 2009, p. 111, ISBN 1-4051-6205-8, ISBN 978-1-4051-6205-0.
  68. ^ “… it should hardly be surprising that to discover that the work of William S Burroughs had a profound impact on both punk music and cyberpunk science fiction.” Larry McCaffery, Storming the reality studio: a casebook of cyberpunk and postmodern science fiction, 1991, p. 305.
  69. ^ “Cyberpunk writers acknowledge their literary debt to Burroughs and Pynchon, as well as to New Wave writers from the 1960s and 1970s such as J. G. Ballard and Samuel Delany.”, Jenny Wolmark, Aliens and others: science fiction, feminism, and postmodernism, 1994, ISBN 0-87745-447-7, ISBN 978-0-87745-447-2.
  70. ^ “(LeRoi Jones) … is best known as a major cultural leader, one of the African American writers who galvanized a second Black Renaissance, the Black Arts Movement of the 1960s …” – page xi, “Preface”, Komozi Woodard, A nation within a nation: Amiri Baraka (LeRoi Jones) and Black power politics (1999, UNC Press), ISBN 0-8078-4761-5, ISBN 978-0-8078-4761-9.
  71. ^ Williams, Saul. Said the Shotgun to the Head. MTV, 2003, p.184, ISBN 0-7434-7079-6.
  72. ^ “During the eighties, Ginsberg used his position as director of the writing department at Naropa, introduced his classes to the wide range of literature of the Beat Generation. Many of his students became poets and educators and are grouped under an entirely new category that has been labeled Postbeat Poets.” Bill Morgan, William Morgan, The Typewriter Is Holy: The Complete, Uncensored History of the Beat Generation, 2010, p. 245, ISBN 1-4165-9242-3, ISBN 978-1-4165-9242-6.
  73. ^ “… the name Beatles comes from ‘Beat’ …” Regina Weinreich, “Books: The Birth of the Beat Generation”, The Sunday New York Times Book Review, January 11, 1996; a review of Steven Watson’s THE BIRTH OF THE BEAT GENERATION: Visionaries, Rebels, and Hipsters 1944–1960.
  74. ^ Ellis Amburn describes a telephone conversation with Jack Kerouac: “John Lennon subsequently contacted Kerouac, revealing that the band’s name was derived from ‘Beat.’ ‘He was sorry he hadn’t come to see me when they played Queens,’ Kerouac said, referring to the Beatles Shea Stadium concert in 1965.” Amburn, Ellis, Subterranean Kerouac: The Hidden Life of Jack Kerouac, p. 342, ISBN 0-312-20677-1.
  75. ^ Weidman, Rich (2015). The Beat Generation FAQ: All That’s Left to Know About the Angelheaded Hipsters. Backbeat Books.
  76. ^ Wills, D. “Father & Son: Allen Ginsberg and Bob Dylan,” in Wills, D. (ed.), Beatdom Vol. 1 (Mauling Press: Dundee, 2007), pp. 90–93
  77. ^ Wills, David S. (July 28, 2007). “Allen Ginsberg and Bob Dylan”. Beatdom. Retrieved June 10, 2024.
  78. ^ ” As Ray Manzarek recalls when Morrison was studying at UCLA: ‘He certainly had a substantial investment in books. They filled an entire wall of his apartment. His reading was very eclectic. It was typical of the early- to mid-sixties hipster student. […] And lots of Beatniks. We wanted to _be_ beatniks. But we were too young. We came a little too late, but we were worshippers of the Beat Generation. All the Beat writers filled Morrison’s shelves […]’ (Manzarek 1999, 77)” Sheila Whiteley, Too much too young: popular music, age and gender (2005, Routledge)
  79. ^ Bennett, Graham (2014). Soft Machine: Out-Bloody-Rageous. Syzygy. p. 70. ISBN 9-7-8-90-822792-0-7.
  80. ^ “Tom Waits – The Pursuit of the Beats”. www.pennyblackmusic.co.uk. Retrieved September 12, 2017.
  81. ^ Holden, Stephen (May 19, 1980). “Sounds Around Town”. New York Times. ProQuest 427202678.
  82. ^ Greg Cahill (November 24–30, 2004). “Mark Sandman”. North Bay Bohemian.
  83. ^ “Aztec Two-Step”. Discogs. 1972. Retrieved May 30, 2015.
  84. ^ Bono comments approvingly on the Burroughs cut up method: “That’s what the Burroughs cut up method is all about. You cut up the past to find the future.” As quoted by John Geiger in Nothing is true – everything is permitted: the life of Brion Gysin, p. 273, attributed to John Waters, Race of the Angels: The Genesis of U2 (London, Fourth Estate, 1994), ISBN 1-85702-210-6 ISBN 978-1857022100.
  85. ^ “… author WILLIAM S. BURROUGHS, 84, whose nihilistic novels have influenced U2 front man BONO … “, Martha Pickerill, Time, June 2, 1997.
  86. ^ “The next video, Last Night on Earth was shot in Kansas City, with beat author William S. Burroughs making a cameo.” p. 96 David Kootnikoff, U2: A Musical Biography (2010) ISBN 0-313-36523-7, ISBN 978-0-313-36523-2.
  87. ^ Browning, Boo (July 29, 1982). “Homage to the Gurus of Beat”. The Washington Post. Retrieved February 22, 2021.
  88. ^ Palmer, Robert (July 14, 1982). “The Pop Life”. The New York Times. Retrieved February 22, 2021.
  89. ^ Collected in The Norman Podhoretz Reader by Norman Podhoretz, Thomas L. Jeffers, Paul Johnson. Free Press, 2007. ISBN 978-1-4165-6830-8.
  90. ^ In: Spontaneous Mind.
  91. ^ Ginsberg, Allen, Spontaneous Mind: Selected Interviews, 1958–1996, p. 5, ISBN 0-06-093082-9.
  92. ^ Knight, Arthur Winfield. Ed. The Beat Vision (1987), Paragon House. ISBN 0-913729-40-X; ISBN 0-913729-41-8 (pbk).
  93. ^ Charters (2001) Beat Down to Your Soul.
  94. ^ Martinez, Manuel Luis (2003). Countering the Counterculture: Rereading Postwar American Dissent from Jack Kerouac to Tomás Rivera. University of Wisconsin Press. p. 52. ISBN 9780299192839.
  95. ^ Lerner, Richard and Lewis MacAdams, directors “What Ever Happened to Kerouac?” (1985).
  96. ^ Burns, Glen Great Poets Howl: A Study of Allen Ginsberg’s Poetry, 1943–1955, ISBN 3-8204-7761-6.

