Journal articles: 'Leonard Cohen'

1

Rosemann, Philipp W. "Leonard Cohen, Philosopher." Maynooth Philosophical Papers 9 (2018): 1–20. http://dx.doi.org/10.5840/mpp20181091.

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Kroll-Zeldin, Oren. "Experience Leonard Cohen." American Jewish History 106, no. 2 (April 2022): 223–25. http://dx.doi.org/10.1353/ajh.2022.0029.

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Hanberry, Gerard. "Listening to Leonard Cohen." Books Ireland, no. 234 (2000): 286. http://dx.doi.org/10.2307/20632167.

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Bougnoux, Daniel. "Leonard Cohen, scène zen." Médium 23, no. 2 (2010): 63. http://dx.doi.org/10.3917/mediu.023.0063.

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Guillén González, Zuleyma, and Pompeyo Pérez Díaz. "Iconografía, poética y música. Un análisis iconográfico de los videoclips de Leonard Cohen realizados por directoras." Cuadernos de investigación musical, no. 15 (May 11, 2022): 58–72. http://dx.doi.org/10.18239/invesmusic.2022.15.07.

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El presente trabajo se centra en el estudio de los elementos iconográficos que aparecen en los cuatro videoclips de canciones de Leonard Cohen realizados por directoras: Dance Me To The End of Love (1984) y First We Take Manhattan (1988), de Dominique Issermann; In My Secret Life (2001), de Floria Sigismondi; y Because Of (2004), de Lorca Cohen. Lo cierto es que, aunque no abundan los estudios sobre los pocos videoclips oficiales editados durante la carrera de Leonard Cohen, nos parece que se trata de un lenguaje audiovisual idóneo para la inclusión de componentes simbólicos recurrentes en su escritura. Además, el hecho de que estos fueran filmados por mujeres nos interesa, dado que las numerosas alusiones a la feminidad en los textos del autor. Videoclips de canciones de Leonard Cohen realizados por directoras: Dance Me To The End of Love (1984) y First We Take Manhattan (1988), de Dominique Issermann; In My Secret Life (2001), de Floria Sigismondi; y Because Of (2004), de Lorca Cohen. Lo cierto es que, aunque no abundan los estudios sobre los pocos videoclips oficiales editados durante la carrera de Leonard Cohen, nos parece que se trata de un lenguaje audiovisual idóneo para la inclusión de componentes simbólicos recurrentes en su escritura. Además, el hecho de que estos fueran filmados por mujeres nos interesa, dado que las numerosas alusiones a la feminidad en los textos del autor.

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6

Malnati, Gaia. "The Demons of Leonard Cohen." English Studies 102, no. 6 (June 21, 2021): 878–80. http://dx.doi.org/10.1080/0013838x.2021.1930339.

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Torres Ribelles, Francisco Javier. "Poems by Leonard Cohen (1934-)." Revista Alicantina de Estudios Ingleses, no. 17 (2004): 335–39. http://dx.doi.org/10.14198/raei.2004.17.20.

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8

Meier, Albert. "LEONARD COHEN: LIVE IN LONDON." Kieler Beiträge zur Filmmusikforschung 5, no. 4 (July 27, 2023): 613–17. http://dx.doi.org/10.59056/kbzf.2011.5.p613-617.

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9

Mus, Francis. "Les langues de Leonard Cohen1." TTR 26, no. 1 (June 22, 2016): 103–22. http://dx.doi.org/10.7202/1036951ar.

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La question sera d’abord abordée à partir d’une analyse de la place du français dans la première période de l’oeuvre littéraire de Leonard Cohen (1950-1967). Elle s’appuiera sur l’analyse d’une nouvelle inédite (sans titre) qui sera comparée au roman Beautiful Losers (1966). Au-delà de la place occupée par Cohen dans une discussion sur le bilinguisme canadien, la confrontation de plusieurs systèmes linguistiques montrera ensuite le caractère factice de ces systèmes et la recherche subséquente d’un mode de communication alternatif et plus authentique. En plus d’une analyse discursive, l’article vise un but historiographique dans la mesure où les liens de Cohen avec les milieux francophones des années 1960 seront explicités grâce à la découverte de matériaux inédits.

