日本語 English
| 開講年度/ Academic YearAcademic Year |
20262026 |
| 科目設置学部/ CollegeCollege |
文学部/College of ArtsCollege of Arts |
| 科目コード等/ Course CodeCourse Code |
AM046/AM046AM046 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
Expat Beat Writers I: Brion Gysin |
| 授業形態/ Class FormatClass Format |
対面（全回対面）/Face to face (all classes are face-to-face)Face to face (all classes are face-to-face) |
| 授業形態（補足事項）/ Class Format (Supplementary Items)Class Format (Supplementary Items) |
|
| 授業形式/ Class StyleCampus |
演習・ゼミ/SeminarSeminar |
| 校地/ CampusCampus |
池袋/IkebukuroIkebukuro |
| 学期/ SemesterSemester |
春学期/Spring SemesterSpring Semester |
| 曜日時限・教室/ DayPeriod・RoomDayPeriod・Room |
水2/Wed.2 Wed.2 ログインして教室を表示する（Log in to view the classrooms.） |
| 単位/ CreditsCredits |
22 |
| 科目ナンバリング/ Course NumberCourse Number |
EAL2411 |
| 使用言語/ LanguageLanguage |
英語/EnglishEnglish |
| 履修登録方法/ Class Registration MethodClass Registration Method |
自動登録/Automatic RegistrationAutomatic Registration |
| 配当年次/ Assigned YearAssigned Year |
配当年次は開講学部のR Guideに掲載している科目表で確認してください。配当年次は開講学部のR Guideに掲載している科目表で確認してください。 |
| 先修規定/ Prerequisite RegulationsPrerequisite Regulations |
|
| 他学部履修可否/ Acceptance of Other CollegesAcceptance of Other Colleges |
履修登録システムの『他学部・他研究科履修不許可科目一覧』で確認してください。 |
| 履修中止可否/ Course CancellationCourse Cancellation |
×（履修中止不可/ Not eligible for cancellation） |
| オンライン授業60単位制限対象科目/ Online Classes Subject to 60-Credit Upper LimitOnline Classes Subject to 60-Credit Upper Limit |
|
| 学位授与方針との関連/ Relationship with Degree PolicyRelationship with Degree Policy |
各授業科目は、学部・研究科の定める学位授与方針（DP）や教育課程編成の方針（CP）に基づき、カリキュラム上に配置されています。詳細はカリキュラム・マップで確認することができます。 https://www.rikkyo.ac.jp/about/disclosure/educational_policy/arts.html |
| 備考/ NotesNotes |
This English literature course aims to help students develop their English abilities in the four core skills of listening, reading, speaking, and writing through a combination of various texts, media and in-class activities. Students enrolled in this course will have the opportunity to enhance their abilities to analyze literary texts through close reading of the original text, the provision of supplementary notes, related criticism on the author, as well as videos or audio materials to aid students in their reading and interpretation of the artist's body of work from various perspectives. This will facilitate students’ overall understanding of the Beat Generation literature canon in general, and in particular the writings of Brion Gysin, the focus of this course, and one of the most underrated writers and artists of the Beat Generation. This represents part 1 in a two-part course focusing on expat Beat artists (i.e. Beat artists who lived abroad). Most members of the Beat Generation were from and lived in the United States but this course focuses on Beat artists who lived outside of the US for a large part of their life. In part 1, we will look at the writings and art of Canadian-born Brion Gysin, who lived much of his life in Morocco and in Europe. (In part 2, in Semester 2, for those students carrying on with this course in the Fall, we will look at another relatively-unknown Italian-American Beat artist, Piero Heliczer, his dead language press, and other artists associated with him who lived abroad in France, the Netherlands and elsewhere.)
To provide students with a better contextual background, some supplementary materials and information on contemporary Beat Generation novelists, poets and artists will also be provided to help students better understand who Brion Gysin was influenced by(including his contemporaries) and who he, in turn, also influenced through his art (painting, writing, and music recordings, etc.). While the theme of Preliminary English Seminar 1f and 2f are the same (expat Beat writers), it is not essential for students to take the subsequent course in the Fall semester if they wish to join only the Spring semester course.
