Saturday, December 10, 2016

Why is Dylan’s texts literature – Göteborgs-Posten

Image: Cissi Welin

Kulturartiklar Those who claim that Bob Dylan is not a literary driven writer have simply not tried hard enough, writes Mikael van Reis, who find the seamlessly inserted traces of the classic literature in the texts of this year’s nobel prize in literature.

Why are assigned an artist Bob Dylan the Nobel prize in literature? The news got the media to baxna but some were still quick to condemn the protocol as a betrayal of the Literature, that appeasement in the face of pop culture – "troubadour," “scandal” and "trumpisering"…

the Other victim thought that it was decades too late to praise the genius, while anyone in the teves Babylon thought that it certainly was time for a rapper. Literature? Anyone? Invented not Dylan rappmusiken with Subterranean homesick blues in 1965? After a first rush of thoughts engulfed yet most of Bob Dylan’s silence. He does not like about us? The concern in the national scout encampment.

really should not be a surprise to anyone that Dylan is awarded the prize because a principle has been the paradox that respond to the traditions by changing them. Literature as art is not the repertoire, but a hybrid form that seeks new expression for the human condition.

Is the Bob Dylan author? He is not an older touring musician? Though his songs are first of all still poetry, and story in the musical times. With them, we get a glance of Dylan’s outstanding ability to blend, interpret, and reinvent the lyrics and melody lines for all possible situations. It is, of course, the poem. Would someone in Sweden come on the idea to exclude the musician Bellman from the literary history the works?

Bob Dylan tie is actually an to recognized as one of the oldest genres – sånglyriken with urgrekiska roots which are then grown on for a few thousand years. Lyric comes from lyre which is a kind of urgitarr. The bellman tilt occur anywhere on the way.

it will he for half a century been woven together popular music of all genres with konstkulturen, resulting in symbioser that few others can emulate. Like no other he builds out the "american lie", genre after genre. At the same time, is Dylan’s discs often enough album in diktalbum – sometimes held together by a conceptual thought.

There are some important grundfigurer in Dylan’s literature. Alienation, melancholy, alienation is the creation permission – "When you ain’t got nothing, you got nothing to lose" (Like a rolling stone). It follows the transformation of identity and voice. Romantic Keats talked about "negative capability".

Dylan’s career is characterized of break-up after break – in at the soon every such occasion to change his voice from folktenor, to the merciless prosecutor, nasal and gentle countryman, to rockmusikens chanting of the avengers, to kärlekslyriker and sorgesångare. In the early 2000s, he can sound like a rattling gravel pit and then turned into a humming crooner with Sintrarepertoar.

time after Time, he puts on a new "Dylanmask" – as a drifter and renegade, sinners and saved, a komediant and a bluesman. He is a classic shapeshifter, a "jokerman" – and also allvarsman. Smiles rarely. In his autobiographical Memoirs he tells of meeting with a number of in the sextonårige poet Rimbauds so-called Skådarbrev: "I is Another". So in alienationens reset was already the variability possible – one can still create himself as Another. Dylan wanted to belong to Rimbauds the bunch.

the essential hear how Dylan creates this transformation – through the mighty instrument, his voice. Or more precisely – it is about versens sense of tone and phrasing. That is to say, the peculiar texture of Bob Dylan’s songs, the phrasing of which is carried forward by the rhyme that gives the rhythm and growing to the distinctive melody.
the Rhyme of course play a special role. Early on, there is something relentlessly over Dylan’s språkflöde – it is as if the voice ran ahead of him. But it is not enough to explain how Dylan’s album actually gets to literature, even if he himself is helping with the literary references, especially the Bible and Shakespeare. The sources shall consist of citatkonstnären Bob Dylan. Time out of mind from 1997 has the title from A midsummer night’s dream.

