634 research outputs found
Dylan: A Commemoration
No full textDylan: A Commemoration. Edited by Stephen Pickering. California, 1971. Philosophical musings of an early Dylan enthusiast. This rare publication explores the author\u27s appreciation for Dylan as the greatest poet of the century, and rejects the rationalist distortions of rock magazines. Released the same year as Tarantula, it hails the work as scintillating and brilliant.https://digitalcommons.lasalle.edu/dylan_popular_culture_response/1000/thumbnail.jp
Gratitude as a practice to manage uncertainty and foster well being
Get PDFDylan Le Roy is a Student Affairs and Services Counsellor at Douglas College. He provided a much-needed “Managing Uncertainty with Gratitude” session for the Better Together Conference.
The campus community and the world are experiencing a large amount of uncertainty and change. Dylan Le Roy discusses how this increase in uncertainty may have impacted our sense of wellbeing. Through an experiential practice, participants explore how grounding in gratitude can help foster a greater sense of resiliency, creativity, and connection.presentationBetter Together Conferenc
Bob Dylan and religion
Get PDFThis article, which is located within the field of research on religion and popular culture, is a discussion of the relations of one particular rock artist, Bob Dylan, to religion. Religion can be seen as a recurring topic in Dylan’s work—particularly during a period at the end of the 1970s and beginning of the 1980s, often referred to as his ‘Christian era’—and also in the discourses around him. This article explores how the topic of religion appears in discourses around Bob Dylan. In this article one particular aspect of the connection between religion and popular culture is looked at: the construction of certain artists or stars as religious figures, and more specifically Bob Dylan as a case. The author does not try to discover whether Dylan is religious or not; or which religion he possibly adheres to. Rather, the author looks at how rock artists and in this case Bob Dylan are ‘constructed’ as religious figures
Bob Dylan and religion
No full textThis article, which is located within the field of research on religion and popular culture, is a discussion of the relations of one particular rock artist, Bob Dylan, to religion. Religion can be seen as a recurring topic in Dylan’s work—particularly during a period at the end of the 1970s and beginning of the 1980s, often referred to as his ‘Christian era’—and also in the discourses around him. This article explores how the topic of religion appears in discourses around Bob Dylan. In this article one particular aspect of the connection between religion and popular culture is looked at: the construction of certain artists or stars as religious figures, and more specifically Bob Dylan as a case. The author does not try to discover whether Dylan is religious or not; or which religion he possibly adheres to. Rather, the author looks at how rock artists and in this case Bob Dylan are ‘constructed’ as religious figures.
Dylan to English Dictionary
No full textDylan to English Dictionary, by A.J. Weberman. New York, 2005.
This curious resource would seem, at first glance, to be a basic reference work treating Dylan\u27s lyrics to some form of translation. One only needs to read the very first paragraph of this work to learn that its author was deeply obsessed with Dylan, and through various experiences on LSD came to believe he could interpret hidden meaning in all of Dylan\u27s lyrics. He also credits himself for coining the term Dylanology.https://digitalcommons.lasalle.edu/dylan_academic_interpretations/1001/thumbnail.jp
Murder Most Foul. Storia, memoria e mito nella produzione tarda di Bob Dylan
Get PDFWhile many of Dylan's songs became historic anthems of the civil rights movement, their author never misses a chance to remind us that his interest in historical events lies in the possibility of turning them into metahistorical tales. In Chronicles (2004), he writes: "The madly complicated modern world was something I took little interest in. It had no relevancy, no weight. What was up to date for me was stuff like the Titanic sinking, the Galveston flood, John Henry driving steel, John Hardy shooting a man on the West Virginia line. This was the news that I considered".
However, in Rough and Rowdy Ways, Dylan taps into contemporary history more than in any other album, clearly stating his intent in "Mother of Muses": "I'm falling in love with Calliope | She don't belong to anyone, why not give her to me?". By invoking such an elitist relationship with the muse of epic poetry, Dylan begins a raging reflection on the meaning of time, history, and memory that culminates in a seventeen-minute track about Kennedy's assassination. References to facts, people, films, and songs from different places and times merge into masterpieces that, reliving memories, reshape history. The present paper examines these themes and mechanics and the labile boundary between memory and history, between written and oral cultures, in the 2016 Nobel laureate's late narrative songs
Phya and vfoley, physically motivated audio for virtual environments
Get PDFPhya is an open source C++ library that facilitates physically motivated audio in virtual environments. A review is presented and recent developments in the context of game audio, including the launch of VFoley, a project using Phya as the basis for a fully fledged virtual sound design environment. This will enable sound designers to rapidly produce rich Foley content from within a virtual environment, and author enhanced objects for use by Phya enabled applications
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Tradition and the individual talents : Dylan, Eliot, and DeLillo
Get PDFtextDrawing from a variety of multimedia and archival materials, my dissertation involves a three-figure examination of Bob Dylan, T.S. Eliot, and Don DeLillo. These three figures are linked, (as some other critics have noted) through scattered intertextual allusions. But I argue that a more telling correlation exists in the manner in which all three managed to rise to the apex of their respective fields. I examine this phenomenon and in so doing, my project seeks out a composite theoretical model, better suited to explain the multiform artistry of Dylan and to account for the related transformative cultural navigation of Eliot and DeLillo at key points their careers.
My dissertation sheds light on these authors drawing on Bourdieu’s model of “the field of cultural production” and Bolter and Grusin’s concept of “remediation:” how print, photography film, and other media appropriate, influence, and reconstitute each other. I reconfigure their concept to focus on individual agency and situate these three as consummate remediators of their own and each other’s work, their individual legacies, and ultimately the very “field of cultural production” itself.
