DOCSLIB.ORG

Round People: Bob Dylan and the Street Ballad

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Round People: Bob Dylan and the Street Ballad Come gather ‘round people Bob Dylan and the Street Ballad Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von David SAMITSCH Am Institut für Anglistik Begutachter: Ao. Univ. Prof. Mag. Dr. phil. Hugo Keiper Graz, 2018 Eidesstattliche Erklärung Ich erkläre ehrenwörtlich, dass ich die vorliegende Arbeit selbständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benützt und die den benutzten Quellen wört- lich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Ich habe diese Dip- lomarbeit bisher weder im In- noch im Ausland in irgendeiner Form als Prüfungsarbeit vorge- legt. Graz, Mai 2018 ………….………………….. David Samitsch “The times, they are a-changin’” – nach sechs Jahren des Studiums steht nun eine Zeitenwende in meinem Leben bevor. Es ist an der Zeit, inne zu halten und mich bei den Menschen zu bedan- ken, die mich auf diesem Stück des Weges unterstützt haben. Besonderer Dank gilt meiner Familie, die mich in allen erdenklichen Formen unterstützt hat und ohne die dies papierne Zeugnis meiner erfolgreichen Laufbahn wohl nie zustande gekom- men wäre. Ein herzliches Danke dafür! Des Weiteren möchte ich mich auch bei meinem Betreuer Ao. Univ. Prof. Mag. Dr. phil. Hugo Keiper für seine gewissenhafte Betreuung, zahlreiche früchtebringende Anreize, sein Vertrauen und seine außerordentliche Unterstützung bedanken. “How many times can a comma be put In a space where it’s counter-intuitive? The answer, my friend, is luckily not in print The answer is luckily not in print!” Last but not least, ein herzliches Dankeschön an Mag.Veronika Zeppetzauer für das großartige Lektorat meiner Arbeit auch bzw. großteils außerhalb der Bürozeiten! TABLE OF CONTENTS 1 Introduction ............................................................................................................................. 1 2 The English and Scottish ballads ............................................................................................ 2 2.1 Definition of the Term ’Ballad’ .................................................................................... 2 2.2 Types of Ballads and their Functions ........................................................................... 2 2.3 Origin of the Ballads .................................................................................................... 4 2.3.1 The Folk as Author: Communal Origin Theory ............................................ 4 2.3.2 Individual Origin Theory ............................................................................... 7 2.3.3 Communal Transmission Theory .................................................................. 8 2.3.4 The Ballad and the Epic ................................................................................. 9 2.3.5 Comparison of Versions ................................................................................ 9 2.4 History of the Ballad and Ballad Collections ............................................................. 10 2.4.1 Medieval Times to 17th Century .................................................................. 10 2.4.2 18th and 19th Centuries: The Age of the Ballad Collectors .......................... 11 2.4.3 Francis James Child: The English and Scottish Popular Ballads ............... 13 2.4.4 20th Century to Present ................................................................................ 14 3 The Ballad: Features .............................................................................................................. 15 3.1 Composition ............................................................................................................... 15 3.1.1 Composing and Performing Ballads ............................................................ 15 3.1.2 Differences: Oral and Literary Poetry ......................................................... 16 3.2 Content of Ballads ...................................................................................................... 18 3.2.1 Topoi and Themes of Traditional Ballads ................................................... 18 3.2.1.1 Class Differences .......................................................................... 18 3.2.1.2 The Nuncupative Testament ......................................................... 18 3.2.1.3 The Last Goodnight ...................................................................... 19 3.2.1.4 Religion ......................................................................................... 19 3.2.1.5 Verbal Duels and Riddles ............................................................. 19 3.2.1.6 Love, Romance, Sex ..................................................................... 19 3.2.1.7 The Love Triangle ........................................................................ 