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Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality
ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 41–56 ISSN 0210-6124 Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality Christopher Rollason Metz, France [email protected] This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth- century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality. Keywords: culture; Dylan; Gothic; intertextuality; Poe; quotation Tell-tale signs - Edgar Allan Poe y Bob Dylan: hacia un modelo de intertextualidad Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad. -
Atlantis 31.2
Revista de la Asociación Española de Estudios Anglo-Norteamericanos Vol. 31, núm. 2 Diciembre 2009 31.2 (December 2009) 31.2 (Diciembre 2009) EDITORS Editores General Editor: Angela Downing Universidad Complutense de Madrid Assistant Editor: Ludmila Urbanová Managing Editor: Carmen Méndez University of Brno Universidad Complutense de Madrid Book Reviews Editor: Clara Calvo Editor’s Assistant: Juan Rafael Zamorano Universidad de Murcia Universidad Complutense de Madrid Universität Bremen Copy Editor: Jorge Arús Hita Universidad Complutense de Madrid EDITORIAL BOARD Consejo de Redacción BOARD OF ADVISORS Consejo Asesor Andrew Blake Heinz Ickstadt University of Winchester Freie Universität Berlin Martin Bygate J. Hillis Miller Lancaster University University of California at Irvine Teresa Fanego Susheila M. Nasta Universidad de Santiago de Compostela Open University Fernando Galván Francisco J. Ruiz de Mendoza Universidad de Alcalá de Henares Universidad de La Rioja BOARD OF REFEREES Consejo Científico y Evaluador Joan C. Beal Rachel Bowlby Graham D. Caie University of Sheffield University College London University of Glasgow Jesús Benito Sánchez Kris Van den Branden Gordon Campbell Universidad de Valladolid Katholieke Universiteit Leuven University of Leicester Marcella Bertuccelli Papi Mario Brdar Isabel Carrera Università di Pisa Josip Juraj Strossmayer University Universidad de Oviedo Nilufer E. Bharucha Laurel J. Brinton Shirley Chew University of Mumbai University of British Columbia University of Leeds Clare Birchall Manuel Broncano Robert Clark Middlesex University Universidad de León University of East Anglia Anita Biressi Jorge Luis Bueno Alonso Thomas Claviez Roehampton University University of Vigo University of Bern Maggie Ann Bowers Christopher S. Butler Tom Cohen University of Portsmouth Swansea University University of Albany Juan Camilo Conde-Silvestre David Johnson Victor J. -
Michel Montecrossa Sings Bob Dylan and Related Artists
ETERNAL CIRLCE CD-PLUS AUDIO-TRACKS: 1. Eternal Circle 4:09 2. Knockinʻ On Heavenʻs Door 3:58 3. Sitting On A Barbed Wire Fence 6:59 4. Blowinʻ In The Wind 6:35 5. Mixed Up Confusion 4:25 6. Tomorrow Is A Long Time 4:58 7. Love Minus Zero / No Limit 4:19 8. On The Road Again 4:33 9. All Along The Watchtower 4:17 10. Bob Dylanʻs Dream 5:22 11. Couple More Years (From the movie Hearts of Fire) 1:53 MPEG-VIDEO 1. Quinn, The Eskimo (The Mighty Quinn) 4:14 (All songs Bob Dylan except Track 11) PICTURE-EVENTS INTERNETDATA P 1998 © Mira Sound Germany / MCD-266 BORN IN TIME CD-PLUS AUDIO-TRACKS: 1. Born In Time 5:41 2. The Groomʻs Still Waiting At The Altar 3:52 3. Quinn, The Eskimo (The Mighty Quinn) 3:48 4. Forever Young 2:55 5. Paths Of Victory 4:04 6. I And I 4:36 7. Dark Eyes 2:59 8. Political World 3:19 9. Can You Please Crawl Out Of Your Window 4:12 10. Angelina 3:58 11. Donʻt Think Twice Itʻs All Right 2:23 12. Like A Rolling Stone 5:50 13. Most Of The Time 3:28 14. Man In The Long Black Coat 3:55 15. Series Of Dreams 5:54 16. Lone Pilgrim (Traditional) 2:29 17. Abandoned Love 2:54 MPEG-VIDEO: 1. I Shall Be Released 2:43 (All songs Bob Dylan except Track 16) PICTURE-EVENTS INTERNETDATA P 1999 © Mira Sound Germany / MCD-301 Michel Montecrossa sings other Artists / Bob Dylan and related Artists – 1 E1 JET PILOT CD-PLUS AUDIO-TRACKS: 1. -
Joan Baez Live in Europe 83
Joan baez live in europe 83 click here to download Live Europe '83 is a recording by Joan Baez, taken from performances during her previous year's tour. It found Baez beginning to update her image by. Children Of The Eighties - Kinder Der 80er Jahre - Live In Concert (Cass, Club) Children Of The Eighties - Kinder Der 80er Jahre - Live In Concert (LP, Album, Club) Live Europe 83 - Children Of The Eighties (CD, Album, RE). Find a Joan Baez - Live Europe 83 - Children Of The Eighties first pressing or reissue. Complete your Joan Baez collection. Shop Vinyl and CDs. An unusual performance from the folk legend as she toured Europe in , as she sings songs of the lands she visits as well as standards of her era like. Official website for Joan Baez-Discography Pages. LIVE EUROPE '83 (CHILDREN OF THE EIGHTIES). Original release date: Produced by: Gerard. Le 15 juillet 83, Joan Baez avait donné un concert sur la place de la Concorde à Paris. Le thème était la non. Concert live de Joan Baez à Paris en - Duration: Jean-Marc Potier , views · · Joan. Find album reviews, stream songs, credits and award information for Live in Concert: European Tour - Joan Baez on AllMusic - - Not the greatest Joan. Listen free to Joan Baez – Live Europe 83 - Children of the Eighties (Farewell, Angelina, Warriors of the Sun and more). 