Download How to Analyze the Music of Bob Dylan (Essential Critiques by Teresa Ryan Manzella PDF

By Teresa Ryan Manzella

This name explores the inventive works of recognized musician Bob Dylan. song analyzed comprises Bob Dylan's protest songs ("The occasions they're A-Changin'," "A difficult Rain's A-Gonna Fall," and "Blowin' within the Wind"), Bob Dylan's own songs ("It Ain't Me, Babe" and "Positively 4th Street"), Blood at the Tracks, and "Hurricane" and "Joey" from hope. transparent, finished textual content provides heritage biographical details of Dylan. "You Critique It" function invitations readers to research different artistic works on their lonesome. A desk of contents, timeline, record of works, assets, resource notes, thesaurus, and an index also are integrated. crucial opinions is a sequence in crucial Library, an imprint of ABDO Publishing corporation.

Show description

Read or Download How to Analyze the Music of Bob Dylan (Essential Critiques Set 2) PDF

Similar music books

They Might Be Giants' Flood (33 1/3 Series)

For a number of many years now, they may Be Giants’ album Flood has been a beacon (or not less than a nightlight) for those who may perhaps quite learn than rock out, who care extra approximately technology fiction than Slayer, who're extra referred to as shrewdpermanent than cool. Neither the band’s hip origins within the decrease East part scene nor Flood’s platinum certification can disguise up the record's singular significance on the geek fringes of tradition.

The Chitlin' Circuit: And the Road to Rock 'n' Roll

The 1st historical past of the community of black juke joints that spawned rock 'n' roll via an unholy alliance among vice and entertainment.

A definitive account of the delivery of rock 'n' roll in black the United States, this ebook establishes the Chitlin' Circuit as a massive strength in American musical historical past. Combining amazing firsthand reporting with deep old examine, Preston Lauterbach uncovers characters like Chicago Defender columnist Walter Barnes, who pioneered the circuit within the Nineteen Thirties, and larger-than-life promoters corresponding to Denver Ferguson, the Indianapolis playing chieftain who consolidated it within the Forties. Charging from Memphis to Houston and now-obscure issues in among, The Chitlin' Circuit brings us into the sweaty again rooms the place such stars as James Brown, B. B. King, and Little Richard received their begin. along with his unforgettable photographs of unsung heroes together with King Kolax, Sax Kari, and Clarence "Gatemouth" Brown, Lauterbach writes of an international of golf equipment and con males that has controlled to prevent a lot exam regardless of its wealth of brash characters, interesting plotlines, and vulgar glory, and provides us an excavation of an underground musical the US.

In close harmony: the story of the Louvin Brothers

The authoritative Grove Dictionary of yankee song says they're "probably the best conventional nation duo in background. " The song of the Louvin Brother has prompted just about all respected rock-and-roll singers and state singers, from the Everly Brothers to Emmylou Harris. The essence of kingdom tune for plenty of aficionados is concord making a song, and kingdom concord, for many of those, is synonymous with the combined voices of Ira and Charles Louvin.

Additional info for How to Analyze the Music of Bob Dylan (Essential Critiques Set 2)