20 3.2.1.8 Crimes ........................................................................................... 20 3.2.1.9 Schadenfreude ............................................................................... 20 3.2.1.10 Magic and (super-)natural forces ................................................ 21 3.2.1.11 Revenants .................................................................................... 21 3.2.1.12 Robin Hood ................................................................................. 21 3.2.1.13 Historical incidents ..................................................................... 21 3.2.2 Topoi and Themes of Street Ballads............................................................ 22 3.3 Form and Style of Ballads .......................................................................................... 22 3.3.1 Rhyme and Meter ........................................................................................ 22 3.3.2 Syntax .......................................................................................................... 25 3.3.3 Stylistic Features of Ballads ........................................................................ 25 3.3.3.1 Leaping and Lingering .................................................................. 25 3.3.3.2 (Incremental) Repetition and Formulaic Language ...................... 26 3.3.3.3 Drastic Imagery, Hyperboles and Contrasts ................................. 27 3.4 Model of Communication .......................................................................................... 29 3.4.1 Ballad Types ................................................................................................ 30 3.4.2 Idiosyncrasies of Street Ballads ................................................................... 31 3.4.2.1 Request for the Audience’s Attention ........................................... 32 3.4.2.2 Interrelation: Message – Ballad Singer ......................................... 32 3.4.2.3 Direct Address of the Audience .................................................... 32 4 Bob Dylan ............................................................................................................................. 34 4.1 Early Life: First Musical and Literary Influences ...................................................... 34 4.2 Becoming Dylan ......................................................................................................... 35 4.3 Meeting Woody Guthrie ............................................................................................. 36 4.4 Greenwich Village ...................................................................................................... 37 4.5 The First Record: Bob Dylan (1962) .......................................................................... 38 4.6 Freewheelin’ and The Times They Are a-Changin’ ................................................... 39 4.7 Another Side of Bob Dylan ......................................................................................... 40 4.8 1965 to Present ........................................................................................................... 41 5 Interrelations: Bob Dylan and the Ballad Tradition .............................................................. 43 5.1 Sources of Bob Dylan’s Ballad and Folk Influence ................................................... 43 5.2 Songs Directly Referring to Ballads ........................................................................... 44 5.2.1 “Pretty Peggy-O” ......................................................................................... 44 5.2.2 “House Carpenter” ....................................................................................... 46 5.2.3 “Masters Of War” ........................................................................................ 48 5.2.4 “A Hard Rain’s A-gonna Fall” .................................................................... 49 5.2.5 “Bob Dylan’s Dream” ................................................................................. 53 5.2.6 “Walls Of Red Wing” and “Percy’s Song” ................................................. 54 5.2.7 “Ballad Of Hollis Brown” ........................................................................... 55 5.2.8 “Seven Curses” ............................................................................................ 56 5.3 Songs Incorporating Topoi and Themes of Traditional Ballads ................................ 57 5.3.1 “Girl From The North County” and “Boots Of Spanish Leather” .............. 57 5.3.2 “Down The Highway” ................................................................................
Load more

Recommended publications
  • Diana Davies Photograph Collection Finding Aid
    Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival.
