EMILY CARR UNIVERSITY

COURSE OUTLINE

Course number: HUMN 311 S094 – SPRING 2022

Course title: The Beat Aesthetic: Poetics & Politics in Post-War

Culture/Counterculture

Instructor: Art Perry

Time: Thurs 3:40 PM – 6:30 PM ONLINE

Grading: The grading for this course will be in four parts:

1. Outline for essay. This should be two pages in length and give a full idea of
the ideas and research to be expanded in the final essay.
This outline will be 20 percent of the grade.
Due WEEK 6 – then returned WEEK 7.

2. Final essay. This should be at least 10 pages in length, double-

spaced and 12-point type. It should be no longer than 10 pages.
This essay will be 35 percent of the grade.
Due WEEK 13.

3. A notebook or journal that deals with the weekly discussions and films
taking place in class. These notebooks should record the student’s critical
and philosophical thoughts on the Beat aesthetic and counter-culture as
presented throughout the term. Notes on the readings must be included in
these notebooks.
The notebook will be 35 percent of the grade.
Due WEEK 13.

4. Attendance will be 10 percent of the grade.

Required texts: Hubert Selby Jr., Last Exit to Brooklyn, 1957

Ann Charters (editor), The Portable Beat Reader, 1992.
Ann Charters (editor), The Portable Sixties Reader, 2003.

Note: ‘Required readings’ for the course are Hubert Selby Jr., Last Exit to
Brooklyn and two anthologies edited by Ann Charters: The Portable Beat Reader
and The Portable Sixties Reader. There are required readings week by week from
Ann Charters’s books. All readings must be completed and notes from the
readings put into your journal for grading. ‘Suggested readings’ are just that:
suggested. These readings are for students who would like a deeper look at a
particular topic covered in class. They are not required as part of the course.
Page 2 -- The Beat Aesthetic

WEEK 1.

introduction to the course : THE BEAT GENERATION

Suggested readings: 1. Oliver Pilat & Jo Ranson, Sodom by the Sea.

2. The 100th Anniversary of Coney Island’s
Amusement Parks, Sensations Magazine,
Issue 12, Summer/Fall 1995
3. Jacob Riis, How the Other Half Lives
(Photo-journalist record of gruesome
tenement life.)
4. Paul Schwartzman & Rob Polner, New York
Notorious (NYC’s infamous crime scenes.)
5. Luc Sante, Low Life (Opium dens and
brothels NYC 1840 to 1920s.)

Suggested films: 1. Sodom by the Sea (Documentary on Coney

Island.)
2. Freaks (Tod Browning’s 1932 twisted film cast
with real-life sideshow folk. Sometimes entitled
Nature’s Mistakes.)
3. At the Circus (Worth it just to hear Groucho
croon ‘Lydia the Tattooed Lady.’)
4. The Naked City (1948 gritty NYC crime
drama.)
5. Marty (Ernest Borgnine as passionate Bronx
butcher. A NYC must-see.)
6. Hubert Selby Jr., documentary - It/ll Be Better
Tomorrow, 2005
7. The Source, 1996 (bit of a Beat primer by
Chuck Workman that has Johnny Depp reading
Kerouac, the late great Dennis Hopper doing
Burroughs and John Turturro howling as Allen.)
Page 3 -- The Beat Aesthetic

WEEK 2.

the beat & the beaten : A BEAT PRIMER … BEAT & BEATNIK

Suggested readings: 1. Herbert Gold, Bohemia: Digging the Roots of

Cool (A good read on the ‘coffee, sex, art,
terror, money, and other rituals.’)
2. Ralph Ellison, Invisible Man (Being a ‘negro’ in
NYC in the 1950s. Masterpiece of modern
fiction.)
3. Henry Miller, Crazy Cock
4. Diane DiPrima, Memoirs of a Beatnik (A look
into the life & times of one the unique voices
of the Beats.)

Suggested films:

1. A Bucket of Blood (Roger Corman’s wacko

classic: a coffeehouse waiter murders people and
passes himself off as a Beat sculptor.)
2. Beat Girl a.k.a. Wild for Kicks (A camp
coffeehouse and brothel drama from 1961 with
a Bardot look-a-like hipster. Great fun with
lines like ... “straight from the fridge.” Crazy.)
3. The Bachelor Party (Not the Tom Hanks film.
This 1957 feature has Carolyn Jones as an
alluring philosophical nympho.)