In terms of skills related to English ability and proficiency, students will have the opportunity to improve their English listening skills through the interpretations of the text provided by their teacher in class, and listening to recordings of Brion Gysin reading his own poetry and texts as well as interviews with Gysin (some tapes and CDs of Gysin in interview and in performance are in the teacher’s possession), not only as a listening-comprehension exercise but as a way to better appreciate the feel and sounds of his art. Group discussions will be held in regular classes on questions directly related to the text and given to students beforehand to reflect upon. Students will also have the opportunity to make a presentation in class (Assignment #3) to help them improve their written proficiency (by preparing a written script for the presentation, which they can also use in the essay question of the final exam if they choose Option A) and their spoken English proficiency when they give the presentation in class. Students will give a presentation on one artist (some of them Beats) in close association with Brion Gysin during his time in Morrocco or Paris or elsewhere overseas, such as William Burroughs (a key collaborator and close friend), Ira Cohen, John Giorno, Keith Haring, Paul Bowles, Gregory Corso, Sinclair Beiles, Antony Balch, Ian Sommerville, Genesis Bryer P-Orridge and others. Students will be asked to complete two assignments on supplementary materials provided in class. Assignment #1 will be about Gysin’s famous cut-up technique, a technique previously used by some of the Dadaist and Surrealist poets in France, some of whom Gysin personally knew (such as Andre Breton). For this assignment, I will use the text “About the Cut-ups” taken from Back in No Time: The Brion Gysin Reader (a key supplementary text for this course). Assignment #2 will be about The Naked Lunch screenplay which is based on William Burroughs’ famous Beat novel, Naked Lunch. Assignment #3 will be held over two weeks, during which students will give a 3-minute presentation on one of the artists mentioned above that students can choose from. Supplementary materials will be provided either in class or by email to help students have more background information to complete Assignment #1 (on the cut-ups) and Assignment #2 (on the Naked Lunch screenplay). Some guidelines on how to complete these assignments will also be provided by the teacher, to help students improve their abilities in English written composition and expression.
Successful completion of this course should indicate an understanding of:
1. the historical background and contexts of the Beat Generation and some of the beat poets and artists associated with Brion Gysin, William Burroughs and the Morrocco community of expat writers and artists of the 1950s-1970s;
2. the style, structure, aesthetics, aims and various complexities of Gysin’s art (writing and painting), with a particular focus on The Process, his second novel, plus some other texts, published during his lifetime or posthumously;
3. several ways of analyzing a text, through supplementary readings and slides provided in class.
4. a better background knowledge of Gysin’s life and times, based on some biographies written on Brion Gysin and some books by friends and collaboratos who knew him well.
5. a basic ability to analyze and/or understand painting and its techniques and iconoclastic capacity after studying some basic concepts from art studies (Gysin was first known as a painter and visual artist, before he tried his hand at writing and recording music etc.).
This course also facilitates the development of the following skills…
1. the ability to interpret and discuss a text, based on its historical and cultural context and milieu;
2. the ability to inform an original text through the use of secondary sources;
3. the ability to interpret and understand the literary analysis of other critics and writers;
4. the ability to assess and/or comment upon experimental film and audio recordings;
5. the ability to analyze and evaluate (experimental) painting techniques of Gysin and other painters;
5. the ability to present an argument or summary of one’s opinion on a literary work.
This course, predominantly conducted in English, will offer enrolled students the opportunity to read and discuss Brion Gysin’s greatest novel The Process, which was originally published in 1969. We will also talk about some of the contemporary Beat Generation poets, novelists, and artists many of whom were close friends with Gysin, such as William S. Burroughs, Paul Bowles, Allen Ginsberg, Ira Cohen, Genesis P-Orridge, Keith Haring, Sinclair Beiles, Gregory Corso, John Giorno, Allen Ansen and others.
When we talk about the Beat Generation movement and the artists that belong to it, Brion Gysin is not a name that immediately comes to mind to most people. He was not as well-known as some other Beat writers such as William S. Burroughs, Allen Ginsberg, Jack Kerouac or Lawrence Ferlinghetti (just to name a few). This is partly because Gysin also focused heavily on painting and experimental sound recording techniques and is not only known as a ‘novelist,' he is more commonly viewed as a ‘painter’ or ‘artist.’ However, it is my opinion that his second completed novel, The Process represents one of the most brilliant landmarks of writing for his time, and one of the greatest Beat novels of this generation and therefore this is the key text that we will focus on for the course.
Some supplementary notes based on the teacher’s own analysis of the texts will also be provided to students to facilitate their own readings and help them analyze Gysin’s writings, recordings, artwork and interviews on their own. Finally, where possible, the teacher will use any audio files, tapes or CDs, (such as recordings of Gysin’s interviews and performances) and students will have a chance to watch some online videos featuring Gysin or ones that have been produced about him. The aim of sharing these materials is twofold: to enrich students’ knowledge of Brion Gysin; and in a larger sense, the Beat Generation movement as a whole, his paintings and vision, and to help them fully appreciate Gysin’s writings and artwork, both from the context of his own times and from the fresh perspectives of contemporary times.
