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dc.contributor.authorMason, Catharineeng
dc.contributor.authorThomas, Richardeng
dc.date.issued2007-03eng
dc.descriptionFolklore, ethnomusicology, linguistics, anthropology, literary criticism, and philology: none of these fields can be left aside in a thorough attempt to gain insight into the rich dynamics and designs of Bob Dylan's performance artistry. It is indeed in the combined views and equations of these disciplines that scholars may identify with greater precision the complex subtleties or, shall we say, the subtle complexities of Dylan's creative breakthroughs into an art form uniquely his own and yet soundly embedded in American popular culture. Let there be no confusion: the artist under scrutiny performs not for the mathematician's final analysis, even if numbers and calculations abound in the unfolding meaning of his lyrics. From Dylan's powerful allusions to the divisive increments and common denominators of human experience, from his descriptions of the sole heartbeat to the elaborate use of the formulaic that creates a unison of voice, and from his devotion to both new and old, present and past, the avant-garde and the archaic, emerges that deep-set connection between the personal and cultural that is essential for lasting artistic creation. In light of this complexity, no single academic paradigm could enlighten these dynamics in isolation.eng
dc.descriptionNote: The Peformance Artistry of Bob Dylan: Conference Proceedings of the Caen Colloquiumeng
dc.format.extent11 pageseng
dc.identifier.citationOral Tradition, 22/1 (2007): 3-13.eng
dc.identifier.urihttps://hdl.handle.net/10355/65100
dc.languageEnglisheng
dc.rightsOpenAccess.eng
dc.rights.licenseThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License.
dc.titleIntroduction (Oral Tradition, 22/1, 2007)eng
dc.typeOthereng


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