Required readings: 1. Start reading Selby’s Last Exit.

2. Charters, Beat, ‘Variations on a Generation,’
pages xv-xxxvi.
3. Charters, Sixties, ‘Living in the Revolution: The
Beats and some Other Literary Movements,’
pages 395-439.
Page 4 -- The Beat Aesthetic

WEEK 3.

literary hip : THE COLD WAR & JOHN CASSAVETES

Suggested readings: 1. Jack Kerouac, On the Road (The boho bible.)

2. Ann Charters, Kerouac: A Biography
3. Carolyn Cassady, Heart Beat: My Life with
Jack & Neal
4. Carolyn Cassady, Off the Road: My Years with
Cassady, Kerouac & Ginsberg.
5. Joyce Johnson, Minor Characters

Suggested films: 1. Shadows

2. John Cassavetes (A well-done documentary
from the American Masters series.)
3. Kerouac (A documentary made in 1984.)
2. Jack Kerouac’s Road -- a Franco-American
Odyssey
3. The Wild One (Brando as the mumbling
leather-clad Beat on a bike. On the road on
two wheels.)
4. The Subterraneans (The 1960 gentrification of
Kerouac’s novel on film.)

Required readings: 1. Charters, Beat, ‘Jack Kerouac,’ pages 1-59.

2. Charters, Sixties, ‘Ten Elegies for the Sixties,’
pages 589-605
3. More of Last Exit
Page 5 -- The Beat Aesthetic

WEEK 4.

the hydrogen jukebox : COLD WAR CULTURE

Suggested readings: 1. Allen Ginsberg, Howl and Other Poems

2. William Burroughs, Naked Lunch
3. William Burroughs, Letters to Allen Ginsberg
4. Gordon Ball, ed., Allen Ginsberg Journals,
Early Fifties, Early Sixties
5. Ted Morgan, Literary Outlaw: The Life and
Times of William S. Burroughs
6. Barry Miles, William Burroughs: El Hombre
Invisible

Suggested films: 1. The Life & Times of Allen Ginsberg

2. Burroughs: The Movie (A film that makes you
want to shoot Burroughs. A great bio-flic.)
3. The Commissioner of Sewers (Burroughs’
bizarre tour of Germany in 1986.)
4. Gang of Souls (Tribute to the poetic Beats.)
5. Fried Shoes, Cooked Diamonds: The Beats at
Naropa (An early 1970s look at Beatdom.)
6. HOWL, 2010 (Nice try at creating the energy of a
documentary with actors in a movie. But not the
best of its generation or the Beat Generation.)

Required readings: 1. Charters, Beat, ‘Allen Ginsberg,’ pages 60-101;

‘William Burroughs,’ pages 102-144.
2. Charters, Sixties, ‘Why Can We Not Begin
New?’ The Free Speech Movement and
Beyond,’ pages 191-255
Page 6 -- The Beat Aesthetic

WEEK 5.
difficult words & troubling sounds : POETRY & ATONAL JAZZ

Suggested readings: 1. RoseLee Goldberg, Performance: Live art 1909

to the Present
2. AA Bronson & Peggy Gale, eds., Performance
by Artists (Good Canadian content here.)
3. Claes Oldenburg, Store Days
4. Bruce Barber, ed., Essays on (Performance)
and Cultural Politicization (This 1983 issue of
Open Letter is at times heavy on artspeak, but
a worthwhile read if you like to battle the
babble.)
5. Laurie Anderson, Stories from the Nerve Bible
(A retrospective auto-bio look at her
performances.)
6. Laurie Anderson, Puppet Motel (A CD ROM
that gets Anderson performing in cyberspace.)

Suggested films: 1. Two Moon July (A 1980s film with

performances from NYC’s famous alternative
gig center, The Kitchen: John Lurie,
Laurie Anderson and others on stage.)
2. Poetry in Motion (Mentioned again: Charles
Bukowski, Jim Carroll - that crazy Catholic
Boy himself, Anne Waldman, John Cage and
Tom ‘Born to be Boho’ Waits.)
3. Laurie Anderson, Home of the Brave
4. The Charles Bukowski Tapes (Art as life.
Watch Charlie drink beer, drink wine and be
famous. Be a barfly on the wall.