If possible, a guest lecturer (from Morocco) may join the class for one lesson to provide more information to students on some of the background historical information (related to slavery etc.) that will help students contextualize and better understand some content of the novel. (Whether the guest lecturer can join the class or not has yet to be confirmed.)
| 1 | Lesson 1 – An Introduction to Brion Gysin, the Beat Generation and the Morocco Community In our first class for the course, we will begin by briefly discussing the historical contexts and backgrounds of the Beat Generation before focusing on the community of expat writers, who lived abroad in Morocco during the 1950s to 1970s, which included many of the Beats such as Brion Gysin and William Burroughs, as well as Beat associates like Paul Bowles and post-Beats like Ira Cohen. This lesson will provide a brief introduction to the major writers of the Beat Generation many of whom knew Gysin personally. Each of the weekly assigned readings will be explained as well as the 3 assignments including the methods of evaluation for each respective one. After the syllabus and methods of assessment have been explained, the teacher will briefly introduce the life, artwork and career of Brion Gysin. For the last half of the first class, students will discuss the “Foreword” to The Process by Robert Palmer. As this Foreword may not appear in the textbook version students will purchase for the course, photocopies will be provided and some simple discussion questions in groups will be assigned. |
| 2 | Lesson 2 – The Process (pp. 1-38) In Lesson 2, we will start by discussing the first 38 pages of the novel which focus on the departure of Ulys O. Hanson into the desert. As he is a professor of African-American slavery, we will discuss how this thematically relates to Gysin’s first book, To Master a Long Goodnight, and Gysin’s general interest in and knowledge of the topic of African slavery. We will also briefly talk about Gysin & Burroughs’ cut-up technique which will help students understand the fragmentary style of the novel overall. |
| 3 | Lesson 3 – The Process (pp. 39-76) In Lesson 3, we will look at the next 40 pages of the novel and focus on another key character who has been introduced early on: Hamid, a wild Moroccan, who teaches Hanson the local ways and how to pass as a Moor. We will also talk about the hallucinatory character of Gysin’s writing evident from the earliest stages of the novel. In relation to Hanson’s difficulty to integrate into the culture, we will briefly touch upon Gysin’s posthumous publication, Living with Islam. |
| 4 | Lesson 4 – The Process (pp. 77-117) In Lesson 4, we will discuss the unorthodox structure of the novel (which is a feature of some other Beat novels) and also how the meandering plot constantly subverts readers’ expectations. Here we will explore how the story becomes more of an initiatory ordeal for Hanson, rather than just an orthodox trek into the desert. We also start to learn that Hamid’s role is shifting from teacher to trickster and to someone who has a disruptive force over Hanson. |
| 5 | Lesson 5 – The Process (pp. 118-150) In Lesson 5, we will discuss how the discontinuity of narrative of The Process aligns with certain recognized features of postmodernist writing. We will also discuss how the concepts of selfhood start to break down and melt and explore what changes the protagonist undergoes. |
| 6 | Lesson 6 – The Process (pp. 151-187) In Lesson 6, we will discuss how Hanson’s encounters with drugs and sex (two common Beat tropes) blur the lines between reality, in other words between internal hallucination and what is actually happening externally. Where possible, we will discuss where these themes have parallels with Gysin’s and Burroughs’ own lives. |
| 7 | Lesson 7 – The Process (pp. 188-220) In Lesson 7, we will take a look at one of the most poignant themes of the novel that resonates strongly with the modern-day reader: how Hanson, as protagonist, is drawn into a confrontation with power, domination and submission, which takes place both spiritually and racially. |
| 8 | Lesson 8 – The Process (pp. 221-240) In Lesson 8, we will focus on the meaning of the title of the novel, The Process, which essentially refers to the undoing and remaking of consciousness. This necessitates that language, memory and moral fortitude be all subverted in order for this to successfully occur. |
| 9 | Lesson 9 – The Process (pp. 241-274) As we start to approach the end of the novel, we will begin to reflect back upon the symbolic roles played by Hanson and Hamid, respectively, throughout the novel thus far. Where possible, we will also analyze how these characters relate to Gysin’s own life and people that he knew. (Once again, we will refer briefly back to Gysin’s first novel, which also focuses on the topic of slavery but within the United States, not Africa). |
| 10 | Lesson 10 – The Process (pp. 275-298) In Lesson 10, we will focus on a brief history of slavery itself. If possible, students may have a chance to draw upon knowledge provided by a Moroccan guest lecturer, who, if able to join us in class, will help us contextualize the novel in terms of the history of slavery. We will also do a recap of the ‘plot’ of the novel so far and try to summarize the main characters and events. Students will be asked to try to predict the ending of the novel. |
| 11 | Lesson 11 – The Process pp. 299-320 In Lesson 11, we will finish the novel and discuss the main themes, the fragmentary structure of the novel (and its connection to the cut-up technique), the main ‘messages’ of the novel as a whole, and briefly discuss reviews and criticism of Gysin’s novel, both in relation to Beat studies and postmodernism. |