Dylanlitteraturen have started to leave the biography’s "the man, the myth and the music" in order to better explain how Dylan becomes self-conscious literature. The very verbale kulturhistorikern Greil Marcus published in 2005 a large monograph on the only a Dylanlåt: Like a Rolling Stone: Bob Dylan at the Crossroads. Like a rolling stone ” was Dylan’s snorting frihetsförklaring from 1965.

At the add Land Polizzottis book Highway 61 revisited which is now the hut is in English. It is an excellent little study of this famous album – song after song. Polizzotti is no ordinary rockjournalist but is katalogredaktör at the Metropolitan museum, etc. His ear is carefully calibrated. The style jargongbefriad. Great introduction.

in 2003, Christopher Ricks out the 500-page, Dylan’s vision of sin. He is no rockjournalist nor without a Oxfordprofessor specialized in Milton and Keats. Born in 1933. It is a finsnickrad academic study with övergenerös English eloquence. After the hand will astounding discoveries – as when Ricks puts Dylan’s “Cold iron bound (from Time out of Mind 1997) at the side of John Keats’ Ode to the Nightingale – a jewel in the English romance. Keats reflected verbal verse after verse and Dylan was early a devoted Keatsläsare.

There is now a Swedish and German continuation of the authorship, Bob Dylan. Ola Holmgren specialist on Ivar Lo, Strindberg and Peter Weiss gave earlier in the year, the Eight reasons why Bob Dylan should be awarded the Nobel prize in literature. A strange prophetic title. Holmgren calls the eight "outtakes", the songs that ratats in the album but later yet published. Thus, deepened the image of the poet Dylan in a often inspired way. I get stuck in particular for his exposition of the favorites Blind Willie McTell" and Mississippi, where Dylan follows the track to the south.

In the Mississippi enters Dylan into a black man’s voice with quotations from both fängelsesånger and a expunkare as Henry Rollins (!), but above all, noticed this just a wonderful timing that makes the narrative to poetry.

Holmgren’s guiding thought will come from mediefilosofen Marshall reality of mcluhan’s famous statement "the medium is the message" or different, the form is the content, the song portrays the message and not the other way around. Therefore, if you carefully listen to how Dylan creates its own special texture of tone and phrasing – how the literature is pronounced in the songs. Which Ola Holmgren shows beautifully in this highly enjoyable book.

We then notice how Dylan not plagierar the tradition, but brings about the identification, an act of sympathy with a black man in the past and where the song is not eco without the bling on with the internal dylanska balances: "Only one thing I did wrong,/ stayed in Mississippi too long."

thus, There are rich , the sediment of the other literature in the Dylansånger as most seem to cradle the front of themselves. Get shows it so energetically and uppslagsrikt as the German literary scholar Heinrich Detering. His previous excellent Dylanbok is available in Swedish, the new one called Die Stimmen aus der Unterwelt – Bob Dylan’s Mysterienspiele. He digs out the literary underworld of Dylan and find bargains. "My songs are mystery play," says Dylan, and thereby ties the he an to medieval folk and biblical spectacle. Fixed Dylan makes so much more when he becomes citatkonstnär in his great musikmosaik in the 2000s.

Ovid’s roman bluesdikter from the dispersal of the Black sea, is inserted in the Dylan Ain’t talking from Modern times, 2006, and in Roll on John Tempest 2012 grows at a picture of John Lennon, who is given surprisingly epic dimensions. Lennon will be – shows Detering – a popgenerationens Odysseus, but like another rolling stone, is also "with no direction home".

Quotes from the classic litteraturerna is so seamlessly inserted that the mosaic is not noticeable. The songs carry on a literary memory, but at the same time, recent life stories as we are arrested by the in the songs. Those who argue that Dylan is not a literary driven writer have simply not tried hard enough.

now, When Dylan reached a ripe old age is sextonårige Rimbauds revolutionary "I is Another" hardly any current formula. He does not need the självskapelsen longer. Of the sene Dylan we hear as soon as a reverse formula: "All the Other is within me."


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