{"id":{"repo_id":"twu","oai_identifier":"oai:twu-ir.tdl.org:11274/9088"},"canonical_url":"https://search.dev.ndltd.org/etd/twu/oai:twu-ir.tdl.org:11274/9088","repository":{"repo_id":"twu","name":"Texas Woman's University","base_url":"https://twu-ir.tdl.org/server/oai/request"},"display":{"title":"Female characters in Jack Kerouac's Fiction","abstract":"Jack Kerouac, accepted speaker for the Beat Generation in American literature, used women as vehicles in his attempt to define himself in both his life and his fiction. His three female-centered novels, Maggie Cassidy, The Subterraneans, and Tristessa show the male protagonists following a pattern of departure from home, experience in a foreign world, and return to home. Maggie Cassidy is Jacky Dulouoz's sexual initiation although the relationship is unfulfilled. With Mardou Fox of The Subterraneans Leo Percepied has a sexually-fulfilled relationship, but in Tristessa Jack Duluoz attempts a return to chastity. Additionally, Kerouac's treatment of women as vehicles for his and his characters' own convenience appears to be typical of the Beat Generation and its permeating attitude toward women.","abstract_html":"Jack Kerouac, accepted speaker for the Beat Generation in American literature, used women as vehicles in his attempt to define himself in both his life and his fiction. His three female-centered novels, Maggie Cassidy, The Subterraneans, and Tristessa show the male protagonists following a pattern of departure from home, experience in a foreign world, and return to home. Maggie Cassidy is Jacky Dulouoz's sexual initiation although the relationship is unfulfilled. With Mardou Fox of The Subterraneans Leo Percepied has a sexually-fulfilled relationship, but in Tristessa Jack Duluoz attempts a return to chastity. Additionally, Kerouac's treatment of women as vehicles for his and his characters' own convenience appears to be typical of the Beat Generation and its permeating attitude toward women.","abstract_has_math":false,"creators":["Lyke, Patrice Phelan"],"institution":"Texas Woman's University","degree_name":"Master of Arts","degree_level":"Master","degree_discipline":"English","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":["Thompson, Joyce"],"committee_members":["Bishop, Dean","Bridges, Phyllis"],"year":1991,"date_issued":"12/30/1991","date_published":"12/30/1991","updated_at":"2026-07-24T05:05:09Z","subjects":["American literature","Jack Kerouac","Beat generation","Language,literature, and linguistics"],"languages":["en_US"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11274/9088","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.committeechair","label":"Committee Chair","values":["Thompson, Joyce"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Bishop, Dean","Bridges, Phyllis"]},{"key":"dc:creator","label":"Author","values":["Lyke, Patrice Phelan"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2018-02-05T17:00:08Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2018-02-05T17:00:08Z"]},{"key":"dc:date.issued","label":"Date","values":["12/30/1991"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Texas Woman's University"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["American literature","Jack Kerouac","Beat generation","Language,literature, and linguistics"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en_US"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11274/9088"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Jack Kerouac, accepted speaker for the Beat Generation in American literature, used women as vehicles in his attempt to define himself in both his life and his fiction. His three female-centered novels, Maggie Cassidy, The Subterraneans, and Tristessa show the male protagonists following a pattern of departure from home, experience in a foreign world, and return to home. Maggie Cassidy is Jacky Dulouoz's sexual initiation although the relationship is unfulfilled. With Mardou Fox of The Subterraneans Leo Percepied has a sexually-fulfilled relationship, but in Tristessa Jack Duluoz attempts a return to chastity. Additionally, Kerouac's treatment of women as vehicles for his and his characters' own convenience appears to be typical of the Beat Generation and its permeating attitude toward women."]},{"key":"dc:title","label":"Title","values":["Female characters in Jack Kerouac's Fiction"]}]}],"canonical_facts":{"dc:contributor.committeechair":["Thompson, Joyce"],"dc:contributor.committeemember":["Bishop, Dean","Bridges, Phyllis"],"dc:creator":["Lyke, Patrice Phelan"],"dc:date.accessioned":["2018-02-05T17:00:08Z"],"dc:date.available":["2018-02-05T17:00:08Z"],"dc:date.issued":["12/30/1991"],"dc:description.abstract":["Jack Kerouac, accepted speaker for the Beat Generation in American literature, used women as vehicles in his attempt to define himself in both his life and his fiction. His three female-centered novels, Maggie Cassidy, The Subterraneans, and Tristessa show the male protagonists following a pattern of departure from home, experience in a foreign world, and return to home. Maggie Cassidy is Jacky Dulouoz's sexual initiation although the relationship is unfulfilled. With Mardou Fox of The Subterraneans Leo Percepied has a sexually-fulfilled relationship, but in Tristessa Jack Duluoz attempts a return to chastity. Additionally, Kerouac's treatment of women as vehicles for his and his characters' own convenience appears to be typical of the Beat Generation and its permeating attitude toward women."],"dc:identifier.uri":["http://hdl.handle.net/11274/9088"],"dc:language.iso":["en_US"],"dc:subject":["American literature","Jack Kerouac","Beat generation","Language,literature, and linguistics"],"dc:title":["Female characters in Jack Kerouac's Fiction"],"dc:type":["Thesis"],"thesis:degree_discipline":["English"],"thesis:degree_level":["Master"],"thesis:degree_name":["Master of Arts"],"thesis:institution_name":["Texas Woman's University"]},"updated_at":"2026-07-24T05:05:09Z"}