| 12 | Lesson 12 – Presentations I In Lesson 12, the first half of the class will give a short 3-minute presentation on a member of the Beat Generation, or an artist, writer or poet who influenced, was influenced by or collaborated with Brion Gysin during his time in Morocco or beyond. Some of these writers, painters and artists will be briefly introduced over the course of the semester. This includes Morocco-based artists such as William Burrough, Ira Cohen, Paul Bowles, Alan Ansen, John Giorno, Mohammed Mrabet, Gregory Corso, Allen Ginsberg and Sinclair Beiles. Alternatively students may choose to present on another influence on Gysin such as Celine, Genet, Breton, painter / artist Keith Haring, film-maker Antony Balch or other artists or writers. Students who are not presenting but are part of the audience are expected to participate by asking questions in the short Q&A session after each presentation. Students who ask their classmates questions will be rewarded with bonus points towards their overall participation score (30% of their final score). Students who are NOT presenting in this week (but only listening as members of the audience) will be encouraged to read and study some supplementary materials taken from our secondary reference text, Back in No Time: The Brion Gysin Reader and take the online review quiz to prepare for the final test in Lesson 14. |
| 13 | Lesson 13 – Presentations II In Lesson 13, the second half of the class will give a short 3-minute presentation on a member of the Beat Generation, or an artist, writer or poet who influenced, was influenced by or collaborated with Brion Gysin during his time in Morocco or beyond. Some of these writers, painters and artists will be briefly introduced over the course of the semester. This includes Morocco-based artists such as William Burrough, Ira Cohen, Paul Bowles, Alan Ansen, John Giorno, Mohammed Mrabet, Gregory Corso, Allen Ginsberg and Sinclair Beiles. Alternatively students may choose to present on another influence on Gysin such as Celine, Genet, Breton, painter / artist Keith Haring, film-maker Antony Balch or other artists or writers. Students who are not presenting but are part of the audience are expected to participate by asking questions in the short Q&A session after each presentation. Students who ask their classmates questions will be rewarded with bonus points towards their overall participation score (30% of their final score). Students who are NOT presenting in this week (but only listening as members of the audience) will be encouraged to read and study some supplementary materials taken from our secondary reference text, Back in No Time: The Brion Gysin Reader and take the online review quiz to prepare for the final test in Lesson 14. |
| 14 | Lesson 14 – Final Test In Lesson 14, students will take their final test. All parts of the textbook, The Process will be covered in the final test as well as some of the supplementary materials either distributed in class or shared through email (or uploaded onto Google Classroom). There will be three sections to the final examination: 1) in the first section students will answer multiple-choice questions (10 pts.); 2) in the second section students will write short-answer questions (20 pts.); 3) in the third section, students will choose ONE out of three topics and write an academic essay (10 pts): Option A (presentation topic in essay form); Option B (an analysis of Gysin’s painting and other art) or Option C (a comprehensive analysis of the themes, ideas, structures and legacy of his novel, The Process. |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
In addition to the weekly reading assignments from the textbook, students will also be encouraged to read and explore other supplementary sources of information. Some of the supplementary reading materials will be provided by the teacher (either photocopies handed out in class or sent by email or uploaded) and extra 'recommending reading' sections will be suggested by the teachers to help them enrich their understanding of the texts, Gysin’s art, the Beat Generation philosophy and ethos, the writer / artist and the course overall. Furthermore, students are encouraged to listen to the audio recordings of Gysin performing his texts or in interviews in order to obtain a better appreciation of his linguistic, aesthetic and artistic aims.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Assignment #1(10%) Assignment #2(10%) Assignment #3 (Presentation)(10%) In-class discussions & participation(30%) 最終テスト(Final Test)(40%) |
| 備考 (Notes) | ||
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Gysin, Brion | The Process | Harry N. Abrams | 2005 | 9781585677115 |
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Gysin, B. & Weiss, J. | Back in No Time: The Brion Gysin Reader | Wesleyan University Press | 2001 | 9780819565280 |
| 2 | Gysin, B. | Living with Islam | Inkblot Publications | 2010 | 9780934301503 |
| 3 | Gysin, B., Wilson, T. | Brion Gysin: Here to Go | Solar Books | 2012 | 9780983248033 |
| 4 | Burroughs, W. S., Gysin, B. | The Third Mind | Viking Press | 1978 | 9780670700998 |
| 5 | P-Orridge, G. B. | Brion Gysin: His Name Was Master | Trapart Books | 2023 | 9789198755756 |
| 6 | Geiger, J. | Nothing Is True Everything is Permitted: The LIfe of Brion Gysin | Disinformation Co | 2005 | 9781932857122 |
| 7 | Knoebber, R. | Hysteresis: A Profile of Brion Gysin | Inkblot Publications | 2024 | 9798990927117 |
1) The first matter students should be aware of is the attendance policy for this class. Students are required to attend at least 10 of the 14 classes / sessions in order to pass this course. In other words, students who are absent 5 times or more will automatically fail the course. Therefore, students who are planning to undertake an internship, work experience or will be away for a number of weeks during the course should take this in mind and be mindful of the number of their absences. Official absences will only be allowed in cases of illness or bereavement.
