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Chargement... Dylan's Visions of Sinpar Christopher Ricks
   Aucun Actuellement, il n'y a pas de discussions au sujet de ce livre.   BIBLIOTECAZIZUR | Nov 22, 2016 |  Interestingly Ricks, like Milton, is better on the Dark Side of Dylan's Visions of Sin than the bright side of Dylan's Visions of Grace and Virtue. On the other hand Ricks is the first analyst I have read who does not condemn Dyan's "Christian phase" lyrics, the first critic to give those lyrics back to me as having all Dylan's wit and linguistic mastery. Ricks is quick to point the finger at that form of liberalism that is liberal to all beliefs except Christianity: 'the big trap for liberals is always that our liberalism may make us very illiberal about other people's sometimes letting us all down by declining to be liberals' (379). This too is a classic Ricks observation, to be compared with the question asked in T.S. Eliot and Prejudice, 'ought liberal readers of the New York Review to acquiesce so happily in a crass prejudice against Christianity such as they would never countenance against any other religion?' (60). So not a five, but damned close to it. (  )1  Michael_Godfrey | Mar 19, 2010 |
 Ricks takes a monolithic view of Dylan’s work. But one of the most remarkable things about Dylan is the way he reinvents himself. Ricks tries to see his changing art in terms of Christianity (sin, virtue, grace), when he might have done better to look at Dylan’s Christianity in terms of his changing art.  What temptation should one avoid above all, if one is a former professor of English at Cambridge? The temptation to be matey, or hip, or cool—especially if one is essaying the medium of popular music. But Ricks begins his book like this: “All I really want to do is—what, exactly? Be friends with you? Assuredly I don’t want to do you in, or select you or dissect you or inspect you or reject you.” The toe-curling embarrassment of this is intensified when one appreciates that Ricks is addressing his subject, not his reader. Why did he leave out other verbs Dylan had in that song: simplify you, classify you, deny, defy, or crucify you? And surely, he’s already at least “selected” him?... Oddly, perhaps, Ricks spends almost no time on the influences that Dylan actually does affirm or the influences that we know about. “Blowin’ In the Wind” borrows from an old slave spiritual called “No More Auction Block,” with its haunting words about “many thousands gone.” Dylan was actually sued by Dominic Behan, brother of Brendan, for plagiarizing not only the tune but the concept of “The Patriot Game” for his “With God on Our Side.” More recently, his song about a Japanese yakuza was tracked down to an obscure but identifiable source, while the deft Daniel Radosh has blogged a near-perfect match between Dylan’s “Cross the Green Mountain” (written for Ron Maxwell’s movie Gods and Generals) and Walt Whitman’s “Come up from the Fields, Father.” If I had to surmise another influence, it would be William Blake, not just for the speculative reasons given by Ricks but because, as Blake phrased it: “A Last Judgment is Necessary because Fools flourish.”
Bob Dylan's ways with words are a wonder, matched as they are with his music and verified by those voices of his. In response to the whole range of Dylan early and late (his songs of social conscience, of earthly love, of divine love and of contemplation), this critical appreciation listens to Dylan's attentive genius, to his apprehension of deadly sins and his comprehension of living virtues, all alive in the very words and their rewards. Aucune description trouvée dans une bibliothèque |
Discussion en coursAucunCouvertures populaires
 Google Books — Chargement...GenresClassification décimale de Melvil (CDD)782.42164092The arts Music Vocal music Secular Forms of vocal music Secular songs General principles and musical forms Song genres Western popular songsClassification de la Bibliothèque du CongrèsÉvaluationMoyenne: (3.52)
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