14 tracks (). Discover more music. Find great deals for Live in Europe ' Children of the Eighties by Joan Baez (CD, Aug, Bmg/Ariola). Shop with confidence on eBay! Joan Baez: Live Europe 83,album, review, tracklist, mp3, lyrics. -
Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof
Bob Dylan Musician, Keith Negus. This file contains the pre-proof versions of Chapter One and Chapter Five from Bob Dylan, presented here in this format with the permission of Equinox Publishing. I have called this text Bob Dylan Musician because this was the original agreed title of the book right up to the moment just before publication when pressure from the US publisher resulted in the term ‘musician’ being reluctantly (from my perspective) expunged from the title. That word – musician – was there to concisely signal how my approach differs from most other books on Bob Dylan. I am interested in his work and practice as a musician, rather than his lyrics as poetry or the relationship between his biography and musical art. The book contains five chapters, so these two chapters introduce and conclude the study. If anyone would like electronic copies of additional chapters I am happy to provide these, as long as they are used only for research and teaching. Keith Negus June 2013 CHAPTER ONE Surroundings On 31 October 1964 Bob Dylan performed at the Philharmonic Hall in New York City, just two years after signing a recording contract and with four albums already released. Having quickly gained recognition as a folk ‘protest singer’ he was rapidly moving away from songs of social commentary and ‘finger pointing’. Dylan was beginning to use the popular song in a new and radical manner to explore more internal or subjective experiences, whilst experimenting with the sound, meaning and rhythm of words. Within three months, when recording his fifth album, no longer performing alone with acoustic guitar and harmonica, he was beginning to create an abrasive yet ethereal sonority, mixing the acoustic and electric textures of folk, electric blues, rock’n’roll, gospel, country and pop. -
Eyolf Østrem
thingsTT twice Eyolf Østrem Contents Preface vii IYou’ve Been With the Professors 1 1 Analysing Dylan Songs 3 Methodological Considerations The Object............................ 3 The harmony........................... 7 Analysing an Idea......................... 8 2 ‘Beauty may Only Turn to Rust’ 13 The Beautiful world of Bob Dylan................ 14 Beauty and the Beast....................... 16 Proportion and expression..................... 20 Expression and style........................ 22 3 ‘Going Through All These Things Twice’ 25 The Ritual of a Bob Dylan Concert The External Similarites: Ceremony................ 27 The Rolling Thunder Revue................... 30 The Gospel Years......................... 33 The Voice of a Generation.................... 33 Secular Ritual........................... 37 Functions and means....................... 41 Dylan and ritual revisited..................... 45 Postscript............................. 49 4 The Momentum of Standstill 51 or: Time Out Of Mind and the Blues Dylan and the Blues....................... 53 i ii CONTENTS In the Evening.......................... 53 I Pity The Poor Immigrant.................... 55 Standing (Still) in the Doorway.................. 57 Ring Them Bells......................... 62 Highlands............................ 65 II Harmony and Understanding 67 5 ‘What I learned from Lonnie’ 69 An exploration of some remarks in Chronicles Secrets in the back room..................... 69 Melodies out of triplets – Axioms and numbers.......... 71 Rhythm: The Link Wray ‘Rumble’ -
Get Ready for Bob Dylan's Set at ACL Fest with Our Dylan Primer You Might Wonder Which Bob Dylan You're Going to Hear at ACL; Here's Our Advice for Tuning In
