Thematische Bibliographien / Highway 61 revisited (Dylan, Bob)

Auswahl der wissenschaftlichen Literatur zum Thema „Highway 61 revisited (Dylan, Bob)“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Highway 61 revisited (Dylan, Bob)"

1

Akalay, Nadia. „“Cinderella seems so easy”: Archetypal Characterisation in Bob Dylan and T.S. Eliot’s Wastelands“. Theory in Action 17, Nr. 2 (30.04.2024): 38–55. http://dx.doi.org/10.3798/tia.1937-0237.2407.

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This article presents an intertextual study of T.S. Eliot’s The Waste Land (1922) and Bob Dylan’s ‘Desolation Row’ (1965) – the original version in the album Highway 61 Revisited. Only a few scholars dedicated to the works of Bob Dylan have ‘Desolation Row’ being a vague rather than an explicit allusion to The Waste Land. This study will demonstrate how the themes and topics in both texts are not only similar, but how the piece by Dylan contains direct references to Eliot’s poem as well as to other literary and cultural phenomena which Eliot references in his Wasteland – “alluding to allusions”, therefore. All this will be illustrated through the nearly identical processes of archetypal characterisation led by the two authors and the rhetorical use of multiplicity of voice. [Article copies available for a fee from The Transformative Studies Institute. E-mail address: journal@transformativestudies.org Website: http://www.transformativestudies.org ©2024 by The Transformative Studies Institute. All rights reserved.]
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2

Roos, Michael, und Don O'Meara. „Is your love in vain? – dialectical dilemmas in Bob Dylan's recent love songs“. Popular Music 7, Nr. 1 (Januar 1988): 35–50. http://dx.doi.org/10.1017/s0261143000002518.

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In a recent interview, Bob Dylan said that he has learned never to ‘give one hundred per cent’ – a person, particularly a public artist, should always hold something in reserve. Somewhat taken aback, the interviewer pressed for a follow-up to this puzzling statement. Wasn't Dylan giving 100 per cent on those great albums of the 1960s. Highway 61 Revisited and Blonde on blonde? All right, Dylan finally admitted, maybe he was. The reporter dropped the question and went on to other subjects, leaving the readers, like Mr Jones, wondering just what is going on here. Most people who have followed Dylan's work throughout his career would agree that, in his work of the 1980s, he seems to be holding something back. There are flashes of brilliance, of the old verbal acuity, the ability to come up with the startlingly perfect phrase to fit his needs in a song. There have been truly great songs, like ‘Jokerman’, ‘Dark Eyes’ and ‘Brownsville Girl’. But there have also been embarrassingly awful songs, like ‘Never Gonna Be the Same Again’, lacklustre singing and woefully inconsistent production values on his records. We know what he is capable of – he knows what he is capable of – yet he doesn't give us his best. Why? In our view the answer, like most aspects of Bob Dylan, is not simple but may well involve a complex combination of factors all pertaining to the attempt to balance the dialectical forces pulling upon him from both the public and private areas of his life.
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3

Dedić, Nikola. „Highway 61 Revisited: Bob Dilan i francuski poststrukturalizam / Highway 61 Revisited: Bob Dilan and French Poststructuralism“. AM Journal of Art and Media Studies, Nr. 3 (15.06.2013): 11–23. http://dx.doi.org/10.25038/am.v0i3.32.

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The main aim of this text is to show parallels between rock music and poststructuralist philosophy. As a case study one of the most celebrated rock albums of all times – Bob Dylan’s Highway 61 Revisited from 1965 is taken. It is one of the crucial albums in the history of popular culture which influenced further development of rock music within American counter culture of the 60s. Dylan’s turn from the politics of American New Left and folk movement, his relation towards the notions of the author and intertextuality, and his connection with experimental usage of language in the manner of avant-garde and neoavant-garde poetry, are juxtaposed with the main philosophical standpoints of Jean-François Lyotard, Jean Baudrillard, Roland Barthes and Julia Kristeva which historically and chronologically coincide with the appearance of Dylan’s album.
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„Bob Dylan: Highway 61 revisited“. Choice Reviews Online 45, Nr. 12 (01.08.2008): 45–6683. http://dx.doi.org/10.5860/choice.45-6683a.

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Dissertationen zum Thema "Highway 61 revisited (Dylan, Bob)"

1

Forsberg, Jacob. „“It ain’t the melodies that’re important man, it’s the words” : Dylan’s use of figurative language in The Times They Are A-Changin’ and Highway 61 Revisited“. Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41174.

