Introduction

Author(s):  
David Stephen Calonne

As one studies Crumb from the outset of his career to the present, it becomes evident that he has embarked on a massive autobiographical enterprise in which personal, secret “confessions”—in a mode reminiscent of figures as diverse as Saint Augustine, Jean-Jacques Rousseau, Henry Miller, and Allen Ginsberg—are made public and merge with the topics to which he is drawn in literature. This Introduction explores Crumb’s traumatic childhood and his early decision to become an artist, the influence of his two brothers on his early intellectual development as well as his rejection of organized religion. The focus then turns to a discussion of Crumb’s role as the genius of the “comix revolution” which was launched during Crumb’s time in San Francisco when Zap magazine was created. The chapter closes with a brief summary of the contents of each chapter. R. Crumb: Literature, Autobiography, and the Quest for Self aims to fill a major gap in contemporary scholarship in the humanities.

1973 ◽  
Vol 2 (1) ◽  
pp. 159-160

Author(s):  
Matt Theado

Irwin Allen Ginsberg (b. 1926–d. 1997) was born in Newark, New Jersey, to a high school teacher father who published poetry and a Russian-born mother who retained her communist roots. Both her sympathy for the labor class and her gradual mental decay deeply affected Ginsberg in his youth. Intending to study law, Ginsberg enrolled at Columbia University in 1943, but he soon turned to literature, taking classes from Mark Van Doren and Lionel Trilling. During his Columbia years, Ginsberg met Lucien Carr, William Burroughs, Jack Kerouac, John Clellon Holmes, and Neal Cassady, artistic influences and principal constituents of what came to be known as the Beat Generation. In 1948 Ginsberg claimed to have heard William Blake’s voice, and from then on Ginsberg emphasized the visionary aspects of his poetry. He experimented with drugs, sexuality, and meditation throughout his life. In 1949 he was arrested in connection with a series of robberies, though he did not take part. In lieu of jail, he was sent to a psychiatric institute, where he met Carl Solomon, a key figure in Ginsberg’s poem “Howl.” Ginsberg’s public breakthrough came in San Francisco, in 1955, when he read the first part of “Howl” before an audience as part of an event that launched the San Francisco Poetry Renaissance. The City Lights publisher, Lawrence Ferlinghetti, published Howl and Other Poems (1956), for which he was arrested by San Francisco police on charges of selling obscene material; the following trial, which resulted in an acquittal, catapulted Ginsberg to international notoriety. Although Howl and Other Poems remains Ginsberg’s best-known book, many readers consider Kaddish and Other Poems, 1958–1960 (1961), dedicated to the memory of his mother, to be his best work. His Collected Poems, 1947–1997 (2006) displays the scope of his writing career and exhibits the traits for which he is known: lines often based on breath rather than on metric forms, subject matter that ranges from intensely personal to overtly political, forthright candor, and a sometimes shocking frankness.


Author(s):  
Jean-Luc Nancy ◽  
Adèle Van Reeth

Coming is a lyrical, erudite examination of the French notion of jouissance. How did jouissance evolve from referring to the pleasure of possessing a material thing (property, wealth) to the pleasure of orgasm, from appropriation to dis-appropriation, from consumption to consummation? The philosophers Adèle van Reeth and Jean-Luc Nancy engage in a lively dialogue touching on authors as varied as Spinoza, Hegel, Saint Augustine, the Marquis de Sade, Marguerite Duras, and Henry Miller, and on subjects ranging from consumerism to video games to mysticism. Four additional essays were added to the American edition: “The Body of Pleasure,” a philosophical examination of the body and the senses; “Rühren, Berühren, Aufruhr (Moving, Touching, Uprising),” on the nature of touch; “Neither Seeing Nor Having,” an essay on the philosopher Gérard Granel’s meditations on the obsessive love of Paolo and Francesca in Canto V of Dante’s Inferno; and finally a lyrical and evocative prose-poem called “Nude Enumerated.”