Required readings: 1. Charters, Beat, ‘Amiri Baraka, Diane DiPrima,

Frank O’Hara, Ed Sanders, Ann Waldman,’
pages 331-434.
2. Charters, Sixties, ‘I Feel Like I’m Fixin’ to Die:
The Counterculture Movement,’ pages 259-325.
Page 7 -- The Beat Aesthetic

WEEK 6: *** ESSAY PROPOSALS DUE ***

looking for an angry fix : ALLEN GINSBERG & HOWL

Suggested readings: 1. Steven Watson, The Birth of the Beat

Generation: Visionaries, Rebels, and Hipsters
1944-1960 (This new 1995 book is perhaps the
most readable and thorough look at the Beats.
Photos by Ginsberg and Redl.)
2. The Beat Culture and the New America 1950-
1965 (The Whitney Museum of American
Art’s impressive tome.)
3. Robert Frank, The Americans (The most
influential photo-essay of the 1950s with an
introduction by Kerouac.)
4. Looking In: Robert Frank’s The Americans,
2009, National Gallery of Art, Washington, DC.
5. William S. Johnson, ed., The Pictures are a
Necessity: Robert Frank in Rochester NY
6. Allen Ginsberg, Photographs (Many out of
focus, but hey, he was there ... and he had a
camera.)

Suggested films: 1. Pull My Daisy (Scripted by Kerouac, starring

Ginsberg, Larry Rivers and Gregory Corso,
this quintessential 28 minutes of on-Beat
camaraderie is tres-hip. Dig it.)
2. Look Back in Anger (This may seen like an
odd choice, but this 1958 version of the angry
young man classic with Richard Burton is a
great moment of British Beat. Malcolm
McDowell tried it in 1980, then Kenneth
Branagh in 1991, yet Burton is the most
Beaten Brit of the bunch.)
3. Harry Redl: The Eye of the Beats (A work in
progress. A pet project of the instructor.)

Required readings: 1. More Last Exit.

2. Charters, Beat, pages 145-185.
Page 8 -- The Beat Aesthetic

WEEK 7 *** ESSAY PROPOSALS RETURNED ***

authentic to artifice & hip to hipster : BLACK BEATS

Suggested reading: 1. James Baldwin, Another Country;

“ “ Notes on a Native Son;
“ “ Go Tell It on the Mountains;
“ “ Waiting for the Man
2. Andre Torres, Between Melting Pot & Mosaic
(African Americans’ and Puerto Ricans’ role
in shaping NYC.)
3. Hot & Cool: Jazz Short Stories (A fabulous
anthology with Baldwin, Maya Angelou,
Amiri Baraka and others. Great book.)
4. Ted Joans, All Ted Joans and No More: Poems
& Collages
5. LeRoi Jones (Amiri Baraka), Black Music
6. Amiri Baraka (LeRoi Jones), The Music,
Reflections on Jazz & Blues
7. Gary Giddins, Celebrating Bird: The
Triumph of Charlie Parker

Suggested films: 1. James Baldwin: The Price of the Ticket

(Karen Thorsen’s insightful documentary.)
2. Celebrating Bird (From Giddin’s’ book.)
3. The World According to John Coltrane
4. Go Tell It on the Mountain (A 1989 American
Playhouse presentation starring Paul
Winfield.)
5. Poetry in Motion (Wonderful reading by
Baraka.)
6. I am Not Your Negro 2019

Required readings: 1. Charters, Beat, ‘Norman Mailer: The White

Negro,’ pages 581-605.
2. Charters, Sixties, ‘Struggling to Be Free: The
Civil Rights Movement,’ pages 3-45; 63-86.
3. More Last Exit.
Page 9 -- The Beat Aesthetic

WEEK 8. STUDY WEEK

WEEK 9.

on the road to authentic cool : A HIP HISTORY

Suggested readings: 1. John Gruen, The New Bohemia (A tale of

coffeehouse theater, drugs, underground
movies and, yes, avant-garde sex. It’s also a
great name for a seminar course.)
2. Calvin Tompkins, Off the Wall: Robert
Rauschenberg and the Art of our Times (An
energetic book on one of the most under-
appreciated artists of our times.)
3. Larry Rivers, What Did I do? The
Unauthorized Autobiography (Lots of stories
of Frank O’Hara, Robert Frank and the whole
East Village gang.)
4. Barney Rosset, ed., Evergreen Review Reader
1957-1966 (The voice of the underground with
O’Hara, Henry Miller, Rivers, Ginsberg and a
cast of 1000 bohos. Without question one of
the best literary mags to come out of America
next to Mad magazine.)