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This essay compares the figurative language of Bob Dylan’s albums The Times They Are A-Changin’ (1964) and Highway 61 Revisited (1965), with a focus on how Dylan remained engaged with societal injustices and human rights as he switched from acoustic to fronting a rock ‘n’ roll band. The essay argues that Dylan kept his critical stance on social issues, and that the poet’s usage of figurative language became more expressive and complex in the later album. In the earlier album Dylan’s critique, as seen in his use of figurative language, is presented in a more obvious manner in comparison to Highway 61 Revisited, where the figurative language is more vivid, and with a more embedded critical stance.
Uppsatsen jämför det figurativa språket i Bob Dylans skivor The Times They Are A-Changin’ (1964) och Highway 61 Revisited (1965), med ett fokus på hur Dylan fortsatte vara engagerad inom samhällsfrågor och mänskliga rättigheter när han gick över från akustisk solomusik till att leda ett rockband. Uppsatsen argumenterar för att Dylan behöll sin kritiska syn på samhällsfrågor, och att poetens användning av figurativt språk blev mer expressivt och komplext i det senare albumet. I det tidigare albumet är Dylans kritik, som den framstår i hans användning av figurativt språk, presenterad mer direkt i jämförelse med Highway 61 Revisited, där det figurativa språket är mer levande och innehåller en mer förtäckt kritik.
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Bücher zum Thema "Highway 61 revisited (Dylan, Bob)"

1

Irwin, Colin. Bob Dylan: Highway 61 revisited. New York: Billboard Books, 2008.

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2

Irwin, Colin. Bob Dylan: Highway 61 revisited. New York: Billboard Books, 2008.

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3

Polizzotti, Mark. Highway 61 revisited. New York, NY: Continuum, 2007.

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4

1953-, Sheehy Colleen J., und Swiss Thomas 1952-, Hrsg. Highway 61 revisited: Bob Dylan's road from Minnesota to the world. Minneapolis: University of Minnesota Press, 2009.

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5

Irwin, Colin. Bob Dylan "Highway 61" Revisited (Legendary Sessions). Flame Tree Publishing Co Ltd, 2007.

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6

Legendary Sessions: Bob Dylan: Highway 61 Revisited (Legendary Sessions). Billboard Books, 2007.

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7

Bob Dylan's Highway 61 Revisited. Bloomsbury Publishing Inc, 2006. http://dx.doi.org/10.5040/9781501396762.

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8

Bob Dylan's Highway 61 Revisited. Bloomsbury Academic & Professional, 2006.

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9

Polizzotti, Mark. Bob Dylan's Highway 61 Revisited (33 1/3). Continuum International Publishing Group, 2006.

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10

Dylan Redeemed: From Highway 61 to Saved. Continuum International Publishing Group, 2006.

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Buchteile zum Thema "Highway 61 revisited (Dylan, Bob)"

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Polito, Robert. „Highway 61 Revisited (1965)“. In The Cambridge Companion to Bob Dylan, 137–42. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521886949.013.

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2

Starr, Larry. „Accompanying Bob Dylan“. In Listening to Bob Dylan, 81–88. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043956.003.0006.

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In this chapter, Bob Dylan’s very conscious decisions about the instruments, playing styles, and players with which to accompany his singing voice and harmonica receive consideration. His own picking and strumming of an acoustic guitar, his choice of piano, beginning with “Black Crow Blues” (1964), and his historic switch to electric guitar and employment of a rock band on Bringing It All Back Home and Highway 61 Revisited (both 1965), are all examined in terms of their impact on the sound of his recorded work and their significance for the songs he played. Backing singers first appeared on Dylan albums in 1970, and remained important for some time. The chapter concludes by examining the unique role of Scarlet Rivera’s violin on the album Desire (1976).
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3

„‘There is No Eye’: Highway 61 Revisited“. In Invisible Now: Bob Dylan in the 1960s, 129–50. Routledge, 2016. http://dx.doi.org/10.4324/9781315589770-15.

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4

Tellier, Albéric. „6. Bob Dylan. Highway 61 Revisited (1965, Columbia)“. In Nouvelles vibrations, 77–86. EMS Editions, 2020. http://dx.doi.org/10.3917/ems.telli.2020.01.0077.

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5

Polizzotti, Mark. „Side One“. In Bob Dylan's Highway 61 Revisited, 29–112. Bloomsbury Publishing Inc, 2006. http://dx.doi.org/10.5040/9781501396762.0004.

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Polizzotti, Mark. „Side Two“. In Bob Dylan's Highway 61 Revisited, 113–44. Bloomsbury Publishing Inc, 2006. http://dx.doi.org/10.5040/9781501396762.0005.

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7

Polizzotti, Mark. „Recording Dates“. In Bob Dylan's Highway 61 Revisited, 145. Bloomsbury Publishing Inc, 2006. http://dx.doi.org/10.5040/9781501396762.0006.

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8

Polizzotti, Mark. „Endnotes“. In Bob Dylan's Highway 61 Revisited, 146–54. Bloomsbury Publishing Inc, 2006. http://dx.doi.org/10.5040/9781501396762.0007.

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9

Polizzotti, Mark. „Select Bibliography and Discography“. In Bob Dylan's Highway 61 Revisited, 155–61. Bloomsbury Publishing Inc, 2006. http://dx.doi.org/10.5040/9781501396762.0008.

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