This reading recasts our understanding of each author: I position Dylan as a major contemporary literary figure; Eliot as a consummate public performer and recording artist; and DeLillo as a visionary cultural remixer. This analysis provides fresh perspectives on the idea of authorship, canonicity and textuality, as it suggests that a vigorous literary analysis requires us to move beyond a specific medium associated with an author toward a dynamic field of multimodal intertextuality. Literary research and pedagogy in the media-saturated 21st century classroom demand a canon unbound. Such a canon, I argue, should include figures like Dylan, as it should also provoke a fuller, more vital engagement with “the literary tradition” within which we place figures like Eliot and DeLillo. My work, situated at the crossroads between American literature, cultural studies, and the emerging field of the digital humanities, thus produces a more nuanced understanding of the authors in question, the canonical heritage to which they contribute, and the scholarly methods by which we appraise and teach their works.Englis
From English to Romanian: Bob Dylan translated by Mircea Cartarescu
Get PDFopenQuesta tesi di laurea magistrale si concentra sull'analisi della traduzione ‒ dall'inglese al romeno ‒ del testo del brano A hard rain's a-gonna fall di Bob Dylan, tratta dal libro "Bob Dylan, Suflare în vânt: 100 de poeme traduse de Mircea Cărtărescu", che contiene una selezione di cento testi di canzoni di Dylan - o poesie, come l'autore rumeno, come molti altri, li qualifica giustamente - tradotti da Mircea Cărtărescu, egli stesso scrittore di poesia e prosa. Per quanto riguarda l'approccio, questo studio non si basa su alcuna teoria della traduzione ‒ spesso inutilmente complicata ‒ ma è condotto, piuttosto, empiricamente sulla base di principi linguistici e stilistici, seguendo minuziosamente il testo della canzone, dal primo all'ultimo verso, in quello che potrebbe essere chiamato un approccio verticale.This master dissertation focuses on analyzing the translation ‒ from English into Romanian ‒ of Bob Dylan’s lyrics of the song A hard rain’s a-gonna fall, drawn from the book titled Bob Dylan, Suflare în vânt: 100 de poeme traduse de Mircea Cărtărescu , which contains a selection of one hundred Dylan song lyrics – or poems, as the Romanian author, as many others, rightfully qualifies them – translated by Mircea Cărtărescu, himself a writer of both poetry and prose. Regarding the approach, this study does not rely on any theory of translation ‒ which are often unnecessarily complicated ‒ but it is rather conducted empirically on the basis of linguistic and stylistic principles, following the song text in minute detail, from the first to the last line of verse, in what could be called a vertical approach
From technical to teachable: Phonetics and phonology
No full textAs linguists, we value our jargon and training since they allow us to make precise, explicit characterizations of linguistic phenomena. However, it is easy to recognize that this same jargon prevents non-linguists, community members and teachers in particular, from engaging with the literature in a useful way (see, e.g. Penfield & Tucker 2011). Based on workshops given at the Oklahoma Breath of Life (Author 2014) and the Annual Symposium on the American Indian (Author 2012), I discuss specific activities that can be used in the classroom/workshop to make linguistic knowledge from the highly technical sub-fields of phonetics and phonology more accessible to language teachers and language users.
This paper consists of three parts. First, since highlighting L1-L2 similarities can have a positive effect on L2 comprehension and production (Ringbom 1987, 1992, 2007), I provide a list of IPA sounds that can be illustrated in terms of English phonemes and allophones (which could be extended straightforwardly to other languages). For example, English does not have a palatal stop phoneme /c/, but [c] appears as an allophone at the beginning of words like key (Ladefoged & Johnson 2010), and having participants contrast that with the sound at the beginning of car can help them distinguish [c] from [k].
Second, I provide a technique for motivating language teachers, students, and language users to ‘buy in’ to the need for learning at least some phonetics jargon. The thumbnail version of the exercise is: give an explanation for a sound like [p] and then ask participants to describe a number of other sounds such as [t, k, b, g, m, n…]. Having participants think about how to describe a sound helps them see the value of some jargon – for example, agreeing on precise labels for different parts of the vocal tract.
Third, I provide an illustration for how to discuss and explain the phoneme vs. allophone distinction in phonology without ever using the terms phoneme or allophone. The guiding principle is that these concepts can be made accessible to non-specialists when recast in more common but less precise terms and illustrated repeatedly with concrete examples from languages they know or study.
In sum, by actively de-jargoning linguistic material and giving up a small amount of precision and technical detail, linguistic knowledge can be made much more usable in language learning environments, and this, in turn, can result in higher quality language instruction in the community.
REFERENCES
Author. 2014. Phonetics II: More Sounds and how to read them. Presented at the 2014 Breath of Life Workshop and Documentation Project. Sam Noble Museum, Norman, Oklahoma. May 18-23rd.
Author. 2012. Teaching the unique sounds of your language. Presented at the 40th Annual Symposium on the American Indian. Northeastern State University, Tahlequah, OK. April 9-14th.
Ladefoged, P. & K. Johnson. 2010. A Course in Phonetics, 6th edition. Boston: Thomson Wadsworth.
Penfield, S.D. & Tucker, B.V. 2011. From Documenting to Revitalizing an Endangered Language: Where do Applied Linguists Fit? Language and Education, 25: 291-305.
Ringbom, H. 1987. The role of the first language in foreign language learning. Clevedon, UK: Multilingual Matters.
Ringbom, H. 1992. On L1 transfer in L2 comprehension and L2 production. Language Learning 42: 85-112.
Ringbom, H. 2007. Cross-linguistic similarity in foreign language learning. Clevedon, UK: Multilingual Matters
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