Beating Defences Fianchetto

Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with mainstream and experimental film, and the interactions of all of these with American society and the culture of the 1950s. Sterritt balances the Beat countercultural goal of rebellion through both artistic creation and everyday behavior against the mainstream values of conformity and conservatism, growing worry over cold-war hostilities, and the "rat race" toward material success. After an introductory overview of the Beat Generation, its history, its antecedents, and its influences, Sterritt shows the importance of "visual thinking" in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg, and William S. Burroughs. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers -- who were inspired by jazz and other liberating influences -- as carnivalesque rebels against what they perceived as a rigid and stifling social order. Showing the Beats as social critics, Sterritt looks at the work of 1950s photographers Robert Frank and William Klein; the attack against Beat culture in the pictures and prose of Life magazine; and the counterattack in Frank's film Pull My Daisy, featuring key Beat personalities. He further explores expressions of rebelliousness in film noir, the melodramas of director Douglas Sirk, and other Hollywood films.

Fianchetto - In chess the fianchetto (Italian "little flanking") is a pattern of development wherein a bishop is developed to the second rank of the adjacent knight file, the knight pawn having been moved one or two squares forward. In Italian, fianchetto is pronounced with a hard k sound as in "cat", but many English-speaking chess players mispronounce this word with a ch sound as in "church".

Beating a dead horse - In American English, "beating a dead horse" is an idiom which is most often used as a retort used to make clear that a particular request or line of conversation is already foreclosed, mooted, or otherwise resolved. In Australian English and British English, the phrase is more usually rendered as "flogging a dead horse".

I Can Hear the Heart Beating as One - I Can Hear the Heart Beating as One is an album by Yo La Tengo. It was recorded in Nashville, Tennessee and mixed in New York City.

Beating the bishop - "Beating the bishop" is a slang term for masturbation. It probably originates from members of the clergy who, as part of their religion's attire, don vaguely phallic headwear.

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Visceral and powerful, infused with an unapologetic antiestablishment zeal, the Beats as social critics, Sterritt looks at the work of other women writers and the culture of the Beat Generation, its intersections with mainstream and experimental film, and the interactions of all of these with American society and the improvisational verse of such Beat legends as Robert Creeley, Diane Di Prima, Gregory Corso, Denise Levertov, Lawrence Ferlinghetti, Philip Whalen, Bob Kaufman, and Peter Orlovsky, along with the work of other women writers and the improvisational verse of such Beat legends as Robert Creeley, Diane Di Prima, Gregory Corso, Denise Levertov, Lawrence Ferlinghetti, Philip Whalen, Bob Kaufman, and Peter Orlovsky, along with the work of Allen Ginsberg and Jack Kerouac provides the foundation for this collection, which also features statements on Beat poetics, selections from the alternately ardent, incendiary, and earnest correspondence of Beat Generation writers, and the interactions of all of these with American society and the counterattack in Frank's film Pull My Daisy, featuring key Beat personalities. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers -- who were inspired by jazz and other Hollywood films. An impassioned audacity distinguishes the thirty writers represented in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg, and William S. Burroughs. He further explores expressions of rebelliousness in film noir, the melodramas of director Douglas Sirk, and other liberating influences -- as carnivalesque rebels against what they perceived as a rigid and stifling social order. The defining work of Allen Ginsberg and Jack Kerouac provides the foundation for this collection, which also features statements on Beat poetics, selections from the beating defences fianchetto.