2) The second point students should keep in mind is how they will receive a grade for in-class participation. Each week we will hold discussions IN ENGLISH in class. Students are expected to participate in these discussion IN ENGLISH. Failure to do will result in point penalties.
NOTE: Students who are absent from class due to club activities, work experience or some similar reason will not be considered eligible for 'official absence.'
Students should possess either a laptop or iPad or similar device, and have access to some form of software which will allow them to generate slides for their presentation (Assignment #3) such as PowerPoint etc.
Students who are caught cheating or plagiarizing on any assignments on tests will automatically incur penalties. (NOTE: This includes using AI software to write essays. However, if students can prove that they have used AI as a tool for learning or generating ideas, not for simply generating their final product, this could be deemed acceptable. Guidelines will be drawn up and shared with students on this matter). Therefore, while students may collaborate or study together both inside and outside the classroom, students are expected to turn in / submit ORIGINAL writing or work for the assignments. Failure to do so will result in point penalties.
This English literature course aims to help students develop their English abilities in the four core skills of listening, reading, speaking, and writing through a combination of various texts, media and in-class activities. Students enrolled in this course will have the opportunity to enhance their abilities to analyze literary texts through close reading of the original text, the provision of supplementary notes, related criticism on the author, as well as videos or audio materials to aid students in their reading and interpretation of the artist's body of work from various perspectives. This will facilitate students’ overall understanding of the Beat Generation literature canon in general, and in particular the writings of Brion Gysin, the focus of this course, and one of the most underrated writers and artists of the Beat Generation. This represents part 1 in a two-part course focusing on expat Beat artists (i.e. Beat artists who lived abroad). Most members of the Beat Generation were from and lived in the United States but this course focuses on Beat artists who lived outside of the US for a large part of their life. In part 1, we will look at the writings and art of Canadian-born Brion Gysin, who lived much of his life in Morocco and in Europe. (In part 2, in Semester 2, for those students carrying on with this course in the Fall, we will look at another relatively-unknown Italian-American Beat artist, Piero Heliczer, his dead language press, and other artists associated with him who lived abroad in France, the Netherlands and elsewhere.)
To provide students with a better contextual background, some supplementary materials and information on contemporary Beat Generation novelists, poets and artists will also be provided to help students better understand who Brion Gysin was influenced by(including his contemporaries) and who he, in turn, also influenced through his art (painting, writing, and music recordings, etc.). While the theme of Preliminary English Seminar 1f and 2f are the same (expat Beat writers), it is not essential for students to take the subsequent course in the Fall semester if they wish to join only the Spring semester course.
In terms of skills related to English ability and proficiency, students will have the opportunity to improve their English listening skills through the interpretations of the text provided by their teacher in class, and listening to recordings of Brion Gysin reading his own poetry and texts as well as interviews with Gysin (some tapes and CDs of Gysin in interview and in performance are in the teacher’s possession), not only as a listening-comprehension exercise but as a way to better appreciate the feel and sounds of his art. Group discussions will be held in regular classes on questions directly related to the text and given to students beforehand to reflect upon. Students will also have the opportunity to make a presentation in class (Assignment #3) to help them improve their written proficiency (by preparing a written script for the presentation, which they can also use in the essay question of the final exam if they choose Option A) and their spoken English proficiency when they give the presentation in class. Students will give a presentation on one artist (some of them Beats) in close association with Brion Gysin during his time in Morrocco or Paris or elsewhere overseas, such as William Burroughs (a key collaborator and close friend), Ira Cohen, John Giorno, Keith Haring, Paul Bowles, Gregory Corso, Sinclair Beiles, Antony Balch, Ian Sommerville, Genesis Bryer P-Orridge and others. Students will be asked to complete two assignments on supplementary materials provided in class. Assignment #1 will be about Gysin’s famous cut-up technique, a technique previously used by some of the Dadaist and Surrealist poets in France, some of whom Gysin personally knew (such as Andre Breton). For this assignment, I will use the text “About the Cut-ups” taken from Back in No Time: The Brion Gysin Reader (a key supplementary text for this course). Assignment #2 will be about The Naked Lunch screenplay which is based on William Burroughs’ famous Beat novel, Naked Lunch. Assignment #3 will be held over two weeks, during which students will give a 3-minute presentation on one of the artists mentioned above that students can choose from. Supplementary materials will be provided either in class or by email to help students have more background information to complete Assignment #1 (on the cut-ups) and Assignment #2 (on the Naked Lunch screenplay). Some guidelines on how to complete these assignments will also be provided by the teacher, to help students improve their abilities in English written composition and expression.