Example text

LRJUDSKLFDOFULWLFLVPLVDIRUPRIFULWLFLVP WKDWDQDO\]HVDQDUWLVW·VZRUNEDVHGRQNQRZOHGJH RIWKHDUWLVW·VSHUVRQDOOLIH3HRSOHFUHDWHZRUNVRI DUWOLWHUDWXUHDQGPXVLFDOFRPSRVLWLRQVDQGWKHLU ZRUNVDUHRIWHQLPSDFWHGE\DVSHFWVRIWKHLUOLYHV /HDUQLQJDERXWGHWDLOVIURPDQDUWLVW·VSHUVRQDO OLIHLVDQHVVHQWLDODVSHFWRIDSSO\LQJELRJUDSKLFDO FULWLFLVP7KHIRFXVLQWKLVW\SHRIFULWLFLVPLVRQ H[DPLQLQJKRZSHUVRQDOHYHQWVDQGGHYHORSPHQWV PD\KDYHLQVSLUHGDZRUN·VFUHDWLRQ7KHFRQWHQW RIWKHSLHFHLVWKHQLQWHUSUHWHGZLWKWKDWEDFNJURXQG LQPLQG $VLVWKHFDVHIRUKLVWRULFDODQGVRFLDOFULWLFLVP PHDQLQJLQELRJUDSKLFDOFULWLFLVPLVFRQWH[WXDO ,QRUGHUWRFRUUHFWO\DVVHVVDQGDQDO\]HWKH $ 3Ya ^Y ,XKVcdO ^RO 8_]SM YP BOB DYLAN SLHFHLQTXHVWLRQDFULWLFPXVWGRUHVHDUFKLQWR WKHUHODWLRQVKLSVOLYLQJVLWXDWLRQSURIHVVLRQDO VXFFHVVHVDQGIDLOXUHVHYHQKHDOWKLVVXHVWKDWZHUH LQSOD\ZKHQWKHDUWLVWZURWHLW$OVRLPSRUWDQWDUH WKHV\VWHPVRIPHDQLQJWKDWZHUHDYDLODEOHWRWKH DUWLVWDWWKHWLPH6\VWHPVRIPHDQLQJDUHWKHZD\V LQZKLFKDVRFLHW\RUFXOWXUHDWWDFKHVPHDQLQJWR FHUWDLQWKLQJVVXFKDVZRUGVSKUDVHVEHKDYLRUV DQGV\PEROV2QFHWKDWUHVHDUFKKDVEHHQGRQH WKHFULWLFH[SORUHVZD\VWRUHODWHWKHLQIRUPDWLRQ JDWKHUHGDERXWWKHDUWLVWWRWKHZRUNEHLQJFULWLTXHG Applying Biographical Criticism to Dylan’s Personal Songs '\ODQZDVEHFRPLQJYHU\IDPRXVE\ ZKHQKHEHJDQZULWLQJVRQJVWKDWZHUHPRUHDERXW KLPVHOIDQGKLVRZQOLIHWKDQDERXWHYHQWVLQWKH ZRUOGDURXQGKLP+LVUDSLGULVHWRVWDUGRPKDG PDGHKLPSRSXODUZLWKZRPHQDQGDIDYRULWH DPRQJPXVLFIDQVLQWKHFLWLHVKHSHUIRUPHGLQ :KLOHKHHQMR\HGWKHDWWHQWLRQKHGLGQRWDOZD\V HQMR\KDYLQJWRGHDOZLWKWKHGHPDQGVSHRSOH SODFHGRQKLP+LVJLUOIULHQG6X]H5RWRORZKRKH KDGGDWHGVLQFHEURNHXSZLWKKLPLQ EHFDXVHKHZRXOGQRWVWRSVHHLQJRWKHUZRPHQ )DQVDGRUHGKLPDQGZRXOGVXUURXQGKLVWD[LZKHQ  HOW TO APPLY BIOGRAPHICAL CRITICISM TO DYLAN’S PERSONAL SONGS KHOHIWSHUIRUPDQFHVPDNLQJLWGLIILFXOWIRUKLP WRJHWDZD\+HKHDUGWKHPXVLFRIWKH%HDWOHV DQGEHJDQH[SHULPHQWLQJZLWKHOHFWULFJXLWDUV+LV VRQJVIURPWKLVWLPHUHIOHFWWKHSHUVRQDOFKDQJHV DQGFKDOOHQJHVKHZDVJRLQJ WKURXJK´,W$LQ·W0H%DEHµDQG ´3RVLWLYHO\WK6WUHHWµUHYHDO '\ODQ·VFRQIOLFWLQJIHHOLQJV DERXWKLVUHODWLRQVKLSVZLWK SHRSOHKHZDQWHGWRJHWZKDWKH GHVLUHGDQGQHHGHGIURPRWKHUV EXWKHGLGQRWZDQWWROLYHXSWR DQ\RQHHOVH·VUHTXLUHPHQWV '\ODQDQG5RWRORKDG Thesis Statement 7KHPDLQLGHDRIWKHHVVD\ LVSUHVHQWHGKHUH´·,W$LQ·W 0H%DEH·DQG¶3RVLWLYHO\ WK6WUHHW·UHYHDO'\ODQ·V FRQIOLFWLQJIHHOLQJVDERXWKLV UHODWLRQVKLSVZLWKSHRSOH KHZDQWHGWRJHWZKDWKH GHVLUHGDQGQHHGHGIURP RWKHUVEXWKHGLGQRWZDQW WROLYHXSWRDQ\RQHHOVH·V UHTXLUHPHQWVµ7KHUHVWRIWKH HVVD\ZLOOSURYHWKLVWKHVLV NQRZQHDFKRWKHUIRUDURXQG WKUHH\HDUVZKHQKHZURWH´,W $LQ·W0H%DEHµ+HWUDYHOHGDJUHDWGHDOSOD\LQJ LQGLIIHUHQWSODFHVDQGPHHWLQJGLIIHUHQWZRPHQ DORQJWKHZD\'\ODQZDVIDLUO\ SRVVHVVLYHRI5RWROREXWKH ZDQWHGWRUHPDLQIUHHDQGKDYH KLVRZQVSDFH(DFKYHUVHRI ´,W$LQ·W0H%DEHµEHJLQVE\ '\ODQWHOOLQJKLVORYHUWR´*Rµ DQGFRQWLQXHVZLWK´·ZD\OLJKWO\ Argument One 7KHDXWKRUSUHVHQWVWKHILUVW DUJXPHQW´(DFKYHUVHRI¶,W $LQ·W0H%DEH·EHJLQVE\ '\ODQWHOOLQJKLVORYHUWR¶*R· DQGFRQWLQXHVZLWK¶·ZD\ OLJKWO\PHOWEDFN·LQVWUXFWLQJ KHUWROHDYHKLPDORQHµ  3Ya ^Y ,XKVcdO ^RO 8_]SM YP BOB DYLAN PHOWEDFNµLQVWUXFWLQJKHUWROHDYHKLPDORQH $Q\SHUVRQDOFRQQHFWLRQVKHPDGHKDGWRKDSSHQ RQKLVRZQWHUPVDQGKHZDQWHGWREHDEOHWRVHQG VRPHRQHDZD\ZKHQLWVXLWHGKLP7KRXJKPRVW RIWHQLQWHUSUHWHGDVUHODWLQJWR5RWRORWKLVVRQJKDV DOVREHHQUHDGDVSHUWDLQLQJWRKLVIDQVZKRZHUH EHFRPLQJLQFUHDVLQJO\GHPDQGLQJRIKLVWLPHDQG HQHUJ\'\ODQGLGQRWZDQWWREHWKHRQH´:KR ZLOOSURPLVHQHYHUWRSDUWµQRUGLGKHZLVKWREH ´1HYHUZHDNEXWDOZD\VVWURQJµIRU5RWRORRUKLV DXGLHQFH :KHQSHRSOHDUHFORVH Argument Two 7KHDXWKRUFRQWLQXHVWR DUJXHWKHWKHVLV´&LWLQJ H[SHFWDWLRQVWKDWRIWHQH[LVW LQUHODWLRQVKLSV¶,W$LQ·W0H %DEH·VHQGVDFOHDUPHVVDJH WKDW'\ODQZLOOQRWPHHWWKRVH H[SHFWDWLRQVµ WKH\XVXDOO\DVVXPHDFHUWDLQ OHYHORIWUXVWUHOLDELOLW\DQG IDLWKIXOQHVV&LWLQJH[SHFWDWLRQV WKDWRIWHQH[LVWLQUHODWLRQVKLSV ´,W$LQ·W0H%DEHµVHQGVDFOHDU PHVVDJHWKDW'\ODQZLOOQRWPHHW WKRVHH[SHFWDWLRQV7KHO\ULFV H[DJJHUDWHZKDWSHRSOHW\SLFDOO\ ZDQWIURPHDFKRWKHUHVSHFLDOO\´7RSURWHFW\RXDQ· GHIHQG\RX:KHWKHU\RXDUHULJKWRUZURQJµDQG ´6RPHRQHZKRZLOOGLHIRU\RXDQ·PRUHµ'\ODQ DGPLWWHG´,ZLOORQO\OHW\RXGRZQµ+HZDVQRW FDSDEOHRIEHLQJIDLWKIXORUGHSHQGHGXSRQDQG  HOW TO APPLY BIOGRAPHICAL CRITICISM TO DYLAN’S PERSONAL SONGS LQVWHDGRIWU\LQJWRFKDQJHWKDWKHGLVPLVVHGWKRVH ZKRVRXJKWKLPRXWVWDWLQJ´,WDLQ·WPH\RX·UH ORRNLQ·IRUEDEHµ+HPRVWOLNHO\GLGQRWZDQW KLVIDQVWRJHWWKHLPSUHVVLRQWKDWKHSODQQHGWROHW WKHPGRZQEXWKHZDVIDLUO\RSHQDERXWQRWEHLQJ WKHUHIRUDJLUOIULHQG '\ODQHVWDEOLVKHGKLVFDUHHUDVDPXVLFLDQ E\QHWZRUNLQJZLWKIRONPXVLFLDQVLQ1HZ

