DYLAN's JUDGMENT on JUDGES: POWER and GREED and CORRUPTIBLE SEED SEEM to BE ALL THAT THERE IS David M
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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. -
The Songs of Bob Dylan
The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ............................................................................................................................... -
Behold the Corpse: Violent Images and the Case of Emmett Till
Behold the Corpse: Violent Images and the Case of Emmett Till Harold, Christine. DeLuca, Kevin Michael. Rhetoric & Public Affairs, Volume 8, Number 2, Summer 2005, pp. 263-286 (Article) Published by Michigan State University Press DOI: 10.1353/rap.2005.0075 For additional information about this article http://muse.jhu.edu/journals/rap/summary/v008/8.2harold.html Access provided by Penn State Univ Libraries (18 Mar 2013 10:52 GMT) BEHOLD THE CORPSE: VIOLENT IMAGES AND THE CASE OF EMMETT TILL CHRISTINE HAROLD AND KEVIN MICHAEL DELUCA The widely disseminated image of Emmett Till’s mutilated corpse rhetorically transformed the lynched black body from a symbol of unmitigated white power to one illustrating the ugliness of racial violence and the aggregate power of the black community. This reconfiguration was, in part, an effect of the black community’s embracing and foregrounding Till’s abject body as a collective “souvenir” rather than allowing it to be safely exiled from public life. We do not know what the body can do. Spinoza Society is concerned to tame the Photograph, to temper the madness which keeps threatening to explode in the face of whoever looks at it. Roland Barthes If the men who killed Emmett Till had known his body would free a people, they would have let him live. Reverend Jesse Jackson Sr. “ had to get through this. There would be no second chance to get through Ithis. I noticed that none of Emmett’s body was scarred. It was bloated, the skin was loose, but there were no scars, no signs of violence anywhere. -
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. -
Emmett Till and the Modernization of Law Enforcement in Mississippi
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of San Diego San Diego Law Review Volume 46 | Issue 2 Article 6 5-1-2009 The ioleV nt Bear It Away: Emmett iT ll and the Modernization of Law Enforcement in Mississippi Anders Walker Follow this and additional works at: https://digital.sandiego.edu/sdlr Part of the Law Commons Recommended Citation Anders Walker, The Violent Bear It Away: Emmett iT ll and the Modernization of Law Enforcement in Mississippi, 46 San Diego L. Rev. 459 (2009). Available at: https://digital.sandiego.edu/sdlr/vol46/iss2/6 This Article is brought to you for free and open access by the Law School Journals at Digital USD. It has been accepted for inclusion in San Diego Law Review by an authorized editor of Digital USD. For more information, please contact [email protected]. WALKER_FINAL_ARTICLE[1] 7/8/2009 9:00:38 AM The Violent Bear It Away: Emmett Till and the Modernization of Law Enforcement in Mississippi ANDERS WALKER* TABLE OF CONTENTS I. INTRODUCTION .................................................................................................. 460 II. LESSONS FROM THE PAST ................................................................................... 464 III. RESISTING “NULLIFICATION” ............................................................................. 468 IV. M IS FOR MISSISSIPPI AND MURDER.................................................................... 473 V. CENTRALIZING LAW ENFORCEMENT ................................................................. -
FEBRUARY ONE Lesson Plan Pbs.Org/Independentlens/Februaryone Breaking the Code: Actions and Songs of Protest
FEBRUARY ONE Lesson Plan pbs.org/independentlens/februaryone Breaking the Code: Actions and Songs of Protest Grade Levels: 7-12 Estimated time: Three class periods, not including optional performance of songs Introduction: The Greensboro Four staged their lunch counter protest in reaction to the frustrations and injustices of life for African Americans in the Jim Crow South. Before detailing the actual protest, FEBRUARY ONE depicts some of the conditions against which the students demonstrated. One method of protest not mentioned in the video is the variety of songs that were written to publicize the cruelties of Jim Crow laws and to speak out against the treatment of African Americans. An example is Bob Dylan’s “The Murder of Emmett Till,” which decries the horrendous murder of a Chicago teenager visiting Mississippi. Students will examine a few of the many ways in which African Americans were treated unfairly under Jim Crow, and they will watch the FEBRUARY ONE video to learn about life in Greensboro and the Greensboro sit-ins. They will also read the lyrics to Dylan’s song and discuss the purposes of protest music. They will conclude by writing their own songs lyrics, set to modern tunes with which they are familiar, describing the sit-ins. It would be ideal if students had a basic knowledge of Civil Rights Movement before doing this lesson. To expand upon the Jim Crow topic, you might want to do some of the lessons from the PBS Web site for The Rise and Fall of Jim Crow at http:// www.pbs.org/wnet/jimcrow. -