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10

Pleshoyano, Alexandra. "La poésie lyrique de Leonard Cohen." Thème 18, no. 2 (January 11, 2012): 163–86. http://dx.doi.org/10.7202/1007485ar.

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Leonard Cohen suscite un engouement international non seulement pour sa musique, mais aussi pour ses écrits où s’amalgament des fragments du judaïsme, des vestiges zen et certains éléments chrétiens qu’il hérite du Montréal catholique de son enfance. Dans un premier temps, l’auteure aborde le rôle joué par la poésie chez Cohen et comment l’écriture lui devient nécessaire. Ceci conduit, dans un deuxième temps, à la période où il prend ses distances avec le monde académique pour se diriger vers la musique populaire : Cohen passe ainsi de poète à pop star. Dans un troisième temps, l’auteure explique comment les symboles de la mystique juive ainsi que la méditation zen deviennent des moyens de survie pour lui. L’artiste prétend anéantir sa volonté pour laisser place à travers lui à une plus grande volonté. Par exemple la chanson-prière intitulée If It Be Your Will reflète notamment une expérience de kénose où Cohen cherche à devenir l’instrument de Dieu (G-d).

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11

Delannoi, Gil. "Un poète devenu chanteur : Leonard Cohen." Commentaire Numéro158, no. 2 (2017): 412. http://dx.doi.org/10.3917/comm.158.0412.

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12

O'Neil, Mary Anne. "Leonard Cohen, Singer of the Bible." CrossCurrents 65, no. 1 (March 2015): 91–99. http://dx.doi.org/10.1111/cros.12112.

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O'Neil, Mary Anne. "Leonard Cohen, Singer of the Bible." CrossCurrents 65, no. 1 (March 2015): 91–99. http://dx.doi.org/10.1353/cro.2015.a782594.

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14

Adamskich, Karolina. "Postmodern and postcolonial elements in Leonard Cohen`s oeuvre." Scripta Neophilologica Posnaniensia 22 (December 30, 2022): 195–214. http://dx.doi.org/10.14746/snp2022.22.12.

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The article, apart from examining briefly the reception of Leonard Cohen`s art and persona by the critics, presents him also as a writer preoccupied with ethical issues. It will be demonstrated that, along with creating his own eclectic spiritual system by synthesizing elements borrowed from different religions and wisdom traditions, Cohen has been also influenced by the socio-political situation in Canada and worldwide. Hence, Cohen`s art will be discussed in relation to the post-Holocaust reality, the Quiet Revolution in Quebec, the sexual liberation, the process of Canada becoming a “postmodern country”, as well as cultural changes, such as the shifting position of the popular culture. The article aims also at highlighting the postcolonial and postmodern elements in Cohen`s oeuvre, inasmuch as Cohen has been argued to be one of the first Canadian representatives of these literary trends.

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15

Babich, Babette. "Heidegger and Leonard Cohen: “You Want It Darker”." Religions 12, no. 7 (June 30, 2021): 488. http://dx.doi.org/10.3390/rel12070488.

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This article seeks to ask the question of Leonard Cohen as a poet in terms of what Heidegger calls destitute or desperate times (dürftigerZeit) in his WozuDichter (“What Are Poets For”)? This question requires reflection on voice and attunement, including music and eros along with nothing less Heideggerian than the thought of death, reading Leonard Cohen on what appears to be a relation to the religious—for us? for him? for the Christ? ”forsaken, almost human”—but also painfully reflexive: ”we kill the flame”; a poet in dark times as we face them, together and alone.

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16

Alm, Michael. "Jiří Měsíc, Leonard Cohen: The Modern Troubadour." Revue des langues romanes 1, no. 2 (December 1, 2021): 505–7. http://dx.doi.org/10.4000/rlr.4746.

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17

Famian, Ali. "“Studies in Slang” by Gerald Leonard Cohen." Babel. Revue internationale de la traduction / International Journal of Translation 48, no. 2 (November 22, 2002): 183–84. http://dx.doi.org/10.1075/babel.48.2.15fam.

