| dc.contributor.author | Lebold, Christophe | eng |
| dc.date.issued | 2007-03 | eng |
| dc.description | This paper seeks to more closely examine the specific literary pleasures experienced by listeners of Bob Dylan's songs. In doing so, this analysis posits that such pleasure is a response to the concurrence of three literary activities: Dylan's poetic texts are first written and then performed; Dylan's poetry is rhythmically re-written by the voice; and Dylan uses the songs to write himself--in other words, to construct a series of numerous and competing personae. This essay argues that close reading of the lyrics must therefore be supplemented by a "poetics of the voice" and a detailed analysis of the theatricality of what might be called Dylan's "games of masks." While a stylistic approach to Dylan's lyrics reveals a thrust towards writerly openness and new poetical idioms that fuse oral traditions with "high" poetry, the aesthetic and semantic uses Dylan makes of his voice are equally sophisticated. In this analysis, Dylan's voice will be approached from several angles: as an object of pleasure; as an instrument of writing that allows Dylan to create a form of oral free verse; and as a complex sign that the artist uses for pathos, self-parody, and/or to enhance his fatalistic and stoic vision of a fallen world in which "everything is broken." | eng |
| dc.description | Note: The Peformance Artistry of Bob Dylan: Conference Proceedings of the Caen Colloquium | eng |
| dc.format.extent | 14 pages | eng |
| dc.identifier.citation | Oral Tradition, 22/1 (2007): 57-70. | eng |
| dc.identifier.uri | https://hdl.handle.net/10355/65103 | |
| dc.language | English | eng |
| dc.rights | OpenAccess. | eng |
| dc.rights.license | This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. | |
| dc.title | A face like a mask and a voice that croaks : An integrated poetrics of Bob Dylan's voice, personae, and lyrics | eng |
| dc.type | Article | eng |
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