RKZ^O\  How to Apply Biographical Criticism to Dylan’s Personal Songs What Is Biographical Criticism? %LRJUDSKLFDOFULWLFLVPLVDIRUPRIFULWLFLVP WKDWDQDO\]HVDQDUWLVW·VZRUNEDVHGRQNQRZOHGJH RIWKHDUWLVW·VSHUVRQDOOLIH3HRSOHFUHDWHZRUNVRI DUWOLWHUDWXUHDQGPXVLFDOFRPSRVLWLRQVDQGWKHLU ZRUNVDUHRIWHQLPSDFWHGE\DVSHFWVRIWKHLUOLYHV /HDUQLQJDERXWGHWDLOVIURPDQDUWLVW·VSHUVRQDO OLIHLVDQHVVHQWLDODVSHFWRIDSSO\LQJELRJUDSKLFDO FULWLFLVP7KHIRFXVLQWKLVW\SHRIFULWLFLVPLVRQ H[DPLQLQJKRZSHUVRQDOHYHQWVDQGGHYHORSPHQWV PD\KDYHLQVSLUHGDZRUN·VFUHDWLRQ7KHFRQWHQW RIWKHSLHFHLVWKHQLQWHUSUHWHGZLWKWKDWEDFNJURXQG LQPLQG $VLVWKHFDVHIRUKLVWRULFDODQGVRFLDOFULWLFLVP PHDQLQJLQELRJUDSKLFDOFULWLFLVPLVFRQWH[WXDO ,QRUGHUWRFRUUHFWO\DVVHVVDQGDQDO\]HWKH $ 3Ya ^Y ,XKVcdO ^RO 8_]SM YP BOB DYLAN SLHFHLQTXHVWLRQDFULWLFPXVWGRUHVHDUFKLQWR WKHUHODWLRQVKLSVOLYLQJVLWXDWLRQSURIHVVLRQDO VXFFHVVHVDQGIDLOXUHVHYHQKHDOWKLVVXHVWKDWZHUH LQSOD\ZKHQWKHDUWLVWZURWHLW$OVRLPSRUWDQWDUH WKHV\VWHPVRIPHDQLQJWKDWZHUHDYDLODEOHWRWKH DUWLVWDWWKHWLPH6\VWHPVRIPHDQLQJDUHWKHZD\V LQZKLFKDVRFLHW\RUFXOWXUHDWWDFKHVPHDQLQJWR FHUWDLQWKLQJVVXFKDVZRUGVSKUDVHVEHKDYLRUV DQGV\PEROV2QFHWKDWUHVHDUFKKDVEHHQGRQH WKHFULWLFH[SORUHVZD\VWRUHODWHWKHLQIRUPDWLRQ JDWKHUHGDERXWWKHDUWLVWWRWKHZRUNEHLQJFULWLTXHG Applying Biographical Criticism to Dylan’s Personal Songs '\ODQZDVEHFRPLQJYHU\IDPRXVE\ ZKHQKHEHJDQZULWLQJVRQJVWKDWZHUHPRUHDERXW KLPVHOIDQGKLVRZQOLIHWKDQDERXWHYHQWVLQWKH ZRUOGDURXQGKLP+LVUDSLGULVHWRVWDUGRPKDG PDGHKLPSRSXODUZLWKZRPHQDQGDIDYRULWH DPRQJPXVLFIDQVLQWKHFLWLHVKHSHUIRUPHGLQ :KLOHKHHQMR\HGWKHDWWHQWLRQKHGLGQRWDOZD\V HQMR\KDYLQJWRGHDOZLWKWKHGHPDQGVSHRSOH SODFHGRQKLP+LVJLUOIULHQG6X]H5RWRORZKRKH KDGGDWHGVLQFHEURNHXSZLWKKLPLQ EHFDXVHKHZRXOGQRWVWRSVHHLQJRWKHUZRPHQ )DQVDGRUHGKLPDQGZRXOGVXUURXQGKLVWD[LZKHQ  HOW TO APPLY BIOGRAPHICAL CRITICISM TO DYLAN’S PERSONAL SONGS KHOHIWSHUIRUPDQFHVPDNLQJLWGLIILFXOWIRUKLP WRJHWDZD\+HKHDUGWKHPXVLFRIWKH%HDWOHV DQGEHJDQH[SHULPHQWLQJZLWKHOHFWULFJXLWDUV+LV VRQJVIURPWKLVWLPHUHIOHFWWKHSHUVRQDOFKDQJHV DQGFKDOOHQJHVKHZDVJRLQJ WKURXJK´,W$LQ·W0H%DEHµDQG ´3RVLWLYHO\WK6WUHHWµUHYHDO '\ODQ·VFRQIOLFWLQJIHHOLQJV DERXWKLVUHODWLRQVKLSVZLWK SHRSOHKHZDQWHGWRJHWZKDWKH GHVLUHGDQGQHHGHGIURPRWKHUV EXWKHGLGQRWZDQWWROLYHXSWR DQ\RQHHOVH·VUHTXLUHPHQWV '\ODQDQG5RWRORKDG