Relevant bibliographies by topics / Dylan, Bob, 1941-

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  2. Dissertations / Theses
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Academic literature on the topic 'Dylan, Bob, 1941-'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Dylan, Bob, 1941-"

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Caldas Filho, Carlos Ribeiro, and Felipe Marçal Anunciação. "Recepção do texto bíblico em Man Gave Name To All The Animals de Bob Dylan." TEOLITERARIA - Revista de Literaturas e Teologias 13, no. 31 (2023): 118–41. http://dx.doi.org/10.23925/2236-9937.2023v31p118-141.

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Bob Dylan (n. 1941), cantor, compositor e escritor estadunidense há mais de meio século tem sido uma das figuras mais destacadas e influentes no cenário da cultura pop mundial. O presente artigo tem objetivo de analisar como o texto bíblico de Gênesis 2.19b-20a (“o nome que o homem desse a todos os seres viventes, esse seria o nome deles. Deu nome o homem a todos os animais domésticos, às aves dos céus e a todos os animais selváticos”) em sua canção Man gave to all the animals, de 1979. Para tanto, o artigo terá a seguinte estrutura: (1) apresentação de aspectos da vida e obra de Bob Dylan; (2
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Gerchikova, Irina. "The Phenomenon of Karel Kryl, The Poet with the Guitar, in the Czech Culture." Slavic Almanac 2023, no. 1-2 (2023): 287–302. http://dx.doi.org/10.31168/2073-5731.2023.1-2.3.03.

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The article describes the work of Karel Kryl (1944–1994), a Czech singer-songwriter and poet. Author’s musical poetry as a cultural phenomenon is considered. From the mid-1960s (“The Happy Age of Literature”) he performed songs of his own composition, based on the traditions of Czech artists of the interwar period J. Werich, J. Voskovec, J. Ježek, and the poetry of P. Bezruč. Kryl, belonging to the first generation of the Czech folk, was heavily influenced by Bob Dylan and the American tradition of song poetry. He expanded the popular song genre and became a legendary voice of protest and th
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Rollason, Christopher. "No complete unknown – the saga of Bob Dylan’s literature nobel." Grove - Working Papers on English Studies, no. 23 (December 23, 2016). http://dx.doi.org/10.17561/grove.v23.a9.

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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.
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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li
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Biron, Dean. "The Tortoise and the Hare." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2420.

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 Of all the characteristics that may be emphasised by those seeking to set apart the serious, authoritative critic from the inconsequential, workaday reviewer, perhaps the most fundamental is the liberty typically enjoyed by the former. So, while the celebrated literary critic F.R. Leavis (in The Great Tradition) is able to confidently assert in microscopic detail the comparative merits of Lawrence, Joyce, Conrad and Woolf, what Meaghan Morris (106) calls the “gulp it down, chew it over, throw it up” crowd strive (in no more than five hundred words and by close of business
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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi
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Currie, Susan, and Donna Lee Brien. "Mythbusting Publishing: Questioning the ‘Runaway Popularity’ of Published Biography and Other Life Writing." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.43.

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Introduction: Our current obsession with the lives of others “Biography—that is to say, our creative and non-fictional output devoted to recording and interpreting real lives—has enjoyed an extraordinary renaissance in recent years,” writes Nigel Hamilton in Biography: A Brief History (1). Ian Donaldson agrees that biography is back in fashion: “Once neglected within the academy and relegated to the dustier recesses of public bookstores, biography has made a notable return over recent years, emerging, somewhat surprisingly, as a new cultural phenomenon, and a new academic adventure” (23). For
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Dissertations / Theses on the topic "Dylan, Bob, 1941-"

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Meunier, Jean-Charles. "Multimodal refractions of Bob Dylan in French Covers." Electronic Thesis or Diss., Valenciennes, Université Polytechnique Hauts-de-France, 2023. https://ged.uphf.fr/nuxeo/site/esupversions/e69af91b-3a89-4777-b2d6-ebc3322958ce.

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La présente étude porte sur les traductions des œuvres de Bob Dylan chantées en français. Le corpus de chansons s'étend sur six décennies, de 1964 à 2023. L’œuvre traduite est comparée à l'original en anglais, mais aussi à d'autres adaptations françaises du même opus, car certaines chansons de Dylan ont été adaptées par différents artistes francophones au fil des ans. Un certain nombre de traductions françaises sont également comparées à d'autres réfractions des œuvres de Dylan, telles que des reprises en anglais par d'autres artistes. Si certaines analyses comparatives sont synchroniques, d'a
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Rosa, Diego Garcia da. "No dia em que Bob Dylan foi dublado com perfeição." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/175184.

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O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo pa
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Ruffato, Demirse Marilva. "Bob Dylan : versões brasileiras de 1968 a 2008." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/66300.

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O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões
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Lebold, Christophe. "Ecritures, masques et voix : pour une poétique des chansons de Leonard Cohen et Bob Dylan." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20084.

