Encarnación Pinedo,  Estíbaliz

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Encarnación Pinedo, Estíbaliz

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Encarnación Pinedo, Estíbaliz

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Filología Inglesa

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Open Access
Beat & beyond: memoir, myth and visual arts in women of the beat generation
(2016-02-16) Encarnación Pinedo, Estíbaliz; Suárez Sánchez, Juan Antonio; Facultad de Letras
El objetivo de esta tesis doctoral es revaluar el trabajo de las mujeres de la Generación Beat dentro de un discurso artístico y literario post(Beat) o más allá de lo “Beat.” El capítulo dos, en el que se analizan once memorias, se centra en el dilema entre lo personal y lo literario y sirve para delinear el contexto socio-político y artístico en el que las autoras escribieron. A través del análisis de temas comunes a las distintas memorias (la escritura, los roles de género, y la conexión con el movimiento Beat), este capítulo sitúa a las escritoras en un contexto artístico que fue común a los escritores masculinos, pero que se ve a la vez ampliado a través del estudio de temas como la maternidad, el aborto o la domesticidad. En cualquier caso, el capítulo va más allá de la experiencia personal para examinar el uso específico del género memoria. Usando como marco teórico y metodológico teorías de escritura autobiográfica y revaluaciones feministas, el capítulo reexamina el valor artístico y literario de las memorias, que son con demasiada frecuencia tachadas de anti-literarias. El tercer capítulo se centra en poesía, concretamente las colecciones The Tapestry and the Web (1965) de Joanne Kyger, Loba (1998) de Diane di Prima, y The Iovis Trilogy (2011) de Anne Waldman, para ver de qué manera estas poetas actualizan discursos, temática y personajes de la mitología. Kyger trabaja directamente con La Odisea de Homero para dotar a Penélope de una visión más contemporánea y un lugar más apropiado para auto-expresarse, si bien opta por mantener al personaje mitológico “atrapado” dentro de la estructura provista por Homero. Loba de Diane di Prima, una colección escrita durante los años setenta, está influenciada de una manera más clara por discursos feministas y por el llamado Movimiento de la Diosa. La última parte explora la deconstrucción de los mitos del patriarcado que lleva a cabo Waldman en su épica a través de la metáfora de “todo está lleno de Jove”, que alude al omnipresente y todopoderoso Zeus. Además de analizar el mito como una construcción ficticia, estas tres colecciones revalúan la posición de la mujer dentro del género de la épica. El último capítulo estudia el arte visual como contrapunto a la representación visual (estereotipada) de la mujer en la Generación Beat producida por los medios de comunicación. Además, el capítulo sitúa la escritura de estas autoras en un contexto multi-mediático y multidisciplinar que las ubica en la vanguardia artística y la experimentación literaria de los años sesenta en adelante. La primera parte del capítulo considera la involucración de las poetas con el vídeo y la película como medios audiovisuales a través de los cuales expandir su visión poética. La última parte se centra en la poesía y el arte visual producido por ruth weiss desde dos perspectivas distintas: la influencia de la pintura, escultura y las proyecciones psicodélicas en su poesía y la expansión de la poesía a través del teatro, la pintura, o el cine. La conclusión enfatiza la necesidad de situar la poesía de estas mujeres en el centro de los discursos académicos sobre la generación Beat. El enfoque empleado evita una comparación con el trabajo de los escritores de la generación, lo que sortea su victimización y establece la auto-suficiencia y el valor estético y temático de su obra. Para ello, la tesis usa de marco metodológico los estudios de género y culturales, así como la crítica feminista. El análisis formal está informado por lecturas