Suggested films: 1. Henry Miller Odyssey (The dirty old man of

letters can be quite entertaining. Read
Norman Mailer’s biography of Miller, more
sexist quotes.)
2. Anais Observed (Nin on eroticism and such.)
3. Painter’s Painting (Emile de Antonio’s rather
vertigo-inducing documentary with
Rauschenberg and Jasper Johns talking art &
life.)

Required readings: 1. Charters, Beat, ‘Ed Sanders,’ pages 560-568.

2. More Last Exit.
3. Catch up on any readings missed.
Page 10 -- The Beat Aesthetic

WEEK 10.

the darkside : THE BEATS & SELF-DESTRUCTION

Suggested readings: 1. Andy Warhol, The Andy Warhol Diaries

(Hundreds and hundreds of pages of Andy’s
musings and his obsession with shopping.)
2. Ultra Violet, Famous for 15 Minutes (Andy’s
superstar tells what it’s like to fade away and
radiate in Andy’s glow.)
3. Jean Stein & George Plimpton, Edie: An
American Biography (If you’ve seen Ciao!
Manhattan, you’ll know this isn’t an upper
read. A sad story about one of the Factory’s
most beautiful players, who also played with
drugs and death. An evil look at Andy.)
4. Nat Finkelstein, The Factory (A photo book of
Andy and his darlings.)
5. Stephen Koch, Stargazer: Andy Warhol’s
World and His Films (A personal favorite book
on Andy. Published in 1973.)
6. Peter Gidal, Andy Warhol: Films & Paintings

Suggested films: 1. Andy Warhol: Portrait of an Artist (Lou Reed

and the VU, Edie Sedgwick and Candy
Darling at the Factory.)
2. Andy Warhol: Superstar (A film with
everyone from Shelly Winters to Dennis
Hopper speaking on Andy. As bizarre as Andy
himself.)
3. Andy Warhol, 2006, PBS American Masters (Ric
Burns digging deep to get classic footage of
Andy. The Section on Lou and The Velvets is
killer.)

Required readings: 1. Charters, Beat, pages 435-516.

2. Charters, Sixties, ‘Adrift in the Age of Aquarius:
Drugs and the Movement onto Inner Space,
pages 329-392.
Page 11 -- The Beat Aesthetic

WEEK 11.

wings of desire : BEAT & GOD

Suggested readings: 1. Patti Smith, Babal (A punch ‘n’ pray series of

poems for Marianne ‘Sister Morphine’
Faithfull, Bob ‘Dog Dream’ Dylan, Georgia
‘No Bull Shit’ O’Keeffe and Edie ‘Blonde on
Blonde’ Sedgwick. Full of photos & feeling.)
2. Patti Smith, Early Works (Recent publication
of the past. Buy it.)
3. Patti Smith, Just Kids (2010’s poetic
memories of Smith’s life with Robert
Mapplethorpe.)
4. Sam Shepard, Fool for Love and Other Plays
(Read Cowboy Mouth, a play written and
performed by Patti Smith and Shepard in
1971 in NYC.)
5. Sam Shepard, Seven Plays (Read True West:
‘I’m on intimate terms with this prairie ...’
6. Duncan Webster, ‘Sam Shepard’s Cowboy
Mouth: Representing Masculinity,’ in Looka
Yonder: The Imaginary America of Populist
Culture.

Suggested films: 1. Sam Shepard, True West (John Malkovich as

Lee. One of the great moments in American
theater performed at the Cherry Lane Theater
in 1983.)
2. Patti Smith: Dream of Life, 2008. (Patti being the
new Arthur Rimbaud.)

Required readings: 1. Charters, Beat, ‘Alan Watts: Beat Zen, Square

Zen, and Zen,’ and John Clellon Holmes, ‘The
Game of the Name,’ pages 606-622
2. Charters, Sixties, ‘With Our Arms Upraised: The
Women’s Movement and the Sexual Revolution,’
pages 491-542.
Page 12 -- The Beat Aesthetic

WEEK 12

rebels & outlaws : BEAT BAD BOYS & WICKED WOMEN

Suggested readings: 1. Bob Dylan, Tranatula (A novel by Bob.)