Thesis Statement 7KHPDLQLGHDRIWKHHVVD\ LVSUHVHQWHGKHUH´·,W$LQ·W 0H%DEH·DQG¶3RVLWLYHO\ WK6WUHHW·UHYHDO'\ODQ·V FRQIOLFWLQJIHHOLQJVDERXWKLV UHODWLRQVKLSVZLWKSHRSOH KHZDQWHGWRJHWZKDWKH GHVLUHGDQGQHHGHGIURP RWKHUVEXWKHGLGQRWZDQW WROLYHXSWRDQ\RQHHOVH·V UHTXLUHPHQWVµ7KHUHVWRIWKH HVVD\ZLOOSURYHWKLVWKHVLV NQRZQHDFKRWKHUIRUDURXQG WKUHH\HDUVZKHQKHZURWH´,W $LQ·W0H%DEHµ+HWUDYHOHGDJUHDWGHDOSOD\LQJ LQGLIIHUHQWSODFHVDQGPHHWLQJGLIIHUHQWZRPHQ DORQJWKHZD\'\ODQZDVIDLUO\ SRVVHVVLYHRI5RWROREXWKH ZDQWHGWRUHPDLQIUHHDQGKDYH KLVRZQVSDFH(DFKYHUVHRI ´,W$LQ·W0H%DEHµEHJLQVE\ '\ODQWHOOLQJKLVORYHUWR´*Rµ DQGFRQWLQXHVZLWK´·ZD\OLJKWO\ Argument One 7KHDXWKRUSUHVHQWVWKHILUVW DUJXPHQW´(DFKYHUVHRI¶,W $LQ·W0H%DEH·EHJLQVE\ '\ODQWHOOLQJKLVORYHUWR¶*R· DQGFRQWLQXHVZLWK¶·ZD\ OLJKWO\PHOWEDFN·LQVWUXFWLQJ KHUWROHDYHKLPDORQHµ  3Ya ^Y ,XKVcdO ^RO 8_]SM YP BOB DYLAN PHOWEDFNµLQVWUXFWLQJKHUWROHDYHKLPDORQH $Q\SHUVRQDOFRQQHFWLRQVKHPDGHKDGWRKDSSHQ RQKLVRZQWHUPVDQGKHZDQWHGWREHDEOHWRVHQG VRPHRQHDZD\ZKHQLWVXLWHGKLP7KRXJKPRVW RIWHQLQWHUSUHWHGDVUHODWLQJWR5RWRORWKLVVRQJKDV DOVREHHQUHDGDVSHUWDLQLQJWRKLVIDQVZKRZHUH EHFRPLQJLQFUHDVLQJO\GHPDQGLQJRIKLVWLPHDQG HQHUJ\'\ODQGLGQRWZDQWWREHWKHRQH´:KR ZLOOSURPLVHQHYHUWRSDUWµQRUGLGKHZLVKWREH ´1HYHUZHDNEXWDOZD\VVWURQJµIRU5RWRORRUKLV DXGLHQFH :KHQSHRSOHDUHFORVH Argument Two 7KHDXWKRUFRQWLQXHVWR DUJXHWKHWKHVLV´&LWLQJ H[SHFWDWLRQVWKDWRIWHQH[LVW LQUHODWLRQVKLSV¶,W$LQ·W0H %DEH·VHQGVDFOHDUPHVVDJH WKDW'\ODQZLOOQRWPHHWWKRVH H[SHFWDWLRQVµ WKH\XVXDOO\DVVXPHDFHUWDLQ OHYHORIWUXVWUHOLDELOLW\DQG IDLWKIXOQHVV&LWLQJH[SHFWDWLRQV WKDWRIWHQH[LVWLQUHODWLRQVKLSV ´,W$LQ·W0H%DEHµVHQGVDFOHDU PHVVDJHWKDW'\ODQZLOOQRWPHHW WKRVHH[SHFWDWLRQV7KHO\ULFV H[DJJHUDWHZKDWSHRSOHW\SLFDOO\ ZDQWIURPHDFKRWKHUHVSHFLDOO\´7RSURWHFW\RXDQ· GHIHQG\RX:KHWKHU\RXDUHULJKWRUZURQJµDQG ´6RPHRQHZKRZLOOGLHIRU\RXDQ·PRUHµ'\ODQ DGPLWWHG´,ZLOORQO\OHW\RXGRZQµ+HZDVQRW FDSDEOHRIEHLQJIDLWKIXORUGHSHQGHGXSRQDQG  HOW TO APPLY BIOGRAPHICAL CRITICISM TO DYLAN’S PERSONAL SONGS LQVWHDGRIWU\LQJWRFKDQJHWKDWKHGLVPLVVHGWKRVH ZKRVRXJKWKLPRXWVWDWLQJ´,WDLQ·WPH\RX·UH ORRNLQ·IRUEDEHµ+HPRVWOLNHO\GLGQRWZDQW KLVIDQVWRJHWWKHLPSUHVVLRQWKDWKHSODQQHGWROHW WKHPGRZQEXWKHZDVIDLUO\RSHQDERXWQRWEHLQJ WKHUHIRUDJLUOIULHQG '\ODQHVWDEOLVKHGKLVFDUHHUDVDPXVLFLDQ E\QHWZRUNLQJZLWKIRONPXVLFLDQVLQ1HZ