The University of Chicago Skeletonization
THE UNIVERSITY OF CHICAGO SKELETONIZATION, CAMERAFLAGE, LOITERING: HABITS OF WITNESSING AFTER THE GREAT WAR A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY CHALCEDONY BODNAR WILDING CHICAGO, ILLINOIS JUNE 2019 TABLE OF CONTENTS TABLE OF CONTENTS ....................................................................................................................................................ii LIST OF FIGURES ........................................................................................................................................................... iii ACKNOWLEDGMENTS ................................................................................................................................................. iv ABSTRACT: SKELETONIZATION, CAMERAFLAGE, LOITERING: HABITS OF WITNESSING AFTER THE GREAT WAR ............................................................................................................................................................ v INTRODUCTION: SKELETONIZING THE GREAT WAR ........................................................................................1 CHAPTER 1: “WHAT IS CLOSER TO THE TRUTH”: MARIANNE MOORE TAKES “IMAGINARY POSSESSION” OF THE WAR’S “WELL EXCAVATED GRAVE” ........................................................................ 24 CHAPTER 2: “LISTEN WHILE I TELL YOU ALL THE TIME”: GERTRUDE STEIN AND ALICE B. TOKLAS ELEGIZE “CAMERAFLAGE” IN COINCIDENCE -
Chapter One “The Woody Guthrie Jukebox” Bob Dylan and Early Songs
LIKE A REBEL WILD A study of BOB DYLAN’s art by Jon P. Hooper LIKE A REBEL WILD A study of BOB DYLAN’s art by Jon P. Hooper Manly Duckling 2007 Text copyright © 2007 by Jon P. Hooper. All rights reserved. No part of this book may be reproduced in any form or by electronic or mechanical means, including information storage or retrieval systems, without permission in writing from the author, except by a reviewer who may quote brief passages. Lyrics to Bob Dylan’s songs have been quoted only as necessary in the context of critical analysis, and are believed to be covered by “Fair Use” policy. If, however, any copyright infringement has occurred, the author will be pleased to rectify the situation at the earliest opportunity. This book is dedicated to Miss Potter. CONTENTS INTRODUCTION ............................................................................... 7 “THE WOODY GUTHRIE JUKEBOX” .......................................... 11 “FINGER-POINTING SONGS” ....................................................... 23 “IF MY THOUGHT-DREAMS COULD BE SEEN” ........................ 47 “OTHER FORMS OF PSYCHIC EXPLOSION” .............................. 63 “DRIFTER’S ESCAPE” ...................................................................... 77 “WHAT THE BROKEN GLASS REFLECTS” ................................. 91 “HANGING ON TO A SOLID ROCK” ......................................... 109 “SURVIVING IN THE RUTHLESS WORLD” ............................... 131 “DIGNITY” ..................................................................................... -
“Sólo Soy Un Guitarrista”: Bob Dylan in the Spanish-Speaking World–– Influences, Parallels, Reception, and Translation
Oral Tradition, 22/1 (2007): 112-133 “Sólo Soy Un Guitarrista”: Bob Dylan in the Spanish-Speaking World–– Influences, Parallels, Reception, and Translation Christopher Rollason “Sólo soy un guitarrista” - Bob Dylan, Tarantula (1966) “La guitarra. como la tarántula, teje una gran estrella” - Federico García Lorca, “Las seis cuerdas,” (1931) Spanish Manners: An Introduction This paper aims to examine the relationship between Bob Dylan’s work and the cultures, literatures, and musics of the Spanish-speaking world. The relationship is bidirectional, taking in Spanish and Latin American influences and themes in Dylan’s production, as well as the influence and reception of that work in the Hispanophone universe. I further consider not only direct influences but also literary and musical parallels, and also briefly examine the translation of Dylan into Spanish. What I am offering is a case- study in intercultural relations, not an excursion into theory, and I shall not be explicitly entering into issues of ethnoliterature, ethnomusicology, cultural studies, or translation studies. I do, however, stress by way of introduction that I believe Dylan’s work is a particularly interesting case of a hybrid cultural object, the result of a fusion, not so much between a bipolarised “high” and “low” culture as between three different cultures–– intellectual culture, mass culture, and folk or traditional culture. Much in Spanish and Latin American cultures, both literary and musical, is similarly– –and fecundly––hybrid in its make-up, building bridges between -