temático-formales de la representación literaria y visual del género y la sexualidad desarrollada por la crítica feminista y queer. The aim of this dissertation is to reassess the position of women writers within the Beat Generation and re-evaluate their work within (post)Beat – and extra-Beat – literary and artistic discourses. To do so, the dissertation is divided into three main chapters which focus on different themes and, incidentally, on the work of different writers and poets. Chapter two tackles the personal/literary dilemma by analyzing eleven memoirs written by women associated with the Beat Generation. By investigating common themes in the memoirs – namely, writing, gender roles, and connection with the Beat Generation – this chapter situates the women in a specific socio-political and artistic context that was common to the male Beat writers, but also expands the concerns found in the works of the male Beats by dealing with themes such as motherhood, abortion, domesticity or even the responsibility of economically supporting the family. Nevertheless, this chapter goes beyond the personal position or personal experience of these authors by studying the specific use they make of memoir as a genre. Bringing into the fore life-writing studies and feminist reevaluations of the dialogue between genre and gender, this chapter argues for a thoughtful reexamination of the literary and artistic value of the – too-often – discarded memoirs. The third chapter moves on to poetry, specifically to Joanne Kyger’s The Tapestry and the Web (1965), Diane di Prima’s Loba (1998) and Anne Waldman’s The Iovis Trilogy (2011), to examine the way in which these poets revise or appropriate mythological themes, characters and discourses. Kyger, for instance, works directly with Homer’s The Odyssey to endow Penelope with a more contemporaneous mindset and space to express herself, while simultaneously keeping her “trapped” within Homer’s framework. Di Prima’s Loba – written mostly in the mid seventies – resonates more clearly with feminist appropriation of mythological characters as well as with the specific Goddess Movement. The last part of the chapter explores Anne Waldman’s deconstruction of the patriarchal myths through the ongoing metaphor of “all is full of Jove” – which alludes to the omnipresent and almighty patriarch, Zeus. In addition to the focus on mythology as a fictive construction, these three poetry collections reevaluate the position of women within the epic genre. The last chapter focuses on visual arts to counteract the visual representation of women in the Beat Generation generated by the mainstream media, and situates their writing in a multi- and trans-media context that places it at the forefront of 1960s artistic and literary experimentation. The first part of the chapter delineates the actual involvement of poets with film and video as, mainly, mediums from which to expand their poetry and artistic vision. The last part focuses on the connection between ruth weiss’s poetry and the visual art world in two different ways: the influence of visual arts like painting, sculpture and lightshows on her poetry, and the actual expansion of her poetry into other media such as painting, theater and film. The conclusion stresses the necessity of placing these women’s poetry and art in the foreground of academic and scholar discourses of the Beat Generation. The approach adopted avoids a comparison with the work of male writers of the generation, which allows for a much freer space from which to analyze their literature outside of a victimized position, while it also establishes the self-sufficiency and aesthetic and thematic relevance of their work. To do so, the dissertation uses as a methodological framework cultural and gender studies, as well as feminist criticism. The formal analysis, in addition, is informed by thematic and formal readings of the literary and visual representation of gender and sexuality developed by feminist and queer criticism.
