Johnny's in the Basement: Keats, Bob Dylan and Influence

Marggraf Turley, Richard, 'Johnny's in the Basement: Keats, Bob Dylan and Influence', In: 'The Monstrous Debt: Modalities of Romantic Influence in Twentieth Century Literature', (Detroit, MI: Wayne State University Press), pp.181-204, 2006 RAE2008

Os efeitos de sentido nos textos de Bob Dylan: mito ou ídolo?

Bob Dylan sempre foi identificado como um cantor de protesto, considerado o ícone, o Porta Voz de sua Geração. No entanto, em suas entrevistas ao longo de sua carreira, ele fez questão de refutar tais etiquetas. Esta pesquisa pretendeu compreender a construção do mito Bob Dylan pela mídia, expresso nas formações discursivas das entrevistas e das letras das canções de protesto e examinar a organização dos sentidos de suas entrevistas. O estudo do contexto da época - o período dos anos 1960 nos Estados Unidos da América - permitiu aprofundar a discussão, compreendendo os motivos pelos quais existe um conflito entre o que Bob Dylan faz e o que ele fala. A análise semiótica greimasiana foi o instrumento adotado para desvelar - ou, em uma perspectiva sempre cética como convém à ciência como convém à ciênciaq, para oferecer subsídios que ajudem a explicar a postura contrastante entre o significado das letras e as declarações nas entrevistas. Ao final da pesquisa espera-se ter contribuído para que a relação entre artista e público, mediada pelos meios de comunicação, seja pensada de maneira menos ingênua e mais aprofundada, discutindo a formação de mitos e como eles explicam determinados comportamentos na sociedade

Explainer: Are Bob Dylan's Songs 'Literature'?

Bob Dylan has won this year’s Nobel Prize for Literature. The media has reported on this surprising choice by asking musicians, poets, and writers if Dylan’s songs are indeed “literature”. Irvine Welsh, the author of Trainspotting (1993), made it clear on Twitter that he didn’t think they were: If you’re a ‘music’ fan, look it up in the dictionary. Then ‘literature’. Then compare and contrast. So are song lyrics a type of literature or, more specifically, poetry? The English poet Glyn Maxwell thinks not. In On Poetry (2011), he writes that “Songs are strung upon sounds, poems upon silence”. Inhabiting silence makes poetry the harder and more important art form. Music, Maxwell writes, makes lyrics seem better than when they appear on the whiteness of the page.

C Dupré, The Age of Dignity (Hart 2015)

Bob Dylan famously searched high and low for it and left us wondering ‘what it’s gonna take’ to find it. These days, the elusive dignity – and her equally, if not more, elusive cousin human dignity – has captured the imagination of not just the poet and philosopher, but also, in light of its increasing prominence in an array of legal contexts, the legal scholar. Catherine Dupré’s The Age of Dignity comes at a high point in (human) dignity scholarship, with the publication of numerous texts in the English language emerging on the subject, and with interest in it looking unlikely to dissipate any time soon. In this review, I consider (human) dignity’s promise and pitfalls as it transpires in Dupré’s wide-ranging and ambitious monograph.

Like the living end

Seven-part elegy for David Mather (1954-2010)

Is there a Rhythm Of The Rain? An analysis of weather in popular music

Weather is frequently used in music to frame events and emotions, yet quantitative analyses are rare. From a collated base set of 759 weather-related songs, 419 were analysed based on listings from a karaoke database. This article analyses the 20 weather types described, frequency of occurrence, genre, keys, mimicry, lyrics and songwriters. Vocals were the principal means of communicating weather: sunshine was the most common, followed by rain, with weather depictions linked to the emotions of the song. Bob Dylan, John Lennon and Paul McCartney wrote the most weather-related songs, partly following their experiences at the time of writing.

D.A. Pennebaker: Interviews

This wide-ranging and insightful collection of interviews with D. A. Pennebaker (b. 1925) spans the prolific career of this pioneer of observational cinema. From the 1950s to the present day, D. A. Pennebaker has made documentary films that have revealed the world of politics, celebrity culture, and the music industry. Following his early collaborations with Robert Drew on a number of works for television, his feature-length portrait of Bob Dylan on tour in England in 1965 (the landmark film Dont Look Back) established so-called direct cinema as a form capable of achieving broad theatrical release. With Monterey Pop, Pennebaker inaugurated the popular mode of rock concert film (or "rockumentary"), a style of filmmaking he has expanded on through a number of films, including Ziggy Stardust and the Spiders from Mars and Depeche Mode: 101. Pennebaker has always regarded collaboration as an integral part of his filmmaking methods. His long-running collaboration with Richard Leacock and subsequently his work with Chris Hegedus have enriched his approach and, in the process, have instituted collaboration as a working practice integral to American direct cinema. His other collaborations, in particular, with Jean-Luc Godard and Norman Mailer, resulted in innovative combinations of observational techniques and fictional aesthetics. Such films as The War Room, which was about the 1992 Democratic primaries and was nominated for an Academy Award, and the 2009 Kings of Pastry continue to explore the capacities of observational documentary. In 2012 Pennebaker was the first documentary filmmaker to be awarded an Academy Honorary Award by the Academy of Motion Picture Arts and Sciences.

