“我们想要这个世界,我们现在就想要”:吉姆·莫里森是青年反主流文化的“指导精神”

Kylo-Patrick R. Hart
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摘要

作为摇滚乐队“门”(the Doors)的创作型歌手和主唱,吉姆·莫里森获得了越来越多的认可和名声,在他的队友雷·曼扎莱克(Ray Manzarek)的评价中,他体现了“嬉皮反文化反叛精神”。在20世纪60年代的后半段。部分原因是,由于他的革命精神和关于激进潜力的个人观点,莫里森开始成为一个令人印象深刻的代沟的象征,代沟存在于希望改变世界的年轻人和老年人之间,包括那些似乎固步自封的传统权威人物。因此,本文将对莫里森?他是20世纪60年代美国青年反主流文化运动的理想领袖。它展示了莫里森?他直言不讳的观点、放荡不羁的生活方式、叛逆的个性、不可预测的表演风格、迷幻药和酒精的经历、广泛的文学知识(从垮掉的一代诗人和作家的作品到法国存在主义哲学家的作品),以及有意引发骚乱的企图,有效地将他定位为一个有吸引力的“指导精神”,并团结了他那个时代无数青年反主流文化成员。这进一步表明,随着20世纪70年代早期莫里森事业的发展,这种文化地位给他带来了巨大的个人损失。当时,他努力将自己的艺术向新的方向发展,但却发现自己被困在一个他不再希望称之为自己的名人形象中,尽管这在很大程度上是他自己创造的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘WE WANT THE WORLD AND WE WANT IT NOW’: JIM MORRISON AS ‘GUIDING SPIRIT’ OF THE YOUTH COUNTERCULTURE
As he achieved growing recognition and fame as a singer-songwriter and lead vocalist of the rock band The Doors, Jim Morrison came to embody, in the assessment of his bandmate Ray Manzarek, the spirit of ?hippie counterculture rebellion? during the second half of the decade of the 1960s. In part that is because, with his revolutionary spirit and personal views pertaining to radical potentialities, Morrison began to serve as an impressive icon of the generation gap that existed between young people who hoped to change the world and older individuals, including conventional authority figures, who seemed set in their ways. Accordingly, this presentation examines Morrison?s status as a desirable leader of the youth counterculture in the United States during the 1960s. It demonstrates how Morrison?s outspoken views, bohemian lifestyle, rebellious personality, unpredictable performing style, experiences with psychedelic drugs and alcohol, extensive literary knowledge (which ranged from the works of Beat poets and writers to French existentialist philosophers), and intentional attempts to spark riots effectively combined to position him as an appealing 'guiding spirit' and source of solidarity to countless members of the youth counterculture of his day. It further demonstrates the substantial personal toll this cultural status took on Morrison as his career progressed toward the early 1970s, when he endeavored to take his metier in new directions yet found himself trapped in a celebrity persona he no longer wished to call his own, even though it was very much of his own making.
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