Open Access
Unbound queer time in literature, cinema, and video games
(Routledge, Taylor & Francis Group, 2025) Belmonte Ávila, Juan Francisco; Encarnación Pinedo, Estíbaliz; Filología Inglesa
Unbound Queer Time in Literature, Cinema, and Video Games investigates the potential of queer conceptions of time to unbind forms of understanding identities. In doing so, it recognizes the power of time to determine us but chooses to queer time and turn it into an ally of unbound forms of understanding identities. Through the analysis of different media—literature, cinema, and video games—the chapters revolve around three key ideas: that there are inherently queer styles of using and dealing with time and temporality in culture; that the critical rediscovery of canonical texts and the analysis of largely ignored queer texts and authors allow for a better understanding of queer identities; and, finally, that normative conceptions of time can—and should—be challenged through critical tools that reconceptualize notions of the self around time.19
Restricted
Ruth Weiss. Beat Poetry, Jazz, Art
(De Gruyter, 2021-10-14) Encarnación Pinedo, Estíbaliz; Antonic, Thomas; Filología Inglesa; Facultad de Letras
Ruth Weiss, born in Berlin in 1928 to Austrian-Jewish parents, arrived in San Francisco in 1952 after hitchhiking through the United States. Crowned years later as the “Goddess of the Beat Generation” by San Francisco Chronicle critic Herb Caen, weiss has worked for almost seven decades with a plurality of artistic forms. Despite her extensive poetry career and very active participation in the West Coast buzzing artistic community since the early 1950s, weiss has remained an essentially overlooked figure in poetry history. This neglect might be representative of the overshadowing of female artists within the Beat Generation as “a marginalized group within an always already marginalized bohemia” (Johnson). The volume taps directly into this lacuna by proving the first close study on one of the most prolific members of the so-called Beat Generation. Offering diverse and comprehensive points of entrance into weiss’s oeuvre, the essays in this volume adopt a multidisciplinary approach that attests to the cross-pollination between art forms in postwar counterculture. In addition, the volume also includes shorter, non-academic contributions and previously unpublished archival material. Bringing together scholars, academics and artists from around the world, this volume represents a timely and much-needed response to the increasing interest in weiss’s work in the last decades.
Open Access
Shifting the mythic discourse: ambiguity and destabilization in Joanne Kyger’s The Tapestry and the Web
(Universidad Complutense de Madrid, 2020-05-20) Encarnación Pinedo, Estíbaliz; Filología Inglesa; Facultad de Letras
The Homeric Penelope, long hailed as a feminist icon just as much as an example of submissive wife, has been the focus of numerous revisions and interpretations ranging from the reactionary to the most subversive. This article analyzes Joanne Kyger’s revision of the mythic discourse in The Tapestry and the Web (1965) by studying two of the main strategies used by the poet: subtle shifts of focus and the use of alternative sources. Building from Joseph Campbell’s concept of the monomyth, which gave the poet the aesthetic freedom to move within Homer’s text, the article examines Kyger’s use of the mythic discourse to undermine the prevalence of patriarchal narratives and question their position as established categories. Operating inside and outside the Homeric construct, Kyger’s collection perpetuates and subverts the classical myth in a move that anticipates contemporary – feminist – revisions and adaptations.
Open Access
Unbound Queer Time in Literature, Cinema, and Video Games
(Routledge, 2025) Juan Francisco Belmonte Ávila; Encarnación Pinedo, Estíbaliz; Filología Inglesa
Disponible en open access en: https://www.taylorfrancis.com/books/oa-edit/10.4324/9781003399957/unbound-queer-time-literature-cinema-video-games-juan-francisco-belmonte-%C3%A1vila-est%C3%ADbaliz-encarnaci%C3%B3n-pinedo
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Beat myths in literature. Revisionist strategies in Beat women
(Routledge, Taylor & Francis Group, 2023-09-22) Encarnación Pinedo, Estíbaliz; Filología Inglesa
Beat Myths in Literature reassesses the work of women poets associated with the Beat Generation from the critical lens of revisionist discourses. Using the metaphor and the critical lens of looking back, an act infused with feminist implications after Adrienne Rich (1972), the volume focuses on poetry, fiction, and autobiographical writing to analyze the different ways in which Beat women used revisionist discourses to refashion the Beat Generation and establish themselves as literary and artistic subjects. Offering the first comprehensive study of the use of mythology in the Beat Generation, Beat Myths in Literature: Revisionist Strategies in Beat Women focuses on the specific re-writing or revisioning of mythical texts. As such, it studies the ways in which Beat poets incorporate mythology into their works, both through the feminist reinvention or appropriation of ancient myths, but also by debunking more contemporary myths used to contain women in particular social and artistic roles. Furthermore, this volume expands Rich’s notion of re-vision, considering memoirs and autobiographies as factual and fictional re-interpretations of history. Seen through the eyes of revisionist studies and the poets’ investment in “personal myth”, the book establishes new points of entrance into works that allow us to explore the feminist, political, and poetical relevance of the work of Beat women
Open Access
Ethnicity and gender in the beat generation: Jack Kerouac and the other woman.