"Canzoni per l'America: gli Stati Uniti e le sue genti attraverso la musica folk"

Riassunto Il nostro viaggio attraverso la musica folk americana partirà dal un racconto della Grande Depressione, dello stato di indigenza nel quale versava la maggior parte della popolazione e attraverso le vicende e le canzoni del nonno della canzone di protesta: Woody Guthrie. Sottolineeremo come egli abbia influenzato successivamente tutta una serie di cantautori che si formarono con lui, attraverso i suoi scritti o i suoi pezzi. Vedremo dunque come un altro grande musicista, Pete Seeger lottò più volte contro la censura per dare risonanza a tante battaglie altrimenti inascoltate, come i movimenti per i diritti civili degli afroamericani e per la pace. Con le canzoni di Bob Dylan analizzeremo i movimenti giovanili e pacifisti contro la guerra nel Vietnam e i fermenti della beat generation. Considereremo con Bruce Springsteen i nuovi diseredati della recessione economica, la nuova ondata di nazionalismi, le censure successive agli attentati dell’ 11 Settembre 2001 e il nuovo ordine mondiale. La musica folk continuerà dunque a vivere grazie alla comunità che la rende viva e la fa circolare, ma soprattutto, grazie al passaggio di testimone tra i grandi artisti che l’hanno resa concretamente la voce dell’America.

The Amplifier - v. 16, no. 1

In this issue...Reference Librarian, Diana Davis, Yugoslavia, Vietnam, KXLF Radio, Deluxe Bar, Refugees, CIA, Bob Dylan, US Geological Survey, National Science Foundation

The Amplifier - v. 17, no. 11

In this issue...Greenhouse, Bob Dylan, Student Council, M-Day, Speech Scholarship, Honorary Degrees, Chess Tournament, Petroleum Engineers, History Club, SUB

Dont look back

The award-winning film Don't Look Back (1967) captures Bob Dylan on tour and on the cusp of change in 1965. Dylan was rapidly shedding his image as a folk musician and being reborn as a rock persona – and D. A. Pennebaker was there to record this fascinating transformation.This insightful book charts the ways in which Pennebaker revised aspects of observational 'direct cinema', a style of film-making that he helped to pioneer, in order to represent in innovative ways Dylan's onstage performances and backstage actions. Keith Beattie's perceptive and nuanced analysis explains the relationship between 'pose' and the performative presentation of 'persona', which forms the basis of the film's portrayal, and explores Pennebaker's relationship with Dylan in the film-making process. In doing so, the book highlights many remarkable moments fromDont Look Back and demonstrates how this landmark film eschewed the informationalism of the documentary form, revealing a captivating portrait of its beguiling subject.

Star struck

With poems ranging from the confessional to the mock-autobiographical, from imagism to a strange storytelling, from the comic and satirical to the plangent and disturbing, Star Struck startles us with the many faces of lyric poetry.This book of poems by the award-winning poet David McCooey is made up of four sections. The first documents an alienating encounter with a life-threatening illness. The second plays out an unforgettable obsession with darkness and light. The third brings together popular music and the ancient literary mode of the pastoral. In this highly original sequence we find, among other things, Bob Dylan singing Virgil, Joni Mitchell reflecting on life in Laurel Canyon, a lab monkey pondering the sound of music, and a bitter, surreal rewriting of ‘Down Under’ for our times. In the final section, narrative poetry is cast in an intensely new and uncanny light.

Library and information science education 2.0 : guiding principles and models of best practice. Interview with Bob Pymm.

In 2005, Stephen Abram, vice president of Innovation at SirsiDynix, challenged library and information science (LIS) professionals to start becoming “librarian 2.0.” In the last few years, discussion and debate about the “core competencies” needed by librarian 2.0 have appeared in the “biblioblogosphere” (blogs written by LIS professionals). However, beyond these informal blog discussions few systematic and empirically based studies have taken place. A project funded by the Australian Learning and Teaching Council fills this gap. The project identifies the key skills, knowledge, and attributes required by “librarian 2.0.” Eighty-one members of the Australian LIS profession participated in a series of focus groups. Eight themes emerged as being critical to “librarian 2.0”: technology, communication, teamwork, user focus, business savvy, evidence based practice, learning and education, and personal traits. Guided by these findings interviews with 36 LIS educators explored the current approaches used within contemporary LIS education to prepare graduates to become “librarian 2.0”. This video presents an example of ‘great practice’ in current LIS education as it strives to foster web 2.0 professionals.