    [Show full text]
  • Bob Dylan and the Nobel Prize
    BOB ENNOBLED BOB DYLAN AND THE NOBEL PRIZE I am a Dylan fan and I know many of his songs by heart. I have seen him perform and have heard him mangle his own work in Birmingham, England, and then delight the Hammersmith Odeon. I have watched him forget some of the words to ‘Mr Tambourine Man’ in the Leisure Centre at Bournemouth. Indeed, since about 1963 and The Freewheelin’ Bob Dylan I have spent many leisure hours and vital pounds, first of pocket money and then of earned income, keeping up with much of Dylan’s copious output. I’ve even tried to read his ‘novel’ Tarantula. While I am aware of his vocal and musical limitations and the way he can move from brilliant to dire, I love some of his songs, his phrasing and intonation this side of idolatry and sometimes beyond. I think the first four Dylan tracks I bought were on an 1963 EP called Dylan (Extended Play: remember those?) which rotated on the turntable at 45 rpm as his astonishing twenty-one-year old-voice sang: ‘Don’t Think Twice, it’s alright’, ‘Blowin’ in the Wind’, ‘When the Ship Comes in’ and then was it ‘Corinna, Corinna’? His way with song words has long held my qualified admiration and I enjoyed reading his Chronicles (Volume One) when they came out in 2004. For me, even with Dylan at his uneven best, it’s the words that matter most and the way he delivers them in the best of his supremely memorable songs. If I had to name my current top ten of his tracks, chosen with particular attention to the words and to do so rapidly from memory, I’d probably go for the following: ‘Boots
    [Show full text]
  • Dennis Chambers
    IMPROVE YOUR ACCURACY AND INDEPENDENCE! THE WORLD’S #1 DRUM MAGAZINE FUSION LEGEND DENNIS CHAMBERS SHAKIRA’S BRENDAN BUCKLEY WIN A $4,900 PEARL MIMIC BLONDIE’S PRO E-KIT! CLEM BURKE + DW ALMOND SNARE & MARCH 2019 GRETSCH MICRO KIT REVIEWED NIGHT VERSES’ ARIC IMPROTA FISHBONE’S PHILIP “FISH” FISHER THE ORIGINAL. ONLY BETTER. The 5000AH4 combines an old school chain-and-sprocket drive system and vintage-style footboard with modern functionality. Sought-after DW feel, reliability and playability. The original just got better. www.dwdrums.com PEDALS AND ©2019 Drum Workshop, Inc. All Rights Reserved. HARDWARE 12 Modern Drummer June 2014 LAYER » EXPAND » ENHANCE HYBRID DRUMMING ARTISTS BILLY COBHAM BRENDAN BUCKLEY THOMAS LANG VINNIE COLAIUTA TONY ROYSTER, JR. JIM KELTNER (INDEPENDENT) (SHAKIRA, TEGAN & SARA) (INDEPENDENT) (INDEPENDENT) (INDEPENDENT) (STUDIO LEGEND) CHARLIE BENANTE KEVIN HASKINS MIKE PHILLIPS SAM PRICE RICH REDMOND KAZ RODRIGUEZ (ANTHRAX) (POPTONE, BAUHAUS) (JANELLE MONÁE) (LOVELYTHEBAND) (JASON ALDEAN) (JOSH GROBAN) DIRK VERBEUREN BEN BARTER MATT JOHNSON ASHTON IRWIN CHAD WACKERMAN JIM RILEY (MEGADETH) (LORDE) (ST. VINCENT) (5 SECONDS OF SUMMER) (FRANK ZAPPA, JAMES TAYLOR) (RASCAL FLATTS) PICTURED HYBRID PRODUCTS (L TO R): SPD-30 OCTAPAD, TM-6 PRO TRIGGER MODULE, SPD::ONE KICK, SPD::ONE ELECTRO, BT-1 BAR TRIGGER PAD, RT-30HR DUAL TRIGGER, RT-30H SINGLE TRIGGER (X3), RT-30K KICK TRIGGER, KT-10 KICK PEDAL TRIGGER, PDX-8 TRIGGER PAD (X2), SPD-SX-SE SAMPLING PAD Visit Roland.com for more info about Hybrid Drumming. Less is More Built for the gigging drummer, the sturdy aluminum construction is up to 34% lighter than conventional hardware packs.
    [Show full text]
  • Music for the People: the Folk Music Revival
    MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance.
    [Show full text]
  • The Ballads of the Southern Mountains and the Escape from Old Europe
    B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time.
    [Show full text]
  • INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
    The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child].
    [Show full text]
  • Durham E-Theses
    Durham E-Theses `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia KOUVAROU, MARIA How to cite: KOUVAROU, MARIA (2011) `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1391/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Maria Kouvarou MA by Research in Musicology Music Department Durham University 2011 Maria Kouvarou ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Abstract Bob Dylan’s work has frequently been the object of discussion, debate and scholarly research. It has been commented on in terms of interpretation of the lyrics of his songs, of their musical treatment, and of the distinctiveness of Dylan’s performance style, while Dylan himself has been treated both as an important figure in the world of popular music, and also as an artist, as a significant poet.