Get ready for Bob Dylan's set at ACL Fest with our Dylan primer You might wonder which Bob Dylan you're going to hear at ACL; here's our advice for tuning in By Thomas G. Palaima SPECIAL TO THE AMERICAN-STATESMAN http://www.austin360.com/news/content/music/stories/2007/09/0902dylan.html Sunday, September 02, 2007 "But me, I'm still on the road Headin' for another joint" - Bob Dylan, "Tangled Up in Blue" Bob Dylan is heading to Austin to close the ACL Festival on Sept. 16. Troubadour, blues songster, pop balladeer, old-timey minstrel, singer of gospel hymns and country and western tunes - and introduced in concerts now as "the man who forced folk into bed with rock" - Dylan and his evolving traveling band are in their 20th year of what his fans call the Never Ending Tour. If you are heading to the festival, you might wonder which Dylan you are going to hear. The straight answer is none and all of the above - and more. Forty-five years into his recording career and bearing down on 50 official albums, Dylan has mined virtually every American musical genre. His songwriting, singing and playing are always in the moment and full of experiment. Credited with writing more than 450 songs, Dylan has performed live at least that many songs by other artists. He has sung Ricky Nelson's "Lonesome Town," Gordon Lightfoot's "Early Morning Rain," the Davis Sisters' No. 1 1953 country hit "I Forgot More Than You'll Ever Know," Hank Williams' "House of Gold," Woody Guthrie's "Deportees" and the White Stripes' "Ball and Biscuit." When Warren Zevon was dying of lung cancer, Dylan on tour sang moving versions of Zevon's "Mutineer" and "Accidentally Like a Martyr." One of Dylan's birthday gifts for Willie Nelson's Big Six-O was a pathos-laden rendering of Stephen Foster's "Hard Times." No wonder that in his first major film, Dylan played a character named Alias ("Pat Garrett & Billy the Kid"). -
Remembrance and Research: Some Reflections on a Pending Centenary," Pro Rege: Vol
Volume 41 Number 4 Article 2 June 2013 Remembrance and Research: Some Reflections on a endingP Centenary Keith C. Sewell Dordt College Follow this and additional works at: https://digitalcollections.dordt.edu/pro_rege Part of the European History Commons Recommended Citation Sewell, Keith C. (2013) "Remembrance and Research: Some Reflections on a Pending Centenary," Pro Rege: Vol. 41: No. 4, 7 - 15. Available at: https://digitalcollections.dordt.edu/pro_rege/vol41/iss4/2 This Feature Article is brought to you for free and open access by the University Publications at Digital Collections @ Dordt. It has been accepted for inclusion in Pro Rege by an authorized administrator of Digital Collections @ Dordt. For more information, please contact [email protected]. Remembrance and Research: Some Reflections on a Pending Centenary perhaps even the coldness of the grave. Over the years the selection of musical compo- sitions played on this occasion has become fixed by tradition. Prior to the National Anthem comes a majestic paraphrase of Psalm 90, “O God our Help in Ages Past,” by Isaac Watts (1674-1748), sung to the tune “St. Anne,” by William Croft (1678-1727). A short while before this, the movement “Nimrod,” by Edward Elgar (1857-1934), from the work gener- ally known as “The Enigma Variations,” is played.1 In the complete work, the eighth variation is light, pleasant, and happy, remarkably congruent with the (not exactly accurate) popular image of the sup- by Keith C. Sewell posedly halcyon days of the pre-1914 Edwardian era. This variation elides on a single note, held by The scene is the Cenotaph, in Whitehall, the first violin, into the ninth, and most famous London, on the eleventh of November. -
Ulterior Significance in the Art of Bob Dylan” Journal of Macrodynamic Analysis 6 (2011): 18-40
Glenn Hughes, “Ulterior Significance in the Art of Bob Dylan” Journal of Macrodynamic Analysis 6 (2011): 18-40 Ulterior Significance in the Art of Bob Dylan Glenn Hughes “[The importance of symbols in] human living is exemplified, for example, by the saying, Let me write a nation’s songs, and I care not who writes her laws.”1 It is a commonplace to refer to Bob Dylan as an extraordinarily gifted artist who transformed the medium of popular song, radically expanding and redefining its possibilities. It is also common to note the uneven quality of his artistic output—as songwriter, recording artist, and performer—during the fifty years of his still-continuing career. As the historian Sean Wilentz puts it in his 2010 study, Bob Dylan in America: “Dylan’s career has been an unsteady pilgrimage, passing through deep troughs as well as high points ...”2 Since the period of his early successes and innovations in the world of American popular music in the 1960s, there have been stretches—some shorter, some longer—when he has produced poor, even embarrassing, work, and his artistic reputation rests heavily on the achievements of those early years. Still, he has remained a prolific and recurrently powerful artist, creating significant and highly 1 Bernard Lonergan, “Art,” in Topics in Education, Collected Works of Bernard Lonergan, vol. 10, ed. Robert M. Doran and Frederick E. Crowe (Toronto: University of Toronto Press, 1993), 221 (hereafter referred to as CWL 10). This formulation of the famous saying is of uncertain origin. The expression of -
