841 research outputs found
Death in the poetry of Dylan Thomas
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoO propósito desta dissertação é analisar as atitudes de Dylan Thomas perante a morte, expressas em dezoito de seus poemas, e compará-las com a tradição cristã protestante, buscando pontos de similaridade e pontos de divergência. O tema da morte é importante e central na poesia de Dylan Thomas. Em minha análise eu concluo que os poemas de Dylan Thomas apresentam uma atitude ambígua diante da morte, algumas vezes sugerindo uma certa resistência, às vezes sugerindo uma calma aceitação, sempre expressa em termos de metáforas e alusões à tradição cristã. A visão de Dylan Thomas da morte pode ser basicamente entendida em termos de uma reabsorção do indivíduo nos elementos da natureza, contrastando assim com a noção cristã de ressurreicão da carne. No primeiro capítulo eu apresento a visão cristã da morte conforme é descrita na Bíblia, na teologia de Martinho Lutero, em João Calvino, e na filosofia de Soren Kierkegaard, mostrando que a visão cristã da morte é resultado de um longo desenvolvimanto histórico. No segundo capítulo apresento a análise dos poamas de Dylan Thomas, tentando focalizar suas atitudes diante da morte do outro, da morte do eu, e da morte da raca humana. E na conclusão apresento uma comparação entre as atitudes de Dylan Thomas e os valores da tradição cristã, mostrando que o poeta usa símbolos e conceitos cristãos mas que os reinterpreta de acordo com sua visão da vida e da morte, e de acordo também com seus propósitos estéticos
Subjugating the Beast and the Angel: Suggestions of Dante's Inferno in "Altarwise by owl-light"
No full text‘Altarwise by owl-light’ is one of Thomas’s most intransigent poems, an intricately woven text of images and symbols. It has generated, over the years, a great variety of interpretations ranging from the astrological, to the Freudian to the Surrealistic . The reading of this poem often involves a search for sources, the unravelling of references and allusions. For instance, in some of the sonnets’ most seemingly surreal lines , at the end of Sonnet V, an unexpected source has been discovered by Walford Davies and Ralph Maud. In -
Cross-stroked salt Adam to the frozen angel
Pin-legged on pole-hills with a black medusa
By waste seas where the white bear quoted Virgil
And sirens singing from our lady’s sea-straw.
- the image of the ‘waste seas where the white bear quoted Virgil’ originates in an allegorical text by Anatole France entitled L’île des pingouins . There now remains the problem of finding out who the ‘frozen angel’ and the ‘black medusa’ are, and of piecing together the elements.
This paper will offer suggestions regarding these and other images, by concentrating on allusions, in the poem, to Dante’s Inferno. In the process, it will raise a previously unrecognised possibility in the core interpretation of the poem
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
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
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.
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Dylan
No full textThe Indonesian poet and public figure Goenawan Mohamad published "Bob Dylan" in the magazine Tempo and it was also published in the English version of Tempo. Reprinted by permission of the author Goenawan Mohamad and the translator Jennifer Lindsay
Gratitude as a practice to manage uncertainty and foster well being
No full textDylan 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
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
Bob Dylan and American Folk Music: The Pigeonhole Effect
No full textThis article tracks Bob Dylan\u27s early musical career and his relation to the American Folk music movement of the late 1950s into the early 1960s. The author grapples with the question of why Bob Dylan went electric and explores some of the stories around the seminal event in American Folk Music history. The author mainly uses Bob Dylan\u27s personal interviews and songs to draw conclusions
Murder Most Foul. Storia, memoria e mito nella produzione tarda di Bob Dylan
No full textWhile 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
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