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18

Castagnaro, Mario. "Various Positions: A Life of Leonard Cohen." Popular Music and Society 32, no. 5 (December 2009): 678–79. http://dx.doi.org/10.1080/03007760902786165.

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19

Brown, J. Trig. "Current Events (With Apologies to Leonard Cohen)." Journal of Pain and Symptom Management 54, no. 4 (October 2017): 617. http://dx.doi.org/10.1016/j.jpainsymman.2017.05.015.

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20

Grabiner, Lord Anthony. "Sex, Scandal and Super-Injunctions – The Controversies Surrounding the Protection of Privacy." Israel Law Review 45, no. 3 (October 30, 2012): 537–53. http://dx.doi.org/10.1017/s0021223712000143.

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Lionel Leonard Cohen – The Rt Hon Lord Cohen of Walmer in the County of Kent – was a distinguished British lawyer. In 1951, he was appointed a Lord of Appeal in Ordinary. Given the fact that he was a committed Jew, this was a remarkable achievement in its time. He chaired the Committee which produced the 1945 Cohen Report, whose recommendations were adopted and in due course enacted in the Companies Act 1948.

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21

Kvalvaag, Robert W. "«Velsignet er Navnet»: Leonard Cohen og Nådens Bok." Kirke og Kultur 120, no. 03 (October 28, 2016): 272–86. http://dx.doi.org/10.18261/issn.1504-3002-2016-03-06.

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22

Heid, Ludger. "Leonard Cohen: Die Flamme – The Flame. Zweisprachige Ausgabe." Das Historisch-Politische Buch 67, no. 2 (June 1, 2019): 302. http://dx.doi.org/10.3790/hpb.67.2.302.

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23

Robert D. Terrio. "Leonard Cohen Live in London (review)." Notes 66, no. 3 (2010): 651. http://dx.doi.org/10.1353/not.0.0281.

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24

Glazer, Aubrey. "Third Solitudes Without Separation, Oneness Torn from the Other: On Tearing Through the Shroud of the Solitude of Montreal Jewish Mystics." Canadian Jewish Studies / Études juives canadiennes 31 (May 18, 2021): 115–34. http://dx.doi.org/10.25071/1916-0925.40213.

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How does the Third Solitude of Montreal Mystics engender a tearing of self, at once, away from the other and inscribing within the Canadian landscape? The motif of tearing is used as a comparative lens for investigating the shroud of Third Solitude of two Montreal Jewish Mystics: Leonard Cohen (1934–2016) and the current Tosher rebbe, Rabbi Elimelech Halevi Segal-Loewy, as well as his late father, Rabbi Meshulam Feish Segal-Loewy (1924–2015). This essay analyzes the process of Leonard Cohen tearing away from cultural boundaries of a Westmount cosmopolitan Jewish upbringing, blossoming into a bohemian bard-kohen who returns as a contemplative mystical Jew from Mount Baldy to Israel via Tel Aviv and back to Montreal. By contrast the Tosher rebbe’s tearing away that began in Nyirtass, Hungary is then transplanted in post-Shoah context into the accommodement raisonable of the Plateau Mont-Royal in Montreal eventually exiling to Kiryas Tosh in Boisbriand. The essay explores how the Tosher rebbe radicalizes Third Solitude without separation by tearing away from surrounding Quebecois culture through ascetic strategies, while Cohen tears away from rampant assimilation and spiritual apathy of his Montreal Jewish upbringing. Both mystics wander through the archetypal Northern landscape of Montreal that has become mythologized in these unique moments of tearing through the metaphysical shroud of Third Solitude.Comment la troisième solitude des mystiques montréalais engendre-t-elle un déchirement de soi, à la fois loin de l’autre et s’inscrivant dans le paysage canadien ? Le motif de la déchirure est utilisé comme une lentille comparative pour enquêter sur le principe de la troisième solitude chez deux mystiques juifs de Montréal : Leonard Cohen (1934-2016) et l’actuel rebbe Tosher, le rabbin Elimelech Halevi Segal-Loewy, ainsi que son défunt père, Rabbi Meshulam Feish Segal-Loewy (1924-2015). Cet article analyse d’abord le cheminement de Leonard Cohen, arraché aux frontières culturelles d’une éducation juive dans un Westmount cosmopolite, fleurissant en un barde-kohen bohémien qui revient à Montréal en tant que mystique juif contemplatif, après avoir transité par le Mont Baldy et Tel Aviv en Israel. L’arrachement du rebbe Tosher, pour sa part, a commencé à Nyirtass, en Hongrie, puis s’est transplanté après la Shoah dans le contexte entourant « l’accommodement raisonnable » du Plateau Mont-Royal à Montréal avant de s’exiler à Kiryas Tosh à Boisbriand. L’essai explore comment le rebbe Tosher radicalise la troisième solitude sans séparation en se détachant de la culture québécoise environnante par des stratégies ascétiques, tandis que Cohen s’arrache à l’assimilation effrénée et à l’apathie spirituelle de son éducation juive à Montréal. Les deux mystiques errent dans l’archétype du paysage nordique de Montréal qui est devenu mythologique dans ces moments uniques de déchirure à travers le linceul métaphysique de la troisième solitude.