With One Hand Waving Free Bob Dylan 1995
WITH ONE HAND WAVING FREE BOB DYLAN 1995 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES. NEW RELEASES, TAPES & BOOKS. © 1996 by Olof Björner All Rights Reserved. This article may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. With One Hand Waving Free — Bob Dylan 1995 page 2 CONTENTS: 1. INTRODUCTION ............................................................................................................................................. 4 2. THE YEAR AT A GLANCE ............................................................................................................................ 4 3. CALENDAR ...................................................................................................................................................... 5 4. NEW RECORDINGS ..................................................................................................................................... 10 4.1 NEW RELEASES ................................................................................................................................................... 10 4.1.1 MTV Unplugged ....................................................................................................................................... 10 4.1.2 Highway 61 Interactive ............................................................................................................................ 10 4.1.3 Greatest Hits Volume 3 CD+ .................................................................................................................. -
Bob Dylan Complete
• Bob Dylan Complete - spis treści Blind Willie McTell • Blowin' In The Wind • Bob Dylan's Blues • Abandoned Love (Dylan Bob) • Bob Dylan's Dream • Absolutely Sweet Marie (Dylan D) • Bob Dylan's New Orleans Rag • 'Cross The Green Mountain • Bob Dylan's 115 Dream • Ain't Gonna Go To Hell For Anybody • Boots Of Spanish Leather • Ain't Gonna Grieve • Born In Time • Ain't No Man Righteous No Not One • Bound To Lose Bound To Win • Ain't Talking • Brownsville Girl • All Along The Watchtower • Buckets Of Rain • All I Really Want To Do • Bye And Bye • All Over You • California • All The Tired Horses (Dylan Bob) • Call Letter Blues • Angelina • Can You Please Crawl Out Your Window? • Apple Suckling Tree (Dylan Bob) • Can't Escape From You • Are You Ready? • Can't Wait • As I Went Out One Morning(Dylan) • Caribbean Wind • Baby, I'm In The Mood For You • Cat's In The Well • Baby Stop Crying • Catfish • Ballad For A Friend • Changing Of The Guards • Ballad In Plain D • Chimes Of Freedom • Ballad Of A Thin Man • City Of Gold • Ballad Of Donald White • Clean Cut Kid • Ballad Of Frankie Lee (Dylan Bob • Clothes Line Saga (Dylan Bob) • Ballad Of Hollis Brown • Cold Irons Bound • Band Of The Hand (It's Hell Time Man!) • Coming From The Heart (The Road Is Long) • Beyond Here Lies Nothin • Congratulations • Beyond The Horizon • Cool Dry Place • Billy • Corrina, Corrina • Black Crow Blues • Country Pie (Dylan Bob) • Black Diamond Bay • Covenant Woman • Blessed Is The Name • Cover Down, Pray Through • Everything Is Broken • Cry A While • Farewell • Dark Eyes -
I Find the Religiosity and Philosophy in the Music
HRC Poetry on the Plaza Lyrics March 1, 2006 12 Noon p. 1 Bob Dylan Our Homer REVISED FINALVERSION Tom Palaima [email protected] —“I find the religiosity and philosophy in the music. … I don‘t adhere to rabbis, preachers, evangelists, all of that. I‘ve learned more from the songs than I‘ve learned from any of this kind of entity. The songs are my lexicon. I believe in the songs" (BD Newsweek, Oct 6, 1997). — “If you take whatever there is to the song away—the beat, the melody—I could still recite it.” BD 1965 —“It’s the sound and the words. Words don’t interfere with it. They punctuate it.” BD 1977 The thesis of this presentation is that (1) more than any other American popular artist during the last half century, Bob Dylan has the qualities of an oral poet; and (2) Dylan’s songs serve the same functions of social enculturation and witness to key realities of life that were the hallmark of ancient Greek oral poetry like Homer’s Iliad and Hesiod’s Works and Days. Hesiod’s work falls into the parainetic (advice) tradition of ‘oral poetics’—and Homer’s contains strains of it, too. Hesiod’s Works and Days has been compared to the work of Old Testament prophets. Dylan, although often accused of having given up on socially oriented ‘protest music’ by 1965, i.e., very early in his career, falls into this category. For a prophetes to be timeless or universal, his words have to transcend specific historical events.