(Universidad de Murcia, Servicio de Publicaciones, 2022) Encarnación Pinedo, Estíbaliz
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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The Memory of the Bastard Angel: autobiographical writing in Harold Norse
(Liverpool University Press / Clemson University Press, 2022) Encarnación Pinedo, Estíbaliz; Filología Inglesa
The Beats’ unabashed championing of personal experience, located at the core of Jack Kerouac’s “Essentials of Spontaneous Prose” (1955), led to an aesthetic intimately concerned with the representation of “the unspeakable visions of the individual.”² Yet, far from “unspeakable,” Beat poets and writers frequently used their writing to particularize their personal stories. This impetus resulted in not only the candid first-person drive behind much of their poetry and fiction, but also in the profusion of first-person accounts through the use of journal, collected letters, autobiographies, and memoirs. Dubbed as “A fifty-year literary and erotic odyssey,” Harold Norse’s Memoirs of a Bastard Angel
Open Access
On webbed monsters, revolutionary activists and plutonium glow: eco-crisis in Diane di Prima and Anne Waldman
(MDPI, 2020-12-28) Encarnación Pinedo, Estíbaliz; Filología Inglesa; Facultad de Letras
Though green readings of Beat works are a relatively new phenomenon, the Beat aesthetic easily meets Lawrence Buell’s criteria for ecocritical texts. Indeed, many writers associated with the Beat movement, such as Diane di Prima and Anne Waldman, often use their work to give shape to environmental concerns. This article studies the development of a green poetics in the work of both di Prima and Waldman. Focusing on works spanning four decades including Revolutionary Letters (1971), Loba (1998), Uh Oh Plutonium (1982) or The Iovis Trilogy (2011), to name a few, the article analyzes the poets’ use of utopian and dystopian images through which they develop a poetics of eco-crisis that opposes the conformism and political tension of the American postwar and its aftermath.
Open Access
Queer time unbound
(Routledge, 2025) Belmonte Ávila, Juan Francisco; Encarnación Pinedo, Estíbaliz; Filología Inglesa; Belmonte Ávila, Juan Francisco; Encarnación Pinedo, Estíbaliz
Time binds us. We are, desire, become, remember, and project ourselves in and through time. Time is not a line waiting for us to occupy or reign over it. Oftentimes, but even more so when left unscrutinized, it is a limiting actant, aligned with power to force individuals into very precise forms of being, guiding them to predetermined daily rhythms and forms of understanding themselves and others in time. Time is an ever-present and inevitable component of any representation of what is, was, and will be thought to be possible. Yet, just like time binds us, it can be unbound and untangled in return, bringing forth free critical thinking and facilitating other processes of becoming ungoverned by the strictures of normativity. As such, this volume recognizes the power of time to determine us, but it also chooses to queer time and make it an ally of untangled forms of understanding identities. In doing so, this volume acknowledges that, as Michel Foucault (1978) explained, history is made to look smooth and unequivocal, but it is also composed of abrupt interruptions and enforced silences in time that, following Elizabeth Freeman's example (2005), can and must be unearthed. This volume is also aware that the way time is represented, or the way representations vary in time, can be used to interpellate individuals into narrow, chrononormative forms of being (Freeman 2010), but it also seeks examples of identities projected through and in time that queer expectations to create freer forms of desiring that problematize linearity. The volume is aware that there are temporal rhythms that normatively lure, gentrify, and reterritorialize identities and bodies but also believes that this propulsion can be subverted (Jack Halberstam 2005) and transformed into a queer song of radical change that, as Esteban Muñoz (2009) claimed, calls people into action and invites them to desire other presents and futures. The common thesis of this volume is that time binds us but, more importantly, that time can also be scrutinized in search of examples where identities are untangled and time itself becomes a queer ally.