Successful completion of this course should indicate an understanding of:
1. the historical background and contexts of the Beat Generation and some of the beat poets and artists associated with Brion Gysin, William Burroughs and the Morrocco community of expat writers and artists of the 1950s-1970s;
2. the style, structure, aesthetics, aims and various complexities of Gysin’s art (writing and painting), with a particular focus on The Process, his second novel, plus some other texts, published during his lifetime or posthumously;
3. several ways of analyzing a text, through supplementary readings and slides provided in class.
4. a better background knowledge of Gysin’s life and times, based on some biographies written on Brion Gysin and some books by friends and collaboratos who knew him well.
5. a basic ability to analyze and/or understand painting and its techniques and iconoclastic capacity after studying some basic concepts from art studies (Gysin was first known as a painter and visual artist, before he tried his hand at writing and recording music etc.).
This course also facilitates the development of the following skills…
1. the ability to interpret and discuss a text, based on its historical and cultural context and milieu;
2. the ability to inform an original text through the use of secondary sources;
3. the ability to interpret and understand the literary analysis of other critics and writers;
4. the ability to assess and/or comment upon experimental film and audio recordings;
5. the ability to analyze and evaluate (experimental) painting techniques of Gysin and other painters;
5. the ability to present an argument or summary of one’s opinion on a literary work.
This course, predominantly conducted in English, will offer enrolled students the opportunity to read and discuss Brion Gysin’s greatest novel The Process, which was originally published in 1969. We will also talk about some of the contemporary Beat Generation poets, novelists, and artists many of whom were close friends with Gysin, such as William S. Burroughs, Paul Bowles, Allen Ginsberg, Ira Cohen, Genesis P-Orridge, Keith Haring, Sinclair Beiles, Gregory Corso, John Giorno, Allen Ansen and others.
When we talk about the Beat Generation movement and the artists that belong to it, Brion Gysin is not a name that immediately comes to mind to most people. He was not as well-known as some other Beat writers such as William S. Burroughs, Allen Ginsberg, Jack Kerouac or Lawrence Ferlinghetti (just to name a few). This is partly because Gysin also focused heavily on painting and experimental sound recording techniques and is not only known as a ‘novelist,' he is more commonly viewed as a ‘painter’ or ‘artist.’ However, it is my opinion that his second completed novel, The Process represents one of the most brilliant landmarks of writing for his time, and one of the greatest Beat novels of this generation and therefore this is the key text that we will focus on for the course.
Some supplementary notes based on the teacher’s own analysis of the texts will also be provided to students to facilitate their own readings and help them analyze Gysin’s writings, recordings, artwork and interviews on their own. Finally, where possible, the teacher will use any audio files, tapes or CDs, (such as recordings of Gysin’s interviews and performances) and students will have a chance to watch some online videos featuring Gysin or ones that have been produced about him. The aim of sharing these materials is twofold: to enrich students’ knowledge of Brion Gysin; and in a larger sense, the Beat Generation movement as a whole, his paintings and vision, and to help them fully appreciate Gysin’s writings and artwork, both from the context of his own times and from the fresh perspectives of contemporary times.
If possible, a guest lecturer (from Morocco) may join the class for one lesson to provide more information to students on some of the background historical information (related to slavery etc.) that will help students contextualize and better understand some content of the novel. (Whether the guest lecturer can join the class or not has yet to be confirmed.)
