Ethnicity and gender in the beat generation: Jack Kerouac and the other woman.
Pivoting around the contrast between Jack Kerouac’s On the Road (1957) and Tim Z. Hernandez’s Mañana Means Heaven (2013), this article reopens debates about ethnic appropriation and rhetorical control in the Beat Generation. More specifically, it sets out to investigate whether the textual strategie...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universidad de Murcia |
| Repositorio: | DIGITUM. Depósito Digital Institucional de la Universidad de Murcia |
| OAI Identifier: | oai:digitum.um.es:10201/123064 |
| Acceso en línea: | https://doi.org/10.6018/ijes.477981 http://hdl.handle.net/10201/123064 |
| Access Level: | acceso abierto |
| Palabra clave: | Jack Kerouac Tim Hernandez Bea Franco Mexican girl Ethnicity Gender CDU::3 - Ciencias sociales::39 - Etnología. Etnografía. Usos y costumbres. Tradiciones. Folklore::396 - Feminismo. Situación de la mujer |
| Sumario: | Pivoting around the contrast between Jack Kerouac’s On the Road (1957) and Tim Z. Hernandez’s Mañana Means Heaven (2013), this article reopens debates about ethnic appropriation and rhetorical control in the Beat Generation. More specifically, it sets out to investigate whether the textual strategies used in Mañana Means Heaven allow ethnic minorities to escape the discursive control exerted by On the Road. Keeping in mind that Hernandez’s text acts as a counter-discursive text to Kerouac’s representation of Bea Franco (aka “the Mexican girl”) this article analyzes the different dialogues Mañana Means Heaven necessarily establishes with On the Road, which often include alliances as well as points of departure. |
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