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25

Choe, Youngjeen. "Self-reflexivity of Leonard Cohen’s Music in Hallelujah: Leonard Cohen, A Journey, A Song." Journal of Literature and Film 24, no. 3 (December 31, 2023): 703–27. http://dx.doi.org/10.36114/jlf.2023.12.24.3.703.

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26

Adamskich, Karolina. "Echoes of the Holocaust in Leonard Cohen’s art." Scripta Neophilologica Posnaniensia, no. 18 (February 7, 2019): 279–91. http://dx.doi.org/10.14746/snp.2018.18.24.

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Leonard Cohen is mostly known as a singer-songwriter. Although his poems and novels are not as widely recognized as his music, it has been frequently argued that The Favourite Game (1963) and Beautiful Losers (1966) can be viewed as the most innovative and experimental novels to be published in Canada. They are also among the first representatives of Canadian postmodernism in literature. The main purpose of this article was to explore echoes of the Holocaust in Cohen’s novels, as well as in his book of poetry Flowers for Hitler (1964). Despite the fact that the links and allusions to Judaism made by him have been often stressed by the critics, what is demonstrated here is the fact that for Cohen, his Jewish heritage was not only a source of inspiration but also doubt and anger. This paper, apart from presenting the artist’s cultural and spiritual background, aims at demonstrating ethical ambivalences in Leonard Cohen’s art and examining the reasons behind the ambivalence, as well as discussing his works in the context of postmodern ethical theory.

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27

Kenny, Nicolas. "Philippe Girard. Leonard Cohen : Sur un fil." Urban History Review 50, no. 1-2 (October 1, 2022): 98–99. http://dx.doi.org/10.3138/uhr-2022-0010.

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Moure Pazos, Iván. "Leonard Cohen. Come un uccellino su fili di parole." Archivum 70, no. 2 (March 1, 2021): 387–89. http://dx.doi.org/10.17811/arc.70.2.2020.387-389.

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29

Pinder, Kait. "Francis Mus. The Demons of Leonard Cohen." University of Toronto Quarterly 91, no. 3 (October 1, 2022): 294–95. http://dx.doi.org/10.3138/utq.91.3.hr030.

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30

Sylvester, David A. "Listening to Leonard Cohen in the Time of Trump." Tikkun 32, no. 3 (2017): 21–26. http://dx.doi.org/10.1215/08879982-4162551.

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31

Dressler, William W. ": Social Support and Health . Sheldon Cohen, S. Leonard Syme." Medical Anthropology Newsletter 17, no. 4 (August 1986): 105–6. http://dx.doi.org/10.1525/maq.1986.17.4.02a00130.

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32

Nikolaev, S. G., and A. L. Faktorovich. "THE LAST ALBUM OF LEONARD COHEN AS A TEXT TESTAMENT." Historical and social-educational ideas 9, no. 2/1 (January 1, 2017): 138–53. http://dx.doi.org/10.17748/2075-9908-2017-9-2/1-138-153.