2. “ “ The Bootleg Series, Vol. 1 - 3,
1961-1991 (Thirty years of music and words in this
book and CD set from our fuzzy-headed seer. ‘Idiot
Wind’, last song, second CD, is so brilliant it hurts.)
3. Leonard Cohen, The Spice-Box of Earth (Poems,
1961.)
4. Leonard Cohen, Flowers for Hitler (Poems, 1964.)
5. Leonard Cohen, Beautiful Losers (A 1966 novel that
the Kirkus Review called “an invitation to play
Russian Roulette with a phallic pistol.” The
Canadian Naked Lunch.)
6. Lou Reed, Between Thought and Expression:
Selected Lyrics of Lou Reed.

Suggested films: 1. Don’t Look Back (D.A. Pennebaker’s shot-from-the-

hip documentary of Dylan’s 1965 tour of England.
Bob at his most brilliant and most annoying.)
2. I am a Hotel (Unbelievable. A painfully self-conscious
piece of art film camp starring Toller Cranston ...
Toller Cranston!! ... in this attempt to cosmically
visualize Cohen’s music. Unwatchable, but you really
should.)
3. Lou Reed & John Cale, Songs for Drella (A 1989
performance of the ex-VU boys’ songs for Andy
Warhol. Quite moving.)
4. Lou Reed, Berlin: Live At St. Ann's Warehouse (Julian
Schnabel’s affectionate 2008 film of Reed singing his
darkest album. Rolling Stone magazine called Berlin
‘one of the most depressing records ever made, and
oddly beautiful in its own awful way.’
5. No Direction Home: Bob Dylan, 2006. (A Martin
Scorsese Picture. Two parts, damn good.)

Required readings: 1. Charters, Beat, ‘Bob Dylan,’ pages 371-379.

2. Charters, Sixties, ‘End It! And End It Now! The Anti-
Vietnam War Movement, pages 105-159.
3. Finish Last Exit.
Page 13 -- The Beat Aesthetic

WEEK 13. *** ESSAYS & NOTEBOOKS DUE ***

Topic TBA

Course Notes (policies and procedures):

• The instructor may modify the material or schedule specified in this outline. Any
required changes will be announced in class.
• Late assignments or projects may be penalized as specified in the course outline.
• It is plagiarism to present someone else’s work or ideas as one’s own. Plagiarism may
result in failure on an assignment, of the course, and, if repeated, expulsion from the
Institute. Assistance with the ethical practices of attribution and documentation is
available from the Writing Centre or online at www.eciad.ca/wc
• A student must provide a doctor’s note to Student Services for any illness that causes
the student to miss assignments, tests, projects, exams, etc., or for absences of more
than two classes. At the discretion of the instructor the student may complete the
work for a prorated grade.
• Students will demonstrate that they understand and practice the safe use of tools and
other equipment, materials, and processes used in their course projects. They will
conduct themselves in a responsible manner that does not endanger themselves or
others, and will adhere to the area procedures regarding authorized operation of
equipment, handling of materials, and use of space.
• Students with special needs or disabilities that might affect their experience or
performance in class are advised to inform their instructor and/or contact the
Disabilities Services Coordinator, located in Student Services, for assistance.
Professional counseling or therapy is available at no charge to students who have
concerns of a personal nature. All information shared is held in strict confidence. Call
604.844.3850 or 604.844.3081 for an appointment with the support counsellor.
Page 15 -- The Beat Aesthetic

The Beat Aesthetic: Poetics & Politics in Post-War

Culture/Counterculture

Time Tues 12:30 PM – 3:20 PM and Thurs 3:40 PM – 6:30 PM

Mnemonic HUMN 311

Section number S094 Start date Jan 2022
Credits 3 Term end date April 2022
Hours per week 3 Location ONLINE
Prerequisites
Instructor: Art Perry
Assistant: None
Office number B3163 Email: aperry@ecuad.ca
Office telephone N/A Office hours TBA

Course Description

This course focuses on Modernist and Avant-Garde artistic practice in the 20th century. Students will
investigate artists and their diverse aesthetic strategies especially as they reflect the powerful political and
cultural changes that transformed social and artistic tradition.

