Objectification And Sexism In Jack Kerouac's On The Road

Cormac McCarthy’s The Road, is an enticing, but soul-wrenching novel that perfectly conveys the precise conditions of a cold, desolate world, in which one feels utterly isolated. McCarthy does not hesitate to go into detail about powerful or foul events within the plot. He says exactly what he means, and can effectively incorporate forceful interactions between the characters and each other, as well as characters and their given environment. By using the literary devices of symbolism, imagery, and theme, McCarthy handcrafts a novel with such eloquence and grace that such a bleak and miserable world is perhaps a seemingly beautiful one.

The early 1960’s to mid 1970s was the start of the counterculture of youth culture. During the 1960’s, there were revolutions including a sexual revolution, a cultural/ racial revolution, a rights revolution, and student revolutions. In addition to revolutions, there also a focus on the transition to adulthood, popularity, consumption, anxiety, and the media. However the movie, American Graffiti, which was set in the 1962 (1960s)–before the peak of 1960’s counterculture–and released in 1973 (1970’s) displays an environment more focused on the anxiety of transitioning to adulthood, dating, and consumerism--music and cars. American Graffiti compared to the set and release dates share similarities with the counterculture, but are depicted in

In the play, A Streetcar Named Desire, by Tennessee Williams, the representation of male and female characters are based on gender stereotypes, which represent a patriarchal society. The way in which Tennessee Williams portrays the main characters: Blanche, Stanley and Stella, by using gender stereotypes demonstrates the patriarchal society`s value, norms and beliefs of the 1940s.

2. The mood of the “Beat Generation’ is best reflected in which Jack Kerouac’s On the Road.

Mary Ann, the cute blond with the cosmetic bag and pink sexy sweater portrays the perfect picture of a high school sweetheart of the seventies. She is being imported "with the daily resupply shipment" and presented as an object of the men's enjoyment. "The men genuinely liked her" means they liked what they saw, her body. But this image of Mary

The book The Road Cormac McCarthy creates a darkened mood when he puts this son and father into a destroyed world. McCarthy created this concept of a world to intensify the meaning of the piece all together. This darkness in the world creates to fear and the isolation for characters to realize that this is how life is from now on. The son in this novel comes to the realization of the world due to certain events within the novel that manipulation the view the son has on the world.

It is interesting to see that Brown decided to present this information in the form of a quote instead of using his own words to describe the women of his novel. One of the reasons for this is to stay consistent with his novel. Brown is continually sourcing quotes from other authors at the beginning of his chapters as well as throughout the novel, to have us look on other people’s words with a

Antoinette's story begins when she is a young girl in early nineteenth- century Jamaica. The white daughter of ex-slave owners. Five years have passed since her father, Mr. Cosway, reportedly drunk himself to death. As a young girl, Antoinette lives at Coulibri Estate with her widowed mother, Annette, her sickly younger brother, Pierre.Antoinette spends her days in isolation Discontent, however, is rising among the freed blacks, who protest one night outside the house. Bearing torches, they accidentally set the house on fire, and Pierre is badly hurt. The events of the night leave Antoinette dangerously ill for six weeks. She wakes to find herself in Aunt Cora's care. Pierre has died. When Antoinette is seventeen, Mr. Mason announces on

Daisy illustrates the typical women of high social standing; her life is moulded by society’s expectations. She is dependent and subservient to her husband. She is powerless in her marriage.

The beat generation was a movement that sought to oppose American society values, and any sort of control. They explored Eastern religions, was somewhat postmodernism, rejected the materialistic culture, spoke about drugs, our conscious mind, and fought for sexual liberation and exploration with their unapologetically offensive language. While reading the novel Jitterbug Perfume written by Tom Robbin, one can witness how the novel exhibits aspects of the beat literature, and thus concluding that the beat generation served as inspiration to Tom Robbin.