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33

Haslam, Thomas J. "Mapping the Great Divide in the Lyrics of Leonard Cohen." Rupkatha Journal on Interdisciplinary Studies in Humanities 9, no. 1 (June 15, 2017): 1–10. http://dx.doi.org/10.21659/rupkatha.v9n1.s01.

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34

Stromberg, Luke. "Leonard Cohen and Philosophy: Various Positions ed. by Jason Holt." Hopkins Review 9, no. 2 (2016): 292–300. http://dx.doi.org/10.1353/thr.2016.0054.

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35

Mus, Francis. "Leonard Cohen between Literature and Music: A Multi-Perspectivist Approach." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 48, no. 3 (September 2021): 368–84. http://dx.doi.org/10.1353/crc.2021.0025.

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36

Poirier, Christine. "Échos de la Shoah dans l’oeuvre poétique de Jacques Brault, Irving Layton et Leonard Cohen1." Dossier 30, no. 3 (December 8, 2005): 43–55. http://dx.doi.org/10.7202/011856ar.

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Résumé Dans cet article, l’auteure analyse et compare les représentations de la Shoah dans l’oeuvre poétique d’un écrivain québécois francophone non juif, Jacques Brault, et de deux écrivains anglo-québécois d’origine juive, Irving Layton et Leonard Cohen. Ces témoins indirects du génocide juif survenu en Europe le représentent indirectement, en articulant un rapport complexe entre les sentiments de culpabilité et de fraternité avec les victimes. L’auteure propose de montrer que c’est la mise à distance de leurs sujets poétiques qui autorise Brault, Layton et Cohen à aborder ce thème pour lequel les interdits théoriques abondent depuis la désormais célèbre formule d’Adorno : « Écrire de la poésie après Auschwitz est barbare. »

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37

Sol, Adam, David S. Koffman, Gary Barwin, Michael Greenstein, Ruth Panofsky, Lisa Richter, Emily Robins Sharpe, and Rhea Tregebov. "Canadian Jewish Poetry: A Roundtable." Canadian Jewish Studies / Études juives canadiennes 34 (December 20, 2022): 142–71. http://dx.doi.org/10.25071/1916-0925.40296.

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Is Canadian Jewish Poetry a meaningful category of study? Are there particular traits that differentiate Canadian Jewish poets from poets of other countries, or from writers in other genres? How do contemporary poets confront the looming legacy of Irving Layton, Leonard Cohen, and A.M. Klein? Six prominent poets and scholars conduct a roundtable discussion to articulate recent developments in the field.

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38

Toufexis, Jesse. "“Westmount’s Sinai”: Projecting a Jewish Landscape onto Montreal through Fiction." Canadian Jewish Studies / Études juives canadiennes 31 (May 18, 2021): 148–58. http://dx.doi.org/10.25071/1916-0925.40216.

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For Canadian Jewish authors, every peak and every valley, every lake and every island, every forest and every plain, is a potential locus for mythic energy. In this brief article, I wish to offer a glimpse into the implicit means by which Jewish authors project a specifically Jewish landscape onto their surroundings. Through a short study of Chava Rosenfarb’s Edgia’s Revenge and Leonard Cohen’s The Favourite Game, I will explore both authors’ uses of Mount Royal and the Laurentian Mountains as sacred spaces in the tradition of earlier Jewish stories involving mountains and wilderness. These similarities are especially poignant when we consider Cohen and Rosenfarb’s very different experiences of being Jewish in the world—one a wealthy uptown Jew from Montreal and the other a survivor of the Holocaust.Pour les auteurs juifs canadiens, chaque sommet et vallée, chaque lac et île, chaque forêt et plaine, est un lieu potentiel d’énergie mythique. Dans ce bref article, je souhaite offrir un aperçu des moyens implicites par lesquels les auteurs juifs projettent un paysage spécifiquement juif sur leur environnement. À travers une brève étude d’Edgia’s Revenge de Chava Rosenfarb et The Favourite Game de Leonard Cohen, j’explorerai les usages par les deux auteurs du Mont Royal et des Laurentides en tant qu’espaces sacrés dans la tradition d’histoires juives antérieures sur les montagnes et la nature. Ces similitudes sont particulièrement probantes lorsque nous considérons les expériences très différentes de Cohen et Rosenfarb de vivre leur judéité — l’un un juif nanti élevé à Westmount et l’autre une survivante de l’Holocauste.