Section Description
This HUMN course deals with the art ... painting, poetry, novels, films, music ... as well as the social politics
and hipness generated by outsiders, by being ‘cool’, by being ‘Beat’. The term Beat or Beat Generation
comes from street talk of the late 1940s. It meant beaten. “The world against me” said Herbert Hunke, who
introduced the term to William S. Burroughs, Allen Ginsberg and Jack Kerouac. The Beat Aesthetic studies
the growth of Beat counterculture in America that gave rise to jazz musicians like Charlie “Bird” Parker and
writers such as Diane De Prima, Leroy Jones (Amira Baraka), Kerouac and Ginsberg. Other artists covered
in the course include John Cassavetes, Robert Frank, Diane Arbus, Laurie Anderson, The Fugs, Anais Nin,
Bob Dylan, Lou Reed, Leonard Cohen, Patti Smith, Iggy Pop, The New York Dolls, Jean-Michel Basquait
and Tom Waits. Dig it.

Grading and Assignments: Evaluation criteria

1. Attendance / Participation is 10 percent of the grade.

2. Outline for essay. This should be two pages in length and give a full idea of the ideas and
research to be expanded in the final essay. This outline will be 20 percent of the grade.
3. A final essay. The essay should be 10 pages in length, double- spaced and in 12-point type,
preferable Times New Roman. Your essay should be no longer than 12 pages. This essay will be
35 percent of the grade.
4. A notebook or journal that deals with the weekly discussions and films taking place in class.
These notebooks should record the student’s critical and philosophical thoughts on The Beat
Aesthetic as presented throughout the term. Notes on the readings must be included in these
notebooks. The notebook will be 35 percent of the grade.
Readings

Required texts

Hubert Selby Jr., Last Exit to Brooklyn, 1957

Ann Charters (editor), The Portable Beat Reader, 1992.
Ann Charters (editor), The Portable Sixties Reader, 2003.

Suggested readings

The required readings for the course are Hubert Selby Jr., Last Exit to Brooklyn and two anthologies edited
by Ann Charters: The Portable Beat Reader and The Portable Sixties Reader. There are required readings
week by week from both of Ann Charters’s books. All readings must be completed and notes from the
readings put into your journal for grading. The ‘Suggested readings’ is just that: suggested. Suggested
readings are for students who would like a deeper look at a particular topic covered in class. They are not
required as part of the course.

ASSIGNMENT DUE DATES

WEEK 6 ESSAY OUTLINE is due.

WEEK 7 ESSAY OUTLINE is returned.
WEEK 13 ESSAY + NOTEBOOK are due.

Evaluation criteria definitions

Students will be assessed a grade based upon all aspects of their performance in the class; including
research skills and participation in discussion. Particular note will be taken of students who demonstrate
insightful understandings of the material and who show care in the presentation of their ideas. Marks will be
given for participation in discussion, the written assignments, and examinations.

Grading Policy

Attendance:
• Attendance is mandatory. Absenteeism, chronic lateness and non-participation will affect
the final grade.
• Every absence not excused by a doctor’s note or formally documented as extenuating
circumstances will result in a 5% penalty from the final course grade. More than three unexcused
absences in a class will result in failure of the course.
• If students miss a class it is their responsibility to determine what was missed and to complete the
work, both in-class projects and homework. Students cannot expect instructors to repeat lectures,
workshops, and demonstrations which occurred during their absence.
• To formally excuse an absence due to illness or emergency, students must phone or send an email
to the instructor by the end of the day.
Punctuality:
• There is a 5% penalty from the final course grade for every two late arrivals or occasions when a
student leaves early.
• Students will be considered late if they arrive after roll-call, when the session has formally begun.
Furthermore, students will be penalized if they leave class before it has properly ended.
• Students will be considered absent if they arrive more than one hour after the session has started.
• If students are late for class, they must make sure to speak with the instructor, to explain the reason
for being late.
Late Assignments:
• Late projects will be penalized by one grade level unless arrangements have been made with the
instructor.
• It is absolutely imperative that students manage their time wisely. They should not let themselves
fall behind schedule; they may otherwise find it extremely difficult to catch up by the time a deadline
arrives.
• If students find that they cannot finish an assignment or keep up with the workload, they must speak
to the instructor immediately to discuss practical ways to make the course manageable.
General Policies