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La spécificité des plaisirs littéraires que proposent les chansons de Bob Dylan et de Leonard Cohen tient à la qualité poétique de leurs textes, mais aussi à la mise en voix de ces textes en performance, ainsi qu'à la théâtralité des jeux de masques qui sont au centre de deux œuvres largement auto-fictionnelles. Dès lors, à l'étude stylistique des paroles devra nécessairement s'ajouter une « poétique de la voix » et une analyse systématique des fonctionnements complexes des personae mises en place dans les chansons. L'approche textuelle étudie comment les deux auteurs repoussent les contrainte
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Cesar, Ligia Vieira. "Poesia e politica nas canções de Bob Dylan e Chico Buarque." [UFPR], 2010. http://hdl.handle.net/1884/24378.

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Rodrigues, Telmo. "Bob Dylan : música com poesia." Master's thesis, 2009. http://hdl.handle.net/10451/498.

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Tese de mestrado, Teoria da Literatura, Universidade de Lisboa, Faculdade de Letras, 2009<br>Esta tese analisa a possibilidade de se considerar letras de música como poemas. Para defender esta possibilidade começa-se por tentar perceber como identificamos poesia e, apoiado na ideia de Stanley Fish de que um poema é criado pela sua interpretação, analisam-se alguns textos de Bob Dylan sob uma teoria particular, no caso a teoria da dicção pura , de Donald Davie. Consciente de que esta abordagem deixa de fora a questão central, nomeadamente a música, analisa-se a relação entre música e poesia e
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Books on the topic "Dylan, Bob, 1941-"

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Mathias, Pat. Bob Dylan. Creative Education, 1997.

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Derek, Barker, ed. A Bob Dylan anthology. Chrome Dreams,., 2005.

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Daniel, Kramer, and Marshall Jim 1936-, eds. Early Dylan. Little, Brown and Company, 1999.

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John, Bauldie, ed. Absolutely Dylan. Viking Studio Books, 1991.

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Daniel, Kramer, and Marshall Jim 1936-, eds. Early Dylan. Bulfinch Press, 2005.

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McKeen, William. Bob Dylan: A bio-bibliography. Greenwood Press, 1993.

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Dylan, Bob. Bob Dylan, the Brazil series. Prestel, 2010.

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Heylin, Clinton. Bob Dylan: The recording sessions. St. Martin's Griffin, 1997.

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Craig, McGregor, ed. Bob Dylan: The early years : a retrospective. Da Capo Press, 1990.

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Spitz, Bob. Dylan: A biography. McGraw-Hill, 1989.

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Book chapters on the topic "Dylan, Bob, 1941-"

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"DYLAN, BOB (24 MAY 1941–)." In Encyclopedia of Recorded Sound. Routledge, 2004. http://dx.doi.org/10.4324/9780203484272-259.

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Aasgaard, Reidar. "CHAPTER 1 “Señor (Tales of Yankee Power)”: A Window into Bob Dylan’s Existential and Religious World." In A God of Time and Space. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch1.

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“Señor (Tales of Yankee Power)” is a central song on Street-Legal, the album Bob Dylan released in 1978, a short time before his Christian conversion experience and the so-called Christian album trilogy of 1979–1981. Within the setting of a journey through a half-real, half-mythical landscape, the song describes an encounter between an I-figure, the singer, and his travel companion, a mysterious, silent “señor”, with the singer going through a process of growing frustration leading to a state of existential despair. The article gives a close, narrative reading of the lyrics and analyzes the song within the contexts of the album, of the development of Dylan’s religious language, of his performances of the song from 1978 to 2011, and of his own comments on it. The main conclusion is that “Señor” can be read in different ways, but that religion, and Christianity in particular, plays an important and integral part in the various readings. The song reflects Dylan’s artistic and personal situation at the time, also by foreshadowing his conversion experience, but at the same time belongs within a long trajectory of Dylan songs from the 1960s until today which deal with fundamental human themes related to history, society, social relations, religion, and life in general.
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Rogovoy, Seth. "My Friend Came to Me." In Within You Without You. Oxford University PressNew York, 2025. http://dx.doi.org/10.1093/oso/9780197627822.003.0023.

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Abstract Chapter 22 of Within You Without You, “My Friend Came to Me,” closely examines George Harrison’s 1971 all-star benefit concert, Concert for Bangladesh, which set the template for large-scale celebrity charity events, in this case leveraging the drawing power of Harrison’s musical friends, including Bob Dylan, Ringo Starr, Eric Clapton, Leon Russell, Billy Preston, and Ravi Shankar, to raise funds for war-torn refugees suffering from famine and floods in the newly independent nation of Bangladesh. Two concerts at New York City’s Madison Square Garden were filmed and recorded, and the event produced a three-LP live concert recording, a movie, and a new Harrison single, “Bangla Desh,” tailor-written for the cause. The entire effort raised millions for humanitarian relief and is widely credited with having made “Bangladesh” a household name at a time when the news media were still referring to the newly independent nation as “East Pakistan.”
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