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Ravvin, Norman. "Placed Upon the Landscape, Casting Shadows: Jewish Canadian Monuments and Other Forms of Memory." Canadian Jewish Studies / Études juives canadiennes 31 (May 18, 2021): 104–14. http://dx.doi.org/10.25071/1916-0925.40212.

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This essay explores monuments, including the National Holocaust Monument in Ottawa, and gravestones in Jewish cemeteries in Montreal and Vancouver. Alongside these sites it considers how Canadian Jewish literature presents possibilities for Jewish history and language to mark the Canadian landscape though a consideration of Leonard Cohen and Eli Mandel. A discussion of Canadian monuments is relevant in light of recent demonstrations focused on removing statues and monuments from parks and government buildings. The essay contrasts community-inspired projects like Vancouver’s Holocaust memorial with Ottawa’s “National”monument, whose unveiling prompted a discussion about appropriate ways to represent history.Cet essai explore les monuments, y compris le monument national de l’Holocauste à Ottawa, et les pierres tombales des cimetières juifs de Montréal et de Vancouver. Parallèlement à ces sites, il examine comment la littérature juive canadienne, notamment les écrits de Leonard Cohen et Eli Mandel, offre des opportunités pour l’histoire et la langue juives de marquer le paysage canadien. Une discussion sur les monuments canadiens est pertinente à la lumière des récentes manifestations visant à retirer les statues et les monuments des parcs et des édifices gouvernementaux. L’essai met en contraste des projets d’inspiration communautaire comme le mémorial de l’Holocauste de Vancouver et le monument « national » d’Ottawa, dont le dévoilement a suscité une discussion sur les moyens appropriés de représenter l’histoire.

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40

Mus, Francis. "Passive (Re)translations and identity struggles in the poetry of Leonard Cohen. A Comparison of three translations of book of Longing (2006)." Cadernos de Tradução 39, no. 1 (January 10, 2019): 145–67. http://dx.doi.org/10.5007/2175-7968.2019v39n1p145.

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Em menos de uma década, o Book of Longing [Livro do desejo] de Leonard Cohen (2006) foi traduzido para o francês três vezes. A coleção de poemas de Cohen foi primeiramente traduzida no Québec (Livre du constant désir, 2007), e então na França (Le livre du désir, 2008). Além disso, sete poemas do Book of Longing apareceram previamente como canções no álbum Ten New Songs [Dez novas canções] (2011). O lançamento francês do álbum foi acompanhado por um libreto promocional, no qual foram impressas traduções para o francês (feitas por Graeme Allwright). Neste artigo, pergunta-se se estes textos podem ser tachados como retraduções ou não. As três traduções serão inicialmente comparadas, para se determinar até que ponto diferentes mecanismos de poder influenciaram a produção destas traduções, a saber: a dinâmica entre centro e periferia (Paris e Québec), e entre produtos de alta e baixa cultura (literatura e música). Estes fatores externos serão então comparados a um certo número de fatores internos, i.e. a interpretação específica da poesia de Cohen que pode ter influenciado as estratégias tradutórias do três textos sob consideração.

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41

Lederman, Stephanie, and Hattie Herman. "IRVING S. WRIGHT AND VINCENT CRISTOFALO AWARD LECTURE." Innovation in Aging 3, Supplement_1 (November 2019): S555. http://dx.doi.org/10.1093/geroni/igz038.2046.

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Abstract The Vincent Cristofalo Rising Star Award in Aging Research lecture will feature an address by the 2018 recipient, Nathan K. LeBrasseur, PT, PhD, of the Robert and Arlene Kogod Center on Aging, titled “Biomarkers of Senescent Cell Burden.” The Irving S. Wright Award of Distinction Lecture will feature an address by the 2018 recipient Pinchas Cohen, MD, of the USC Leonard Davis School of Gerontology, titled “Mitochondrial System Biology as a Window Into Diseases of Aging.” These awards are given by the American Federation for Aging Research, Inc.