• Students must maintain an appropriate standard of conduct. They must demonstrate respect for all
persons on the campus, and display mature conduct. All students must abide by the university’s Student
Conduct Policies and the university’s Harassment Policies (see Emily’s A to Z). Failure by students to
maintain appropriate standards of conduct may result in the initiation of disciplinary action by the
university. Instructors are responsible for managing the classroom. Students whose behaviour is
disruptive, challenging or intimidating will be addressed and may be excused from class. If the behaviour
continues, disciplinary measures (see Emily’s A to Z) will be employed.
• The instructor may modify the material or schedule specified in this outline. Any changes will be
announced in class.
• Late assignments or projects may be penalized as specified in the course outline.
• It is plagiarism to present someone else’s work or ideas as one’s own. Plagiarism may result in failure of an
assignment, of the course, and, if repeated, expulsion from the university. Assistance with the ethical
practices of attribution and documentation is available from the Writing Centre or online at
www.ecuad.ca/wc
• A student must provide a doctor’s note to Student Services for any illness which causes the student to miss
assignments, tests, projects, exams, etcetera, or for absences of more than two classes. At the discretion
of the instructor, the student may complete the work for a prorated grade.
• Students must demonstrate that they understand and practice the safe use of tools and other equipment,
materials, and processes used in their course projects. They must conduct themselves in a responsible
manner that does not endanger themselves or others, and must adhere to area procedures regarding
authorized operation of equipment, handling of materials, and use of space.
• Students with special needs or disabilities that might affect their experience or performance in class are
advised to inform their instructor and contact the Disabilities Services Coordinator, located in the
Counselling Centre on the second floor of the North Building, for assistance.
• Professional counselling and therapy is available at no charge to students who have concerns of a
personal nature. Information shared is held in strict confidence. To make an appointment, call 604-630-
4555 or email counselling@ecuad.ca or come in to the Counselling Centre.
• The Writing Centre is a service that Emily Carr provides to all students, staff, and faculty from every
program area who would like to improve their reading, writing, critical thinking, and research skills. This is
a free, voluntary, and confidential service. Writing Centre instructors can help you at every stage of your
writing, from developing ideas to final revision. This applies to any kind of writing, from a three line artist’s
statement to a twenty page academic paper. Please sign up for a ½ hour appointment on the door (room
435 SB). Telephone: 604-629-4511; Coordinator: Heather Fitzgerald
• Email is an official means of communication with Emily Carr students by faculty, administration and other
service providers on campus. Email routing will be confined to the university’s internal communication
network, and delivered to an officially assigned and verifiable University Email Address. All users are
bound by the provisions of Emily Carr Policy 415: Code of Conduct for Appropriate Use of Information
Technology Facilities and Services (outlined on the Emily Carr website and in Emily’s A to Z). Instructors
will outline and detail the expected extent and parameters of email use in the course in the first class, and
clarify the timeframe for checking and responding to emails.
• Emails will be answered in a timely manner, usually within 48 hours after receiving the email. Emails will
not, however, be answered on weekends or the day before an assignment is due if the email relates to the
assignment.
Class Date Topic Required & suggested
readings
1
introduction to the course: The Beat Generation Required readings

2
the beat & the beaten : A BEAT PRIMER … BEAT & Required readings
BEATNIK

3
literary hip : THE COLD WAR & JOHN CASSAVETES Required readings

4
the hydrogen jukebox : COLD WAR CULTURE Required readings

5
difficult words & troubling sounds : POETRY & ATONAL Required readings
JAZZ

6
looking for an angry fix : ALLEN GINSBERG & HOWL
*** ESSAY OUTLINES
DUE ***
Required readings

7
authentic to artifice & hip to hipster : BLACK BEATS
*** ESSAY OUTLINES
RETURNED ***
Required readings

8
STUDY WEEK
Required readings

9
on the road to authentic cool : A HIP HISTORY Required readings

10
the darkside : THE BEATS & SELF-DESTRUCTION Required readings

11
wings of desire : BEAT & GOD Required readings

12
rebels & outlaws : BEAT BAD BOYS & WICKED Required readings
WOMEN

13
TBA *** ESSAYS + NOTEBOOKS
DUE ***
Filename: HUMN 311 SP 2022 long outline.doc
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Title: EMILY CARR INSTITUTE of Art and Design and Media
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Author: Valued Customer Art Perry
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Creation Date: 12/9/21 11:31:00 AM
Change Number: 4
Last Saved On: 12/9/21 11:49:00 AM
Last Saved By: Art Perry
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Last Printed On: 12/9/21 11:49:00 AM
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