    [Show full text]
  • Bob Denson Master Song List 2020
    Bob Denson Master Song List Alphabetical by Artist/Band Name A Amos Lee - Arms of a Woman - Keep it Loose, Keep it Tight - Night Train - Sweet Pea Amy Winehouse - Valerie Al Green - Let's Stay Together - Take Me To The River Alicia Keys - If I Ain't Got You - Girl on Fire - No One Allman Brothers Band, The - Ain’t Wastin’ Time No More - Melissa - Ramblin’ Man - Statesboro Blues Arlen & Harburg (Isai K….and Eva Cassidy and…) - Somewhere Over the Rainbow Avett Brothers - The Ballad of Love and Hate - Head Full of DoubtRoad Full of Promise - I and Love and You B Bachman Turner Overdrive - Taking Care Of Business Band, The - Acadian Driftwood - It Makes No Difference - King Harvest (Has Surely Come) - Night They Drove Old Dixie Down, The - Ophelia - Up On Cripple Creek - Weight, The Barenaked Ladies - Alcohol - If I Had A Million Dollars - I’ll Be That Girl - In The Car - Life in a Nutshell - Never is Enough - Old Apartment, The - Pinch Me Beatles, The - A Hard Day’s Night - Across The Universe - All My Loving - Birthday - Blackbird - Can’t Buy Me Love - Dear Prudence - Eight Days A Week - Eleanor Rigby - For No One - Get Back - Girl Got To Get You Into My Life - Help! - Her Majesty - Here, There, and Everywhere - I Saw Her Standing There - I Will - If I Fell - In My Life - Julia - Let it Be - Love Me Do - Mean Mr. Mustard - Norwegian Wood - Ob-La-Di Ob-La-Da - Polythene Pam - Rocky Raccoon - She Came In Through The Bathroom Window - She Loves You - Something - Things We Said Today - Twist and Shout - With A Little Help From My Friends - You’ve
    [Show full text]
  • The George-Anne Student Media
    Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 11-17-2003 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (2003). The George-Anne. 3041. https://digitalcommons.georgiasouthern.edu/george-anne/3041 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. stablished 192; Covering the campus like a swarm of gnats The Official Student Newspaper oi Georgia Eagles win regular season finale over Elon 37-13 Page 6 * \? vSisnsmuSi 11th all those who serve our counti By Eric Haugh and Kim Wicker [email protected] and I Omber afternoon in the crowds of students, faculty, and veter- in i ithered in front of the IT Building for a color guard and banner display observing >y ie Veterans Day. The half-hour long procession, which started at 12:15 p.m. in front of Henderson library, was a silent but profound i ..salute to the flag, and th||§en and women who risked their lives (many losing theirs along the way) to preserve our wap of life. It was a touching ceremony; some of.the observers even . rapine misty-eyed towards||e end of the service, when Dr. White from the COBA buildihgaccepted a wreath from one [ of.the color guard members.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang.
    [Show full text]
  • The English Ballads and the Church
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 1920 THE ENGLISH BALLADS AND THE CHURCH Louise Pound Follow this and additional works at: https://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, and the Reading and Language Commons This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. PUBLICATIONS OF THE Modern Language Association of America 19zO VOL. XXXV, 2 NEW SERIES, VOL. XXVIII, 2 IX.-THE ENGLISH BALLADS AND THE CHURCH Many origins have been suggested for the type of nar- rative song appearing in the English and Scottish tradi- tional ballads: minstrel genesis, origin in the dance, im- provisations of media3val peasant communes, or descent from the dance songs of primitive peoples. The hypothe- sis of minstrel origin was that first to be advanced and it has always retained supporters. There remains a possi- bility not yet brought forward which deserves to be pre- sented for what it is worth, since the problem, though it may be insoluble, has its attraction for critic and student. WVe have but meager knowledge of the ballad melodies of pre-Elizabethan days, and we can get but little farther with the study of the ballads by way of research into medimeval music. Moreover the earliest texts remaining to us seem to have been meant for recital rather than for singing.
    [Show full text]