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42

Paczoska, Ewa. "Jacek Kleyff writes letters." Tekstualia 2, no. 53 (July 29, 2018): 39–48. http://dx.doi.org/10.5604/01.3001.0013.3289.

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The article analyzes selected songs by Jacek Kleyff, one of the most famous Polish sing-songwriters of the 1960s, with a special focus on his songs written in the form of letters: First and Second letter to Leonard Cohen, composed in the 1970s. Another problem addressed in the article is Cohen’s infl uence on Polish independent singing poets. In the 80s, Kleyff gave up the form of the „song–letter”, but he returns to it in his latest songs, which express his reaction to the contemporary political situation in Poland.

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43

Mills, Peter. "Into the mystic: the aural poetry of Van Morrison." Popular Music 13, no. 1 (January 1994): 91–103. http://dx.doi.org/10.1017/s0261143000006863.

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In 1974 Time magazine placed Van Morrison fifth in a curious little league table of ‘Greatest Living Songwriters’ behind Bob Dylan, John Lennon, Paul McCartney and Leonard Cohen. This in itself has little value and probably less meaning but serves to illustrate a point; one could in all probability fill this room with books and critical articles which have been written about Bob Dylan, and while the scholars have not spent so much energy upon Lennon and McCartney, popular approval of their work is perhaps greater than that for Dylan – we all ‘know the story’ of The Beatles. Leonard Cohen, the most ‘cultish’ among Time magazine's Gang of Four is perhaps closest to Morrison in terms of reputation, but is known also as a literary figure with some record albums and volumes of poetry issued under the same title. Some might argue that this is just a glorification of a lyric sheet; this observation may be made flippantly but does actually lead to a problematical but fascinating relation between what is written and what is sung – to which we shall turn later. My point is that in comparison to this quartet and on these terms, Van Morrison is almost invisible. There have been only two published studies of Morrison, both long out of print. The first was a piece of well-intentioned but now rather dated hagiography, Into the Music by Ritchie Yorke (1975). However, this book has the great advantage of being written with the co-operation of its subject. The second was produced by Johnny Rogan, a professional biographer of rock musicians.

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Buchanan, Sandra. "“Dance Me Through the Panic Till I’m Gathered Safely In”." Ata: Journal of Psychotherapy Aotearoa New Zealand 21, no. 1 (December 31, 2017): 69–84. http://dx.doi.org/10.9791/ajpanz.2017.07.

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When Leonard Cohen died in November 2016, many people the world over felt very sad and indeed bereft, at the loss of such a great artist, poet and songwriter. It felt, in Auden’s (1958) words on Freud’s death, another example of: For every day they dieamong us, those who were doing us some good, who knew it was never enough buthoped to improve a little by living. (p. 68) The title of this paper comes from Leonard’s 1984 song “Dance Me to the End of Love”, and has often seemed a powerful description of what a mother provides for her baby and what we as therapists provide to our clients. We try to help them “dance through the panic” and ultimately to feel safely gathered in — firstly with us, within the therapeutic relationship, and in due course within themselves. We provide a “promise of home”, or at least some hope for our clients that they might be able to find that individual sense of self within themselves and connection to others, which feels like “home”. Whakarāpopotonga I te matenga o Leonard Cohen i te Whiringa-a-rangi 2016, pōuri kau ana te tini te mano huri noa i te ao mōteatea kau ana i te ngarohanga atu o te tohunga tito waiata, toikupu mahi toi nei. E ai ki tā Ōtene kī (1958) i te matenga o Whoritu: Mō ia rā taki hingarō ngai tātau, rātau e whai hua nei mō tātau, mōhio tonu kore rawa i rahi engaritōminahia mā te kaiao e whakawhanake. (w. 68) I ahu mai te pane o tēnei pepa mai i te waita a Renana o te tau 1984 “Kanikanihia au ki te Mutunga o te Aroha”, ā, tērā ia e whakaarohia ana he whakaahuatanga mārohirohi o te o te āhua whakarato a te whaea i tana pēpē me tā tātau ngā kaiwhakaora hinengaro hoki ki ā tātau kiritaki. Ko tā tātau he nana ki te āwhina i a rātau, “pīkarikari i te maurirere” ā, taioreore kia tau te mauritau ki a tātau, i tō tātau whanaungatanga haumanutau tae atu ki te wā e tau ai tō rātau ake mauri. Ko tā tātau he whakarato “oati mauri tau”, he maramara wawata rānei e kitea ai e ā tātau kiritaki he kiritau, he whanaungatanga ki ētahi atu pēnei tonu i te “kāinga”.

