Bob Dylan

The purpose of this work is to analyze the relation between media convergence and a series of habitual activities of youth groups belonging to fandoms. We have established two pedagogical objectives: on the one hand, to analyze the link between media convergence and the participatory culture of fandoms and postfandoms and, on the other, to learn about the cultural consumption of youth cultures in social media and digital platforms. The activity generated in digital communities by several sectors related to the Afro-Boricua musical genres of bomba and plena have led us to the work of cultural ambassadors who circulate and promote digital information via fan pages and allow us to study how offerings for in-person musical-dancing classes with virtual support are divulged.

The production of digital content has led to the creation of virtual learning spaces in which a unique identity and representation is forged for the development of fandoms and postfandoms. These emerging activities from the musical genres of bomba and plena have been exempted from commercial representation in traditional media outlets, and it is through digital media that they have gained a place. They are most present in the social media platforms of Facebook, Instagram, and YouTube, and their content shows the interfaces between communication channels, bringing to the fore the identities of young people and their commitment to these Puerto Rican musical-dancing genres.

The use of ethnographic and netnographic methods are applied to a pilot sample of cultural events announced in cyberspace and organized through social media and digital platforms. Finally, the article argues that the growing number of cultural activities offered in various formats—in-person, virtual, and streaming—allow both musical genres to secure their place.

La voz de Joaquín Sabina es doblemente inconfundible. A lo reconocibles que resultan las arrugas de su voz de lija hay que sumar lo que podríamos llamar su estilo, que nos permite identificar cuándo la letra de una canción es suya, aunque a veces no sepamos explicar exactamente por qué. En esta voz de Sabina, sin embargo, se pueden reconocer también las de otros artistas que le precedieron. En sus letras podemos escuchar en ocasiones versos que nos recuerden a algún poeta o a otro letrista, e incluso palabras que fueron escritas directamente por otros.
Abordando una cuestión hasta ahora apenas tratada, este libro desvela las influencias literarias que pueden reconocerse en las letras de Sabina. Además, responde al cómo y el por qué el cantautor español ha tomado prestadas las palabras de otros autores en forma de intertextualidad. Nos adentramos así en un recorrido guiado por la biblioteca íntima de Sabina, configurada por nombres como los de José Alfredo Jiménez, César Vallejo o Pablo Neruda, entre otros muchos.

I had forgotten all about this article until recently. Re-reading it, it seems to be transitional between ‘Waiting for the End: Ginsberg, Dylan and the Poetry of Apocalypse’ and my discussion of ‘Mr Tambourine Man’ in BEAT SOUND, BEAT VISION – both available here in my Academia profile. I like to think it has its own distinctive merits, and I thought it may be of interest to admirers of Dylan’s work.

Link to song:
https://www.youtube.com/watch?v=FZkPx2gQeRY

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What happens to disintermediated, flattened, plural and resistive popular culture when classic rock is corporatized and the audience is middle aged white men? This article is provoked by Bob Dylan's The Cutting Edge, the expensive reissuing of his albums from 1965 and 1966 in 2015, to offer a theorization of digital recording and sharing of analogue unboxing cultures. My interest particularly focuses on the audience of this affluent product and the odd cultural responses from the male audience. How do scholars of popular culture understand this shared enthusiasm for unpackaging consumerist items? The solution posed in this article is the deployment of Jean Baudrillard's theories to understand and manage the cascading simulacrum.

A journey through Fabrizio De André’s openly “beautiful and unfaithful” song translations. Described by his producer Roberto Dané as a “metteur insième” (an adaptation of the French term “metteur enscene”), Fabrizio De André was born with an innate curiosity and passion for different cultures and artists. Best known as a singer-songwriter (or trobador, to bring him even closer to his primary inspiration, George Brassens), De André first approached song translation in the 1950s, when his father Giuseppe brought him a couple of Brassens LPs from a business trip to France. Inspired by his songs, high school student Fabrizio decided he would become the voice of the outcasts. Throughout his life and career, he connected with Anglo-American and Canadian literature, music, and social propaganda, approaching the lyrics of Leonard Cohen and Bob Dylan. The aim of this paper is therefore to provide an overview of the translation and adaptation from English into Italian of Edgar Lee Masters’ Spoon River
Anthology – which inspired the 1971 LP Non al denaro non all’amore né al cielo –, Leonard Cohen’s “Seems So Long Ago, Nancy”, “Suzanne” and “Joan of Arc”, and Bob Dylan’s “Desolation Row” and “Romance in Durango”.