RKZ^O\  How to Apply Biographical Criticism to Dylan’s Personal Songs What Is Biographical Criticism? %LRJUDSKLFDOFULWLFLVPLVDIRUPRIFULWLFLVP WKDWDQDO\]HVDQDUWLVW·VZRUNEDVHGRQNQRZOHGJH RIWKHDUWLVW·VSHUVRQDOOLIH3HRSOHFUHDWHZRUNVRI DUWOLWHUDWXUHDQGPXVLFDOFRPSRVLWLRQVDQGWKHLU ZRUNVDUHRIWHQLPSDFWHGE\DVSHFWVRIWKHLUOLYHV /HDUQLQJDERXWGHWDLOVIURPDQDUWLVW·VSHUVRQDO OLIHLVDQHVVHQWLDODVSHFWRIDSSO\LQJELRJUDSKLFDO FULWLFLVP7KHIRFXVLQWKLVW\SHRIFULWLFLVPLVRQ H[DPLQLQJKRZSHUVRQDOHYHQWVDQGGHYHORSPHQWV PD\KDYHLQVSLUHGDZRUN·VFUHDWLRQ7KHFRQWHQW RIWKHSLHFHLVWKHQLQWHUSUHWHGZLWKWKDWEDFNJURXQG LQPLQG $VLVWKHFDVHIRUKLVWRULFDODQGVRFLDOFULWLFLVP PHDQLQJLQELRJUDSKLFDOFULWLFLVPLVFRQWH[WXDO ,QRUGHUWRFRUUHFWO\DVVHVVDQGDQDO\]HWKH $ 3Ya ^Y ,XKVcdO ^RO 8_]SM YP BOB DYLAN SLHFHLQTXHVWLRQDFULWLFPXVWGRUHVHDUFKLQWR WKHUHODWLRQVKLSVOLYLQJVLWXDWLRQSURIHVVLRQDO VXFFHVVHVDQGIDLOXUHVHYHQKHDOWKLVVXHVWKDWZHUH LQSOD\ZKHQWKHDUWLVWZURWHLW$OVRLPSRUWDQWDUH WKHV\VWHPVRIPHDQLQJWKDWZHUHDYDLODEOHWRWKH DUWLVWDWWKHWLPH6\VWHPVRIPHDQLQJDUHWKHZD\V LQZKLFKDVRFLHW\RUFXOWXUHDWWDFKHVPHDQLQJWR FHUWDLQWKLQJVVXFKDVZRUGVSKUDVHVEHKDYLRUV DQGV\PEROV2QFHWKDWUHVHDUFKKDVEHHQGRQH WKHFULWLFH[SORUHVZD\VWRUHODWHWKHLQIRUPDWLRQ JDWKHUHGDERXWWKHDUWLVWWRWKHZRUNEHLQJFULWLTXHG Applying Biographical Criticism to Dylan’s Personal Songs '\ODQZDVEHFRPLQJYHU\IDPRXVE\ ZKHQKHEHJDQZULWLQJVRQJVWKDWZHUHPRUHDERXW KLPVHOIDQGKLVRZQOLIHWKDQDERXWHYHQWVLQWKH ZRUOGDURXQGKLP+LVUDSLGULVHWRVWDUGRPKDG PDGHKLPSRSXODUZLWKZRPHQDQGDIDYRULWH DPRQJPXVLFIDQVLQWKHFLWLHVKHSHUIRUPHGLQ :KLOHKHHQMR\HGWKHDWWHQWLRQKHGLGQRWDOZD\V HQMR\KDYLQJWRGHDOZLWKWKHGHPDQGVSHRSOH SODFHGRQKLP+LVJLUOIULHQG6X]H5RWRORZKRKH KDGGDWHGVLQFHEURNHXSZLWKKLPLQ EHFDXVHKHZRXOGQRWVWRSVHHLQJRWKHUZRPHQ )DQVDGRUHGKLPDQGZRXOGVXUURXQGKLVWD[LZKHQ  HOW TO APPLY BIOGRAPHICAL CRITICISM TO DYLAN’S PERSONAL SONGS KHOHIWSHUIRUPDQFHVPDNLQJLWGLIILFXOWIRUKLP WRJHWDZD\+HKHDUGWKHPXVLFRIWKH%HDWOHV DQGEHJDQH[SHULPHQWLQJZLWKHOHFWULFJXLWDUV+LV VRQJVIURPWKLVWLPHUHIOHFWWKHSHUVRQDOFKDQJHV DQGFKDOOHQJHVKHZDVJRLQJ WKURXJK´,W$LQ·W0H%DEHµDQG ´3RVLWLYHO\WK6WUHHWµUHYHDO '\ODQ·VFRQIOLFWLQJIHHOLQJV DERXWKLVUHODWLRQVKLSVZLWK SHRSOHKHZDQWHGWRJHWZKDWKH GHVLUHGDQGQHHGHGIURPRWKHUV EXWKHGLGQRWZDQWWROLYHXSWR DQ\RQHHOVH·VUHTXLUHPHQWV '\ODQDQG5RWRORKDG Thesis Statement 7KHPDLQLGHDRIWKHHVVD\ LVSUHVHQWHGKHUH´·,W$LQ·W 0H%DEH·DQG¶3RVLWLYHO\ WK6WUHHW·UHYHDO'\ODQ·V FRQIOLFWLQJIHHOLQJVDERXWKLV UHODWLRQVKLSVZLWKSHRSOH KHZDQWHGWRJHWZKDWKH GHVLUHGDQGQHHGHGIURP RWKHUVEXWKHGLGQRWZDQW WROLYHXSWRDQ\RQHHOVH·V UHTXLUHPHQWVµ7KHUHVWRIWKH HVVD\ZLOOSURYHWKLVWKHVLV NQRZQHDFKRWKHUIRUDURXQG WKUHH\HDUVZKHQKHZURWH´,W $LQ·W0H%DEHµ+HWUDYHOHGDJUHDWGHDOSOD\LQJ LQGLIIHUHQWSODFHVDQGPHHWLQJGLIIHUHQWZRPHQ DORQJWKHZD\'\ODQZDVIDLUO\ SRVVHVVLYHRI5RWROREXWKH ZDQWHGWRUHPDLQIUHHDQGKDYH KLVRZQVSDFH(DFKYHUVHRI ´,W$LQ·W0H%DEHµEHJLQVE\ '\ODQWHOOLQJKLVORYHUWR´*Rµ DQGFRQWLQXHVZLWK´·ZD\OLJKWO\ Argument One 7KHDXWKRUSUHVHQWVWKHILUVW DUJXPHQW´(DFKYHUVHRI¶,W $LQ·W0H%DEH·EHJLQVE\ '\ODQWHOOLQJKLVORYHUWR¶*R· DQGFRQWLQXHVZLWK¶·ZD\ OLJKWO\PHOWEDFN·LQVWUXFWLQJ KHUWROHDYHKLPDORQHµ  3Ya ^Y ,XKVcdO ^RO 8_]SM YP BOB DYLAN PHOWEDFNµLQVWUXFWLQJKHUWROHDYHKLPDORQH $Q\SHUVRQDOFRQQHFWLRQVKHPDGHKDGWRKDSSHQ RQKLVRZQWHUPVDQGKHZDQWHGWREHDEOHWRVHQG VRPHRQHDZD\ZKHQLWVXLWHGKLP7KRXJKPRVW RIWHQLQWHUSUHWHGDVUHODWLQJWR5RWRORWKLVVRQJKDV DOVREHHQUHDGDVSHUWDLQLQJWRKLVIDQVZKRZHUH EHFRPLQJLQFUHDVLQJO\GHPDQGLQJRIKLVWLPHDQG HQHUJ\'\ODQGLGQRWZDQWWREHWKHRQH´:KR ZLOOSURPLVHQHYHUWRSDUWµQRUGLGKHZLVKWREH ´1HYHUZHDNEXWDOZD\VVWURQJµIRU5RWRORRUKLV DXGLHQFH :KHQSHRSOHDUHFORVH Argument Two 7KHDXWKRUFRQWLQXHVWR DUJXHWKHWKHVLV´&LWLQJ H[SHFWDWLRQVWKDWRIWHQH[LVW LQUHODWLRQVKLSV¶,W$LQ·W0H %DEH·VHQGVDFOHDUPHVVDJH WKDW'\ODQZLOOQRWPHHWWKRVH H[SHFWDWLRQVµ WKH\XVXDOO\DVVXPHDFHUWDLQ OHYHORIWUXVWUHOLDELOLW\DQG IDLWKIXOQHVV&LWLQJH[SHFWDWLRQV WKDWRIWHQH[LVWLQUHODWLRQVKLSV ´,W$LQ·W0H%DEHµVHQGVDFOHDU PHVVDJHWKDW'\ODQZLOOQRWPHHW WKRVHH[SHFWDWLRQV7KHO\ULFV H[DJJHUDWHZKDWSHRSOHW\SLFDOO\ ZDQWIURPHDFKRWKHUHVSHFLDOO\´7RSURWHFW\RXDQ· GHIHQG\RX:KHWKHU\RXDUHULJKWRUZURQJµDQG ´6RPHRQHZKRZLOOGLHIRU\RXDQ·PRUHµ'\ODQ DGPLWWHG´,ZLOORQO\OHW\RXGRZQµ+HZDVQRW FDSDEOHRIEHLQJIDLWKIXORUGHSHQGHGXSRQDQG  HOW TO APPLY BIOGRAPHICAL CRITICISM TO DYLAN’S PERSONAL SONGS LQVWHDGRIWU\LQJWRFKDQJHWKDWKHGLVPLVVHGWKRVH ZKRVRXJKWKLPRXWVWDWLQJ´,WDLQ·WPH\RX·UH ORRNLQ·IRUEDEHµ+HPRVWOLNHO\GLGQRWZDQW KLVIDQVWRJHWWKHLPSUHVVLRQWKDWKHSODQQHGWROHW WKHPGRZQEXWKHZDVIDLUO\RSHQDERXWQRWEHLQJ WKHUHIRUDJLUOIULHQG '\ODQHVWDEOLVKHGKLVFDUHHUDVDPXVLFLDQ E\QHWZRUNLQJZLWKIRONPXVLFLDQVLQ1HZ

Download PDF sample

Rated 4.58 of 5 – based on 10 votes