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Kvalvaag, Robert W. "Det er en brist i alle ting - Leonard Cohen og det knuste hjertets metafysikk." Kirke og Kultur 120, no. 03 (October 27, 2015): 229–49. http://dx.doi.org/10.18261/issn1504-3002-2015-03-04.

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Kvalvaag, Robert W. "Det er en brist i alle ting - Leonard Cohen og det knuste hjertets metafysikk." Kirke og Kultur 119, no. 03 (October 27, 2014): 229–49. http://dx.doi.org/10.18261/issn1504-3002-2014-03-04.

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Thompson, Lynne. "Once, We Were Rivers, and: Song for Africa Leonard Cohen Never Knew He Started." Colorado Review 46, no. 2 (2019): 153–56. http://dx.doi.org/10.1353/col.2019.0068.

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Ravvin, Norman. "On Refusing Canada, Canlit and More: National and Literary Identity in All Its Varieties." Studia Anglica Posnaniensia 55, s2 (December 1, 2020): 291–301. http://dx.doi.org/10.2478/stap-2020-0014.

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Abstract Two recent anthologies of Canadian writing – Refuse: CanLit in Ruins and Resisting Canada: An Anthology of Poetry – reflect stances of resistance to mainstream institutional understandings of Canadian writing culture. They highlight recent scandals in academia and in literary communities, as well as highlighting the voices of Indigenous and women writers. These stances echo earlier forms of cultural revolution in Canada, in particular the Refus global manifesto, which provoked conventional Quebec society in the late 1940s. This paper contrasts these forms of refusal with a period in the 1950s and 1960s when influential Jewish writers, including Leonard Cohen and Irving Layton, took a counter-cultural stance while appearing in mainstream venues offered to them by CBC television and radio.

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Lebold, Christophe. "The Traitor and the Stowaway: Persona Construction and the Quest for Cultural Anonymity and Cultural Relevance in the Trajectories of Bob Dylan and Leonard Cohen <br> doi:10.5429/2079-3871(2010)v1i2.6en." IASPM Journal 1, no. 2 (January 20, 2011): 1–17. http://dx.doi.org/10.5429/322.

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While wide apart in terms of cultural heritage and creative energy, Leonard Cohen and Bob Dylan reconfigured the figure of the oral poet as a cultural hero for the age of the mass media as they defined their basic postures – the (non)protest-singer as prophet and agent provocateur and the troubadour as high priest of the depths of the heart. We propose to analyze the modalities of their many cultural struggles – their artistic struggle against their audience, their discursive struggle against the critics, and their strategic struggle against the music industry. Also of interest are how those struggles arise in their art and persona construction and how they generate specific modes of performance and a specific relationship with their audiences. We will see as we proceed that Cohen and Dylan’s trajectories can be seen as inverted images of each other: Dylan has spent most of his career in a cultural war against his original position of hyper-relevance, trying to obliterate his own persona and regain a cultural anonymity, while Cohen, formerly a poet with no rock credentials, had to struggle his way towards a position of cultural relevance and turn what was essentially perceived as a literary gesture into a rock statement. Along the way, we will be brought to reflect on the functions and uses of heroes in rock culture and assess the amount of pop pleasures taken in the enjoyment of popular singers’ masks and personae.

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Metcalf, Allan. "Origin of New York City’s Nickname “The Big Apple,” by Gerald Leonard Cohen and Barry Popik." Dictionaries: Journal of the Dictionary Society of North America 36, no. 1 (2015): 168–69. http://dx.doi.org/10.1353/dic.2015.0008.

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Journal articles on the topic 'Leonard Cohen'

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