The article uses sound-specifically Black music, traces of Mvskoke Creek ceremonial music, and sound waves generated millions of years ago during the orogeny that produced the mountains in the region-to reorient the author to her mountain climb up the infamous Stone Mountain (Georgia, USA). The author takes up the listening practices informed by Dylan Robinson's and Katherine McKittrick's refusal in Hungry Listening (2020) and Dear Science and Other Stories (2021) to capture, know, or make Black and Indigenous sound immediately legible, knowable, and recognizable. Meditating on sound produced by (and on/in) mountains-with wonder-I offer a critical listening and imagining practice that accesses different temporalities, rethinks embodiment, and examines investments in walking as knowing. Moving with sound in this article, Black liberation and Indigenous resurgence (including Land Back) are experienced through geologic time, vibration, and soundwaves.

This article interprets the plurality of voices at play in the performance design of “Tangled Up in Blue” as the meta-pragmatic structures of the singer-songwriter’s relation to the listener. The author divides her task into a study of sonic, generic and stylistic, and pragmatic and metapragmatic planes upon which the singer establishes connection with the listener by implanting culturally expected patterns in his artistic configuration. These patterns are perceived as voices of co-speakers in the sense of Émile Benveniste’s theory of enunciation and put into effect for purposes of arousal and satisfaction of expectations, a rhetorical operation of all works of art according to Kenneth Burke. Though divided in terms of task, the three planes are revealed as interdependent in the act of performance as illustrated by the metapoetic instantiation of performer and audience, “From me to you.” The author concludes her study by proposing a textual approach in which the lyric (or text) manifests foremost as a linguistic system that, itself, interpellates both the singer and his audience through a counter-interpellation that constructs the voice of the artist, a function at the heart of all natural language events in socio-historical context as demonstrated in the works of Jean-Jacques Lecercle.

This single document contains two articles.  The first is a paper by Glenn ("Chip") Hughes analyzing the artistry and poetry of Bob Dylan in light of Bernard Lonergan's notion ulterior significance in art.  The second is a response to Chip's paper written by Patrick Brown.

Claves de la producción literaria de los Beatles y su influencia en la literatura inglesa Contemporánea y en otras literaturas * * * Keys to the literary production of the Beatles and their influence on Contemporary english literature and other literatures Colección: Estudios literarios anglo-germánicos

Abstract: “Changing of the Guards” is often considered one of Bob Dylan's most obscure songs. This paper offers some elements of interpretation, in three parts. The first explores the evident presence of medieval/Romantic imagery and that of the Tarot cards and the suggestion of a fragmented mythic plot. The second part analyzes the song’s contrasting melodic and poetic patterns, which serve to reinforce the song’s sense of mystery and revelation just out of reach. A last section goes through the song verse by verse indicating possible references and connections.
Keywords: Bob Dylan, Tarot, Romanticism, myth, verse form, rhyme, ancientness, gods and goddesses.