The Jurisprudence of Bob Dylan, 38 Fordham Urb
Fordham Urban Law Journal Volume 38 Article 9 Number 5 Symposium - Bob Dylan and the Law 2012 Tangled Up In Law: The urJ isprudence of Bob Dylan Michael L. Perlin New York law School Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Part of the Civil Rights and Discrimination Commons Recommended Citation Michael L. Perlin, Tangled Up In Law: The Jurisprudence of Bob Dylan, 38 Fordham Urb. L.J. 1395 (2012). Available at: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/9 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. Tangled Up In Law: The urJ isprudence of Bob Dylan Cover Page Footnote Director, International Mental Disability Law Reform Project; Director, Online Mental Disability Law Program, New York Law School. The uthora wishes to thank Kaydi Osowski for her superb research help. This article is available in Fordham Urban Law Journal: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/9 PERLIN_CHRISTENSEN 1/30/2012 10:10 AM TANGLED UP IN LAW: THE JURISPRUDENCE OF BOB DYLAN Michael L. Perlin* Introduction ........................................................................................... 1395 I. Civil Rights ...................................................................................... 1399 II. Inequality of the Criminal Justice System .................................. 1404 III. Institutions .................................................................................... 1411 IV. Governmental/Judicial Corruption ........................................... 1415 V. Equality and Emancipation ......................................................... 1417 VI. Poverty, Environment, and Inequality of the Civil Justice System .......................................................................................... 1424 VII. -
INFORMATION SHEET and SYLLABUS You Will Receive an E-Mail Attachment Copy of This Syllabus and It Will Also Be Available on Canvas
LIT 200 / Bob Dylan: Life, Legacy, Literature / Spring 2018/ Hill Page 1 LIT 200 / Section 1 / Bob Dylan: Life, Legacy, and Literature Richard Hill, Ph.D. Point Loma Nazarene University / Spring 2018 2 Credit Hours INFORMATION SHEET AND SYLLABUS You will receive an e-mail attachment copy of this syllabus and it will also be available on Canvas Meeting Time and Place: Tuesdays and Thursdays 6:00-7:45 in Liberty Station 205B Professor: Richard (Rick) Hill / Home phone: 858-270-5227 / Cell Phone 858-366-5221 / E-Mail: [email protected] Office: BAC 112/ Office Phone: 2670 /LJML Dept Phone: 2297 Office Hours: Open: Wed 12:30-1:15 PLNU office /Tues- Thurs 5:30 -6:00 in Liberty Station Classroom Other hours can also be arranged. Knock on the door with a question: Anytime I’m in the office PLNU Mission: To Teach ~ To Shape ~ To Send Point Loma Nazarene University exists to provide higher education in a vital Christian community where minds are engaged and challenged, character is modeled and formed, and service is an expression of faith. Being of Wesleyan heritage, we strive to be a learning community where grace is foundational, truth is pursued, and holiness is a way of life. REQUIRED TEXTS, ONLINE READING, AND AUDIO Dylan, Bob. Chronicles Volume One. New York: Simon and Schuster, 2004. Bobdylan.com. Official Website Bob Dylan. Wikipedia article. https://en.wikipedia.org/wiki/Bob_Dylan Expecting Rain. Obsessive Bob Dylan website. http://www.expectingrain.com/ Selected Songs by Bob Dylan (See page 7 for required items) Optional Items on Library Reserve One or two books per week about or by Dylan will be introduced in class, then placed on library reserve for further perusal. -
New Danville Girl/Brownsville Girl By: Bob Dylan/Sam Shepard Intro: |: D A/C# Bm E |A Asus4 :| AD I Wish I Could Remember T
Free Music resources from www.traditionalmusic.co.uk for personal education purposes only New Danville Girl/Brownsville Girl By: Bob Dylan/Sam Shepard Intro: |: D A/c# Bm E |A Asus4 :| AD I wish I could remember that movie just a little bit better, Bm E A All I remember about it was that it starred Gregory Peck. A D He was shot down in the back by a hungry kid trying to make a name for himself. BmEA The townspeople wanted to crush that kid down and string him up by the neck. New Danville Girl Brownsville Girl I wish I could remember that movie just a little bit better, All I remember about it was that it starred Gregory Peck. He was shot down in the back by a hungry kid trying to make a name for himself. The townspeople wanted to crush that kid down and string him up by the neck. Well, there was this movie I seen one time, About a man riding 'cross the desert and it starred Gregory Peck. He was shot down by a hungry kid trying to make a name for himself. The townspeople wanted to crush that kid down and string him up by the neck. Well the Sheriff beat that boy into a bloody pulp, As the dying gunfighter lay in the sun and gasped for his last breath. 'Turn him loose, let him go, let him say he outdrew me fair and square. I want him to feel what it's like to every moment face his death'.