3.2 来源文献 | Sources

  • Charters, Ann (ed.) (1992) The Portable Beat Reader. Penguin Books. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk). The table of contents is online Archived December 22, 2008, at the Wayback Machine.
  • Charters, Ann (ed.) (2001) Beat Down to Your Soul: What Was the Beat Generation? NY: Penguin, 2001. ISBN 0-14-100151-8
  • Knight, Arthur Winfield. Ed. The Beat Vision (1987) Paragon House. ISBN 0-913729-40-X; ISBN 0-913729-41-8 (pbk)
  • Knight, Brenda. Women of the Beat Generation: The Writers, Artists, and Muses at the Heart of a Revolution. ISBN 1-57324-138-5
  • McClure, Michael. Scratching the Beat Surface: Essays on New Vision from Blake to Kerouac. Penguin, 1994. ISBN 0-14-023252-4
  • Miles, Barry (2001). Ginsberg: A Biography. London: Virgin Publishing Ltd., paperback, 628 pages, ISBN 0-7535-0486-3
  • Morgan, Ted (1983) Literary Outlaw The Life and Times of William S. Burroughs. ISBN 0-380-70882-5, first printing, trade paperback edition Avon, NY, NY
  • Phillips, Lisa. Beat Culture and the New America 1950–1965 was published by the Whitney Museum of American Art in accordance with an exhibition in 1995/1996. ISBN 0-87427-098-7 softcover. ISBN 2-08-013613-5 hardcover (Flammarion)
  • Raskin, Jonah. American Scream: Allen Ginsberg’s “Howl” and the Making of the Beat Generation. University of California Press, 2004. ISBN 0-520-24015-4
  • Starer, Jacqueline. Les écrivains de la Beat Generation éditions d’écarts Dol de Bretagne France. 1SBN 978-2-919121-02-1
  • Weidner, Chad. The Green Ghost: William Burroughs and the Ecological Mind. Carbondale, IL: Southern Illinois University Press, 2016. 1SBN 978-0809334865

4. 中文词条参考文献

4.1 书籍

  • 泰德·摩根著，《文学囚徒：威廉·博罗斯的生平与时代》，（1983） ISBN 0-380-70882-5
  • 布兰达·耐特著，《“垮掉的一代”中的女性：变革中心的作家、艺术家和音乐家》，ISBN 1-57324-138-5
  • 安·查尔特斯著，《“垮掉派”口袋书》，ISBN 0-670-83885-3 (hc); ISBN 0-14-01.5102-8 (pbk).
  • 阿瑟·温菲尔德·耐特著，《“垮掉派”幻影》，ISBN 0-913729-40-X
  • 《“垮掉派”文化与1950年－1965年的新美国》，ISBN 0-87427-098-7
  • 艾德·桑德斯著，《披头族的荣耀》（1990年第二版），ISBN 0-80651-172-9