The documentary "Matagh. A Sacrifice for Safety" by Sara Nalbandyan and Yervan Rumyan is one of the results of the research project on animal sacrifice in Christian societies coordinated by Pierluigi Lanfranchi (AMU, TDMAM) and financed by the MMSH and the Arkaia Institute. The documentary shows the Armenian ritual of matagh as it is practiced by a family of refugees from Nagorno-Karabakh/Artsakh. The screening will be preceded by an introduction by Patrick Donabédian (AMU, LA3M) and Yulia Antonian (Yerevan State University) and will be followed by a discussion with the authors of the documentary. Pierluigi Lanfranchi will moderate the event.
You can also follow the event via zoom by registering at this link: https://univ-amu-fr.zoom.us/meeting/register/tZErdO2hrz8rGdRCqcjlqR8zgb3w_Xs73hQU

There are those who believe that life ends with death, and there are those who believe that the dead are not really dead. Birago Diop said: "Those who have died have never really left, they are in the shadows that light up and in the shadows that grow thicker. The dead are not underground: they are in the water that closes, in the wood that groans, in the water that flows, in the water that sleeps, they are in the house, in the crowd, the dead are not dead." Last night, I had a terrible dream, and I wonder if it was just a dream or something more real. In the dream, I saw a rich nation, but with an impoverished people, ruled by a man called the President, who has become rich through the use of public money and influence peddling. This President has been in charge of the country for between 10 and 40 years, always re-elected with 99% of the vote. His ethnicity is considered pure. The country calls itself democratic, but opponents who dare to criticize it face death or exile. He took power through a coup and, while his wealth grew, the country sank into debt. The Western powers are angry. It is sustained by oil, metals, mafias, military-financial collusion, nepotism and mercenaries.

This essay examines the phenomenon of the award of the Nobel Prize for Literature for 2016 to the US singer-songwriter Bob Dylan (born in 1941) and the worldwide controversy it has given rise to. After consideration of the history of the campaign and the various classes of objection (categorial, aesthetic, individual-centred, hardline left and identitarian), it is concluded that, given also the quality of Dylan's work, it is legitimate to award a Literature Nobel to a composer of songs.

“Born in Time is a gnostic love lyric.  The lyrics are gnostic in refusing the very fall into the desiring body, finally, as if some hidden light of gnostic revelation has already been given and which lovers only deny or damage by their fall into the divisions of sexual passion.

Those hands did not hold the guns, those eyes did not hide the crimes, those hearts did not plunge into the grudge, it was you who painted their hands 'RED', it was you who painted their land 'WHITE' and 'BLUE'. They did not know what is a game? You taught them dangerous 'Bullet' and Fire 'play. You snatched their childhood, robbed their youth, you made them beggars in their own nation, you gave them terror, night mares and horror and calling them a 'Culprits'' just because they threw some stones and pebbles??!! They did not

Tom Waits, through his poetry, his poetic and public personae, has become the father of the desperate failures of society, those who lay down and fill the background with disillusionment. No-direction-homers flock together and become the majority of Waits' main characters. As an artist, he gives a voice and a name to those who, otherwise, would remain invisible, endowing them with corporeality. Waits, through the projection of his public persona, illumines the lives of the weak, who strive to survive in a world that has always fed upon those below. There is something honourable about the people who struggle the most, trying to find their path in the darkest of places, and Waits, through his career as an entertainer, has always prioritised his respect for these people, praising their many faults and poor decisions, merging them with the tormented collective and thus becoming one with their sadness and horror. This paper will focus on how Tom Waits constructs his personae through an identification with the disappointments of society: the underdog, and, more particularly, the alcoholic underdog. I intend to focus mainly on the lyrical content of his albums Rain Dogs and Small Change, together with their respective representations in other art forms, specifically interviews, lives, artistry, etc. This section will also include Tom Waits' depiction of some characters as grotesques, as they form the limits of societal acceptance. In the last section, I will examine the presence and construction of these grotesques in his album Alice (2002), while comparing the lyrical content to its other cultural manifestations.

Some darkly satirical songs are easily identified as such because they combine dark, humorous lyrics with peppy, upbeat music. Bobby Darin's "Goodbye Charlie" from the 1964 movie of the same name-and which are both referenced in "Murder Most Foul"-is an example of dark satire that's easily recognized as such because of its upbeat music. In the lyrics, Darin uses Charlie's philandering as justification for mocking his mortality: "Strike three, you are out," the singer gleefully croons about Charlie's death.