| 1 | Lesson 1 – An Introduction to Brion Gysin, the Beat Generation and the Morocco Community In our first class for the course, we will begin by briefly discussing the historical contexts and backgrounds of the Beat Generation before focusing on the community of expat writers, who lived abroad in Morocco during the 1950s to 1970s, which included many of the Beats such as Brion Gysin and William Burroughs, as well as Beat associates like Paul Bowles and post-Beats like Ira Cohen. This lesson will provide a brief introduction to the major writers of the Beat Generation many of whom knew Gysin personally. Each of the weekly assigned readings will be explained as well as the 3 assignments including the methods of evaluation for each respective one. After the syllabus and methods of assessment have been explained, the teacher will briefly introduce the life, artwork and career of Brion Gysin. For the last half of the first class, students will discuss the “Foreword” to The Process by Robert Palmer. As this Foreword may not appear in the textbook version students will purchase for the course, photocopies will be provided and some simple discussion questions in groups will be assigned. |
| 2 | Lesson 2 – The Process (pp. 1-38) In Lesson 2, we will start by discussing the first 38 pages of the novel which focus on the departure of Ulys O. Hanson into the desert. As he is a professor of African-American slavery, we will discuss how this thematically relates to Gysin’s first book, To Master a Long Goodnight, and Gysin’s general interest in and knowledge of the topic of African slavery. We will also briefly talk about Gysin & Burroughs’ cut-up technique which will help students understand the fragmentary style of the novel overall. |
| 3 | Lesson 3 – The Process (pp. 39-76) In Lesson 3, we will look at the next 40 pages of the novel and focus on another key character who has been introduced early on: Hamid, a wild Moroccan, who teaches Hanson the local ways and how to pass as a Moor. We will also talk about the hallucinatory character of Gysin’s writing evident from the earliest stages of the novel. In relation to Hanson’s difficulty to integrate into the culture, we will briefly touch upon Gysin’s posthumous publication, Living with Islam. |
| 4 | Lesson 4 – The Process (pp. 77-117) In Lesson 4, we will discuss the unorthodox structure of the novel (which is a feature of some other Beat novels) and also how the meandering plot constantly subverts readers’ expectations. Here we will explore how the story becomes more of an initiatory ordeal for Hanson, rather than just an orthodox trek into the desert. We also start to learn that Hamid’s role is shifting from teacher to trickster and to someone who has a disruptive force over Hanson. |
| 5 | Lesson 5 – The Process (pp. 118-150) In Lesson 5, we will discuss how the discontinuity of narrative of The Process aligns with certain recognized features of postmodernist writing. We will also discuss how the concepts of selfhood start to break down and melt and explore what changes the protagonist undergoes. |
| 6 | Lesson 6 – The Process (pp. 151-187) In Lesson 6, we will discuss how Hanson’s encounters with drugs and sex (two common Beat tropes) blur the lines between reality, in other words between internal hallucination and what is actually happening externally. Where possible, we will discuss where these themes have parallels with Gysin’s and Burroughs’ own lives. |
| 7 | Lesson 7 – The Process (pp. 188-220) In Lesson 7, we will take a look at one of the most poignant themes of the novel that resonates strongly with the modern-day reader: how Hanson, as protagonist, is drawn into a confrontation with power, domination and submission, which takes place both spiritually and racially. |
| 8 | Lesson 8 – The Process (pp. 221-240) In Lesson 8, we will focus on the meaning of the title of the novel, The Process, which essentially refers to the undoing and remaking of consciousness. This necessitates that language, memory and moral fortitude be all subverted in order for this to successfully occur. |
| 9 | Lesson 9 – The Process (pp. 241-274) As we start to approach the end of the novel, we will begin to reflect back upon the symbolic roles played by Hanson and Hamid, respectively, throughout the novel thus far. Where possible, we will also analyze how these characters relate to Gysin’s own life and people that he knew. (Once again, we will refer briefly back to Gysin’s first novel, which also focuses on the topic of slavery but within the United States, not Africa). |
| 10 | Lesson 10 – The Process (pp. 275-298) In Lesson 10, we will focus on a brief history of slavery itself. If possible, students may have a chance to draw upon knowledge provided by a Moroccan guest lecturer, who, if able to join us in class, will help us contextualize the novel in terms of the history of slavery. We will also do a recap of the ‘plot’ of the novel so far and try to summarize the main characters and events. Students will be asked to try to predict the ending of the novel. |
| 11 | Lesson 11 – The Process pp. 299-320 In Lesson 11, we will finish the novel and discuss the main themes, the fragmentary structure of the novel (and its connection to the cut-up technique), the main ‘messages’ of the novel as a whole, and briefly discuss reviews and criticism of Gysin’s novel, both in relation to Beat studies and postmodernism. |
| 12 | Lesson 12 – Presentations I In Lesson 12, the first half of the class will give a short 3-minute presentation on a member of the Beat Generation, or an artist, writer or poet who influenced, was influenced by or collaborated with Brion Gysin during his time in Morocco or beyond. Some of these writers, painters and artists will be briefly introduced over the course of the semester. This includes Morocco-based artists such as William Burrough, Ira Cohen, Paul Bowles, Alan Ansen, John Giorno, Mohammed Mrabet, Gregory Corso, Allen Ginsberg and Sinclair Beiles. Alternatively students may choose to present on another influence on Gysin such as Celine, Genet, Breton, painter / artist Keith Haring, film-maker Antony Balch or other artists or writers. Students who are not presenting but are part of the audience are expected to participate by asking questions in the short Q&A session after each presentation. Students who ask their classmates questions will be rewarded with bonus points towards their overall participation score (30% of their final score). Students who are NOT presenting in this week (but only listening as members of the audience) will be encouraged to read and study some supplementary materials taken from our secondary reference text, Back in No Time: The Brion Gysin Reader and take the online review quiz to prepare for the final test in Lesson 14. |