4.2 电影

  • 杰克·克鲁亚克编剧，罗伯特·弗兰克、阿尔弗莱德·莱斯利导演，《拔出雏菊》，1958年
  • 理查德·莱恩纳、刘易斯·麦克亚当导演，《克鲁亚克怎么了？》（记录片），1986年
  • 恰克·沃克曼编剧、导演，《源泉》，1999年

4.3 网络资源

  1. ^ The Beat Generation – Literature Periods & Movements.. [2017-07-30]. （原始内容存档于2017-07-10）.
  2. ^ Charters, Ann. Beat Down to Your Soul: What was the Beat Generation?. Penguin Books. 2001. ISBN 0141001518.

5. 延伸阅读 | Further reading

5.1 书籍 | Books

  • Beckett, Larry, Beat Poetry. Edinburgh: Beatdom Books. 2012. ISBN 9780956952530.
  • Campbell, James. This Is the Beat Generation: New York–San Francisco-Paris. LA: University of California Press. 2001. ISBN 0-520-23033-7.
  • Chandarlapaty, Raj. Seeing the Beat Generation. Jefferson, NC: McFarland & Company, 2019. ISBN 978-1476675756
  • Collins, Ronald & Skover, David. Mania: The Story of the Outraged & Outrageous Lives that Launched a Cultural Revolution (Top-Five Books, March 2013)
  • Cook, Bruce The Beat Generation: The tumultuous ’50s movement and its impact on today. New York: Charles Scribner’s Sons, 1971. ISBN 0-684-12371-1.
  • Gifford, Barry and Lawrence Lee Jack’s Book An Oral Biography Of Jack Kerouac, New York: St. Martin’s Press, 1978. ISBN 0-312-43942-3
  • Gorski, Hedwig. * [2] Robert Creeley 1982 TV Interview with Hedwig Gorski transcript included in special Robert Creeley Issue, Journal of American Studies of Turkey (JAST), No. 27, Spring 2008.
  • Grace, Nancy Jack Kerouac and the Literary Imagination, New York: Palgrave Macmillan, 2007. ISBN 1-4039-6850-0
  • Hemmer, Kurt (ed.). Encyclopedia of Beat Literature. Facts on File, 2006. ISBN 0-8160-4297-7
  • Hrebeniak, Michael. Action Writing: Jack Kerouac’s Wild Form, Carbondale, IL: Southern Illinois University Press, 2006.
  • Johnson, Ronna C. and Nancy Grace. Girls Who Wore Black: Women Writing the Beat Generation. Rutgers, 2002. ISBN 0-813-53064-4
  • Knight, Brenda. Women of the Beat Generation; The Writers, Artists, and Muses at the Heart of a Revolution. Conari Press, 1996. ISBN 1573240613 ISBN 978-1573240611
  • Lawlor, William, Beat Culture: Lifestyles, Icons, and Impact, Santa Barbara: Bloomsbury Academic, 2005 ISBN 9781851094004
  • McDarrah, Fred W., and Gloria S. McDarrah. Beat Generation: Glory Days in Greenwich Village Schirmer Books (September 1996) ISBN 0-8256-7160-4
  • McNally, Dennis. Desolate Angel: Jack Kerouac, the Beat Generation, and America. NY: DeCapo, 2003. ISBN 0-306-81222-3
  • Miles, Barry. The Beat Hotel: Ginsberg, Burroughs & Corso in Paris, 1957–1963. NY: Grove Press, 2001. ISBN 0-8021-3817-9
  • Peabody, Richard. A Different Beat: Writing by Women of the Beat Generation. Serpent’s Tail, 1997. ISBN 1852424311 / ISBN 978-1852424312
  • Sargeant, Jack. Naked Lens: Beat Cinema. NY: Soft Skull, 2009 (third edition)
  • Sanders, Ed. Tales of Beatnik Glory (second edition, 1990) ISBN 0-8065-1172-9
  • Theado, Matt (ed.). The Beats: A Literary Reference. NY: Carrol & Graff, 2002. ISBN 0-7867-1099-3
  • Watson, Steven. The Birth of the Beat Generation: Visionaries, Rebels, and Hipsters, 1944–1960. NY: Pantheon, 1998. ISBN 0-375-70153-2

5.2 档案资源 | Archival resources

Wikimedia Commons has media related to Beat Generation.

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