Esta pesquisa tem como objetivo geral estudar e investigar processos de versão de canções populares, especificamente versões gravadas de quatro canções de Bob Dylan em que ocorrem refração e retradução: "Mr. Tambourine Man", "Blowin' in the Wind", "Men Gave Name to All the Animals" e "Knockin' on Heaven's Door". As canções foram selecionadas tendo como ponto de partida as gravações realizadas por Zé Ramalho no álbum Zé Ramalho Canta Bob Dylan-Tá Tudo Mudando. Essas análises buscam detectar, à luz da trajetória de Bob Dylan e de Zé Ramalho, as circunstâncias e razões que possibilitaram a ocorrência de processos de refração e retradução para as canções do corpus de estudo. Para explicar a ocorrência desses processos nas canções estudadas será necessário apresentar as definições dos conceitos de refração e retradução e questões relativas à tradução de canções, apresentadas por autores que se dedicam a esse tema, destacadamente Peter Low, Johan Franzon e Ronnie Apter. Faz-se necessária também tratar de questões que permeiam a obra de Bob Dylan, como a sua importância como poeta e compositor no âmbito da música e da literatura norte-americana, sua influência na obra do cantor e compositor Zé Ramalho, além da importância da presença de sua obra em versões traduzidas em diferentes épocas no trabalho de artistas de estilos variados. Palavras-chave: Estudos da Tradução. Tradução de canção. Refração. Retradução. Bob Dylan.

In 2021, Bob Dylan turned 80: this book collects 35 new essays for the occasion. Just over half come from academics, mainly philosophers and literary theorists plus a few professors of politics, music, and theology. The other contributors are music writers, Dylanologists, and musicians. Like magazine features, each article can be read in a short sitting, with most being 6 or 7 pages long, including a well-chosen photograph or two. Suitable for such a birthday-party book, the finger-food spread offers nothing too bulky or heavy-going, and includes some occasional treats. This book is a celebration, a Festschrift, a round-table on a prolific artist's lifetime of creativity. It presents a rounded collection of perspectives on the songwriter, covering his folk songs, protest music (not a term Dylan favours), his turn to rock, the Christian trilogy, his return to the great American songbook, soundtracks, film acting, and metalwork sculpture. In addition, the book includes some personal reflections on what Dylan's music has meant throughout the lives of some of the musician, fan, and academic contributors. Unfortunately, the book has been poorly proofread, with some articles riddled with typographic and grammatical errors. One chapter is so neglected that the editors allowed its first sentence to lead off the essay with a grammatical slip: 'Questions about the identity and authenticity of Bob Dylan … has excited many a Dylan fan' (201). The quality of the essays is also patchy, with around a quarter being excellent, another nearquarter being worthwhile indeed, and then a drastic drop off which left this reviewer wishing more than half the essays had been cut. Amidst all this, nothing is given on Dylan as a humorist and trickster; surely an oversight of something more important than his welding abilities. The prologue, while imitating rock journalism with its casual tone and phrase-dropping from Dylan's lyrics, is rich in observations and sets the volume in its artist-lifespan perspective. A curious error, however, occurs in the editors calling 'I Contain Multitudes' Blakean (p. 1). That song mentions William Blake, but only as it mentions The Rolling Stones, Anne Frank, Beethoven, Chopin. It is not itself Blakean; it is Whitmanesque-as Mick Gold correctly notes (p. 104)-in portraying the artist as containing contradictions and in uniting a diversity of people in a song, as Whitman did in 'Song of Myself'. Such editorial carelessness mars the volume-an overly light touch that rarely thinks twice-although persistence will be rewarded, because the book does contain several thoughtful and wellcrafted essays. The first piece is from David Boucher, who ponders why Robert Zimmerman chose the stage name Bob Dylan. Although it gives some interesting thoughts on the poetry of Dylan Thomas, Arthur Rimbeau, Lawrence Ferlinghetti, and Federico García Lorca's spirit of the duende (an earthy irrationality with a deathly, diabolic touch), the tenuous topic of a young artist choosing his performing name is a noticeably slight one. One can understand how the essay makes a priori, conceptual sense as an