2021 ◽  
Vol 36 (1) ◽  
pp. 9-39
Author(s):  
Homay King

Abstract This article traces one source of Agnès Varda's artistic inspiration to Jean “Yanco” Varda, the subject of her 1967 short film Uncle Yanco (US/France). Jean Varda was a peripatetic artist who lived on a houseboat and was part of a bohemian circle that included Henry Miller, Anaïs Nin, Alan Watts, and other luminaries of the San Francisco counterculture. Both Vardas were gleaners and artists. The author argues that both saw the imagination as a place where matter and spirit were reconciled. The article builds on previous work about Varda's The Gleaners and I (Les glaneurs et la glaneuse, France, 2000), exploring Varda's materialist feminism and her use of earthly and tactile materials. The author focuses not only on matter but also on the imagination and the intangible images, colors, and forms that are prominent in her oeuvre, arguing that Yanco served as a muse to his niece.


Humanities ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 3 ◽  
Author(s):  
Steven Belletto

This essay explores the relationship between the U.S.-based Beat literary movement and the Hungry Generation literary movement centered in and around Calcutta, India, in the early 1960s. It discusses a trip Allen Ginsberg and Peter Orlovsky took to India in 1962, where they met writers associated with the Hungry Generation. It further explains how Lawrence Ferlinghetti, owner of City Lights Books in San Francisco, was inspired to start a new literary magazine, City Lights Journal, by Ginsberg’s letters from India, which included work by Hungry Generation writers. The essay shows how City Lights Journal packaged the Hungry Generation writers as the Indian wing of the Beat movement, and focuses in particular on the work of Malay Roy Choudhury, the founder of the Hungry Generation who had been prosecuted for obscenity for his poem “Stark Electric Jesus”. The essay emphasizes in particular the close relationship between aesthetics and politics in Hungry Generation writing, and suggests that Ginsberg’s own mid-1960s turn to political activism via the imagination is reminiscent of strategies employed by Hungry Generation writers.


Author(s):  
Jean-Luc Nancy ◽  
Adèle Van Reeth

Coming is a lyrical, erudite examination of the French notion of jouissance. How did jouissance evolve from referring to the pleasure of possessing a material thing (property, wealth) to the pleasure of orgasm, from appropriation to dis-appropriation, from consumption to consummation? The philosophers Adèle van Reeth and Jean-Luc Nancy engage in a lively dialogue touching on authors as varied as Spinoza, Hegel, Saint Augustine, the Marquis de Sade, Marguerite Duras, and Henry Miller, and on subjects ranging from consumerism to video games to mysticism.


Author(s):  
László G. Kömüves

Light microscopic immunohistochemistry based on the principle of capillary action staining is a widely used method to localize antigens. Capillary action immunostaining, however, has not been tested or applied to detect antigens at the ultrastructural level. The aim of this work was to establish a capillary action staining method for localization of intracellular antigens, using colloidal gold probes.Post-embedding capillary action immunocytochemistry was used to detect maternal IgG in the small intestine of newborn suckling piglets. Pieces of the jejunum of newborn piglets suckled for 12 h were fixed and embedded into LR White resin. Sections on nickel grids were secured on a capillary action glass slide (100 μm wide capillary gap, Bio-Tek Solutions, Santa Barbara CA, distributed by CMS, Houston, TX) by double sided adhesive tape. Immunolabeling was performed by applying reagents over the grids using capillary action and removing reagents by blotting on filter paper. Reagents for capillary action staining were from Biomeda (Foster City, CA). The following steps were performed: 1) wet the surface of the sections with automation buffer twice, 5 min each; 2) block non-specific binding sites with tissue conditioner, 10 min; 3) apply first antibody (affinity-purified rabbit anti-porcine IgG, Sigma Chem. Co., St. Louis, MO), diluted in probe diluent, 1 hour; 4) wash with automation buffer three times, 5 min each; 5) apply gold probe (goat anti-rabbit IgG conjugated to 10 nm colloidal gold, Zymed Laboratories, South San Francisco, CA) diluted in probe diluent, 30 min; 6) wash with automation buffer three times, 5 min each; 7) post-fix with 5% glutaraldehyde in PBS for 10 min; 8) wash with PBS twice, 5 min each; 9) contrast with 1% OSO4 in PBS for 15 min; 10) wash with PBS followed by distilled water for5 min each; 11) stain with 2% uranyl acetate for 10 min; 12) stain with lead citrate for 2 min; 13) wash with distilled water three times, 1 min each. The glass slides were separated, and the grids were air-dried, then removed from the adhesive tape. The following controls were used to ensure the specificity of labeling: i) omission of the first antibody; ii) normal rabbit IgG in lieu of first antibody; iii) rabbit anti-porcine IgG absorbed with porcine IgG.


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