| 13 | Lesson 13 – Presentations II In Lesson 13, the second half of the class will give a short 3-minute presentation on a member of the Beat Generation, or an artist, writer or poet who influenced, was influenced by or collaborated with Brion Gysin during his time in Morocco or beyond. Some of these writers, painters and artists will be briefly introduced over the course of the semester. This includes Morocco-based artists such as William Burrough, Ira Cohen, Paul Bowles, Alan Ansen, John Giorno, Mohammed Mrabet, Gregory Corso, Allen Ginsberg and Sinclair Beiles. Alternatively students may choose to present on another influence on Gysin such as Celine, Genet, Breton, painter / artist Keith Haring, film-maker Antony Balch or other artists or writers. Students who are not presenting but are part of the audience are expected to participate by asking questions in the short Q&A session after each presentation. Students who ask their classmates questions will be rewarded with bonus points towards their overall participation score (30% of their final score). Students who are NOT presenting in this week (but only listening as members of the audience) will be encouraged to read and study some supplementary materials taken from our secondary reference text, Back in No Time: The Brion Gysin Reader and take the online review quiz to prepare for the final test in Lesson 14. |
| 14 | Lesson 14 – Final Test In Lesson 14, students will take their final test. All parts of the textbook, The Process will be covered in the final test as well as some of the supplementary materials either distributed in class or shared through email (or uploaded onto Google Classroom). There will be three sections to the final examination: 1) in the first section students will answer multiple-choice questions (10 pts.); 2) in the second section students will write short-answer questions (20 pts.); 3) in the third section, students will choose ONE out of three topics and write an academic essay (10 pts): Option A (presentation topic in essay form); Option B (an analysis of Gysin’s painting and other art) or Option C (a comprehensive analysis of the themes, ideas, structures and legacy of his novel, The Process. |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
In addition to the weekly reading assignments from the textbook, students will also be encouraged to read and explore other supplementary sources of information. Some of the supplementary reading materials will be provided by the teacher (either photocopies handed out in class or sent by email or uploaded) and extra 'recommending reading' sections will be suggested by the teachers to help them enrich their understanding of the texts, Gysin’s art, the Beat Generation philosophy and ethos, the writer / artist and the course overall. Furthermore, students are encouraged to listen to the audio recordings of Gysin performing his texts or in interviews in order to obtain a better appreciation of his linguistic, aesthetic and artistic aims.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Assignment #1(10%) Assignment #2(10%) Assignment #3 (Presentation)(10%) In-class discussions & participation(30%) 最終テスト(Final Test)(40%) |
| 備考 (Notes) | ||
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Gysin, Brion | The Process | Harry N. Abrams | 2005 | 9781585677115 |
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Gysin, B. & Weiss, J. | Back in No Time: The Brion Gysin Reader | Wesleyan University Press | 2001 | 9780819565280 |
| 2 | Gysin, B. | Living with Islam | Inkblot Publications | 2010 | 9780934301503 |
| 3 | Gysin, B., Wilson, T. | Brion Gysin: Here to Go | Solar Books | 2012 | 9780983248033 |
| 4 | Burroughs, W. S., Gysin, B. | The Third Mind | Viking Press | 1978 | 9780670700998 |
| 5 | P-Orridge, G. B. | Brion Gysin: His Name Was Master | Trapart Books | 2023 | 9789198755756 |
| 6 | Geiger, J. | Nothing Is True Everything is Permitted: The LIfe of Brion Gysin | Disinformation Co | 2005 | 9781932857122 |
| 7 | Knoebber, R. | Hysteresis: A Profile of Brion Gysin | Inkblot Publications | 2024 | 9798990927117 |
1) The first matter students should be aware of is the attendance policy for this class. Students are required to attend at least 10 of the 14 classes / sessions in order to pass this course. In other words, students who are absent 5 times or more will automatically fail the course. Therefore, students who are planning to undertake an internship, work experience or will be away for a number of weeks during the course should take this in mind and be mindful of the number of their absences. Official absences will only be allowed in cases of illness or bereavement.
2) The second point students should keep in mind is how they will receive a grade for in-class participation. Each week we will hold discussions IN ENGLISH in class. Students are expected to participate in these discussion IN ENGLISH. Failure to do will result in point penalties.
NOTE: Students who are absent from class due to club activities, work experience or some similar reason will not be considered eligible for 'official absence.'
Students should possess either a laptop or iPad or similar device, and have access to some form of software which will allow them to generate slides for their presentation (Assignment #3) such as PowerPoint etc.
Students who are caught cheating or plagiarizing on any assignments on tests will automatically incur penalties. (NOTE: This includes using AI software to write essays. However, if students can prove that they have used AI as a tool for learning or generating ideas, not for simply generating their final product, this could be deemed acceptable. Guidelines will be drawn up and shared with students on this matter). Therefore, while students may collaborate or study together both inside and outside the classroom, students are expected to turn in / submit ORIGINAL writing or work for the assignments. Failure to do so will result in point penalties.