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Beatnik was a media stereotype prevalent throughout the 1950s to mid-1960s that displayed the more superficial aspects of the Beat Generation literary movement of the 1950s. Elements of the beatnik trope included inclinations toward violence, drug use, and pseudo-intellectualism, along with a cartoonish depiction of the real-life people and the spiritual quest of Jack Kerouac's autobiographical fiction. ==History== Kerouac introduced the phrase "Beat Generation" in 1948, generalizing from his social circle to characterize the underground, anticonformist youth gathering in New York at that time. The name came up in conversation with the novelist John Clellon Holmes, who published an early Beat Generation novel, ''Go'' (1952), along with a manifesto in ''The New York Times'' Magazine: "This Is the Beat Generation"〔(Holmes, John Clellon. "This Is the Beat Generation," ''The New York Times'', November 16, 1952. )〕 In 1954, Nolan Miller published his third novel, ''Why I Am So Beat'' (Putnam), detailing the weekend parties of four students. The adjective "beat" was introduced to the group by Herbert Huncke, though Kerouac expanded the meaning of the term. "Beat" came from underworld slang—the world of hustlers, drug addicts, and petty thieves, where Allen Ginsberg and Kerouac sought inspiration. "Beat" was slang for "beaten down" or downtrodden, but to Kerouac and Ginsberg, it also had a spiritual connotation as in "beatitude". Other adjectives discussed by Holmes and Kerouac were "found" and "furtive". Kerouac felt he had identified (and was the embodiment of) a new trend analogous to the influential Lost Generation.〔Kerouac, Jack. ''The Portable Kerouac''. Ed. Ann Charters. Penguin Classics, 2007.〕〔Holmes, John Clellon. ''Passionate Opinions: The Cultural Essays (Selected Essays By John Clellon Holmes, Vol 3)''. University of Arkansas Press, 1988. ISBN 1-55728-049-5〕 In "Aftermath: The Philosophy of the Beat Generation", Kerouac criticized what he saw as a distortion of his visionary, spiritual ideas: The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late Forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way—a vision gleaned from the way we had heard the word "beat" spoken on street corners on Times Square and in the Village, in other cities in the downtown city night of postwar America—beat, meaning down and out but full of intense conviction. We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer. It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization...〔(Kerouac, Jack. "About the Beat Generation," (1957), published as "Aftermath: The Philosophy of the Beat Generation" in ''Esquire,'' March 1958 )〕〔(Reviews: ''On the Road'' )〕 Kerouac explained what he meant by "beat" at a Brandeis Forum, "Is There A Beat Generation?", on November 8, 1958, at New York's Hunter College Playhouse. Panelists for the seminar were Kerouac, James A. Wechsler, Princeton anthropologist Ashley Montagu, and author Kingsley Amis. Wechsler, Montague, and Amis all wore suits, while Kerouac was clad in black jeans, ankle boots, and a checkered shirt. Reading from a prepared text, Kerouac reflected on his beat beginnings: It is because I am Beat, that is, I believe in beatitude and that God so loved the world that He gave His only begotten son to it... Who knows, but that the universe is not one vast sea of compassion actually, the veritable holy honey, beneath all this show of personality and cruelty?〔(Aronowitz, Al. ''The Blacklisted Journalist'' )〕 Kerouac's address was later published as "The Origins of the Beat Generation" (''Playboy'', June 1959). In that article, Kerouac noted how his original beatific philosophy had been ignored amid maneuvers by several pundits, among them Herb Caen, the San Francisco newspaperman, to alter Kerouac's concept with jokes and jargon: I went one afternoon to the church of my childhood and had a vision of what I must have really meant with "Beat"... the vision of the word Beat as being to mean beatific... People began to call themselves beatniks, beats, jazzniks, bopniks, bugniks and finally I was called the "avatar" of all this. In light of what he considered beat to mean and what beatnik had come to mean, he once observed to a reporter, "I'm not a beatnik, I'm a Catholic", showing the reporter a painting of Pope Paul VI and saying, "You know who painted that? Me." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Beatnik」の詳細全文を読む スポンサード リンク
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