This might help a little to understand what Ginsburg means by this term:

Yet the Ginsberg of the late fifties was an oddly contradictory figure. He was a strident revolutionary who, when not announcing his absolute newness, was busily tracing his genealogical links with underground traditions and neglected masters, especially Blake and Whitman. History was bunk, but the new consciousness Ginsberg proclaimed was empowered by a fairly familiar form of nineteenth-century Idealism, the basis for his admiration for Blake and Whitman. Ginsberg opened his poetry to sordid urban realities, and he packed "Howl" with things, with matter. Yet, as we shall see, immersion in what he calls "the total animal soup of time" was the first step in a painful ordeal which ended in the visionary’s flight out of time. Ginsberg’s poem reaches, nervously and ardently, after rest from urban frenzy, a resolution the poet can only find in a vertical transcendence. Ginsberg’s departure from the end-of-the-line modernism was a dramatic but hardly a new one; it took the form of a return to those very romantic models and attitudes that modernism tried to shun.
http://www.english.illinois.edu/maps/poets/g_l/ginsberg/bres...