” Williams’ theory therefore suggests that the terms must necessarily co-exist in order to define each other. The “pervasiveness of consent ” therefore characterises the fifties, against which these Beat texts can be contrasted. Theodore Roszak’s 1969 article ‘The Making of a Counterculture,’ helps define beat ideology as “heightened self-expression and often a rejection of political and authoritative institutions… a negative spirit of the times coupled with a specific lifestyle .” Both On the Road and Howl and their author’s lifestyles of their writers reflect this criterion, in idiomatic and contextual terms, lending to the notion that they are, by the overall nature of their existence, countercultural texts. Roszak’s adolescent counterculture often seems the embodiment of Dean and Sal’s ‘beatitude’ in On the Road “when they pulse to music…value what is raunchy… flare against authority, seek new experience, ” but it is similarly descriptive of the naked, sometime vulgar language Ginsberg employs in Howl “who bit detectives in the neck… let themselves be fucked in the ass.” (13) The Beats admire the vibrancy naturally present among youth, and although this is a style for which their writing has been criticised, it is a move away from the traditionally

The turbulent societal changes of the mid-20th Century have been documented in countless forms of literature, film and art. On the Road by Jack Kerouac was written and published at the outset of the counter-culture movement of the 1950s and 1960s. This novel provides a first-hand account of the beginnings of the Beat movement and acts as a harbinger for the major societal changes that would occur in the United States throughout the next two decades. On the contrary, Fear and Loathing in Las Vegas, a Hunter S. Thompson novel written in 1971 provides a commentary on American society at the end of the counter-culture movement. Thompson reflects on the whirlwind of political and social activism he experienced and how American society had

So, in consequence, there are many instances of the diminishment of the female identity. These can be seen in the novels treatment of the female characters like Marylou, Sal's Aunt, and Terry. Marylou is repeatedly talked about, not talked to. In the part in which Dean wishes Sal to sleep with Marylou the only dialogue that goes on is either Sal's or Dean's. Marylou has no lines. All she really has is a little "go ahead". That is all and that really does not even imply cooperation; only coercion like "go ahead and You do Your thing to me". Dean is flippantly wanting Marylou to sleep with his friend with little regard to anything she feels. She is a women, and, what is more to Dean she is a whore so of course she will sleep with Sal. To Sal's credit though he does ask what she wants or thinks from the start but this sudden care seems to arise due to his own nervousness and insecurities not any kind of genuine feeling for Marylou. Her identity as seen through the eyes of men would fall into the whore stereotype of women. This is the exact opposite from Sal's Aunt. The most apparent treatment of Sal's Aunt as something less than an equal comes at the end of part one. Sal has just returned from his first trip west. He is tired. He has been starving for three days now and of course eats everything in the house. Then his Aunt's few extensive lines in the entire novel occur, and in a decidedly motherly fashion she says "Poor little Salvatore". She has fulfilled Sal's

     Jack Kerouac is the first to explore the world of the wandering hoboes in his novel, On the Road. He created a world that shows the lives and motivations of this culture he himself named the 'Beats.' Kerouac saw the beats as people who rebel against everything accepted to gain freedom and expression. Although he has been highly criticized for his lack of writing skills, he made a novel that is both realistic and enjoyable to read. He has a complete disregard for developed of plot or characters, yet his descriptions are incredible. Kerouac?s novel On the Road defined the post World War II generation known as the 'beats.'

     A disillusioned youth roams the country without truly establishing himself in one of the many cities he falls in love with. In doing so, he manages with the thought or presence of his best friend. What is he searching for? While journeying on the road, Sal Paradise is not searching for a home, a job, or a wife. Instead, he longs for a mental utopia offered by Dean Moriarty. This object of his brotherly love grew up in the streets of America. Through the hardships of continuously being shuffled from city to city, Dean has encompassed what is and what is not important in life. While driving back to Testament in the '49 Hudson, Dean propositions Sal through an appeal to emotion. In passing