The realistic elements in Bob Dylans folk songs开题报告

 2022-07-13 10:07

1. 研究目的与意义

Bob Dylan (born Robert Allen Zimmerman, May 24, 1941 in Duluth, Minnesota) is an American singer, songwriter, author, poet and disc jockey, who has been a major figure in popular music for nearly five decades. Much of Dylan#8217;s most celebrated work dates from the 1960s, when he became an informal chronicler and a reluctant figurehead of American unrest. His works have significant impact to people around all over the world. Last year, he had earned The Nobel Prize in Literature; this means his works receive the most authoritative identity. One employee of the Swedish Academy has said that Bob Dylan had a very particular and authoritative poetic sound; it is determined and jeering, selfless and self-reflective. Bob Dylan#8217;s texts have acute observation of daily life as well as a flickering image of #8220;visionary#8221;. His quantity of vocabulary is large, and has a wonderful confounding. He is a rhyming master, which allows him to save explanations. Even when there is no easy way to understand his logic, he can unify songs, and each lyric tries to surpass the preceding sentence. This makes his songs have a powerful language motivation, which has been strengthened by his unique vocal music. So, he created some of the greatest poems we possessed nowadays. Folk songs are Bob Dylan#8217;s most representative works. In his folk songs, there are many realistic elements, such as his love stories, his admirable person, the element of the war and some stories that had occurred in real life. Hearing his songs, you can be personally on the scene; you can feel happy, sad, and even angry with him together. Studying the realistic elements in Bob Dylan#8217;s folk songs can help us know the real situation in the 20th century. Readers can also know more about Bob Dylan and know how he earned The Nobel Prize in Literature.

2. 研究内容和预期目标

1. Research contents:This research will study the realistic elements in Bob Dylan#8217;s folk songs, and it mainly describes about three songs. The first is #8220;Song to Woody#8221;, the second is #8220;Hurricane#8221; and the last is #8220;A Hard Rains A Gonna Fall#8221;. The paper will study the realistic elements in these three songs and their influences.2. Problems:The condition of Bob Dylan writing these three songs; the realistic elements in these three songs; the influences of these three songs.3. Outline:Introduction 1. The people in Bob Dylan#8217;s folk songs 1.1. His lovers 1.2. His admirable person2. The historical events in Bob Dylan#8217;s folk songs 2.1. Second World War 2.2. Other real eventsConclusion

3. 国内外研究现状

On October 13th, 2016, Swedish Academy had announced that Bod Dylan got The Nobel Prize in Literature. Swedish Academy said that Bob Dylan had been carried out the 'poetic expression' of the American folk song#8217;s tradition. And his lyrics were the inheritance of the 'oral literary tradition' of Homer and Sappho.Jean Williams said in 2013, Bob Dylan#8217;s song, Hurricane, details the imprisonment of an African-American middleweight boxer, Rubin #8216;Hurricane#8217; Carter (born 6 May 1937 in Delawanna, NJ) for a triple murder with accomplice John Artis in 1967. Like other examples of the #8216;protest#8217; genre, #8216;Hurricane#8217; explores versions of historic events, as does Rubin Carter''s first autobiography The Sixteenth Round: From Number 1 Contender to Number 45472 (1973). The article begins with their creation as an intersection of popular music and sport to highlight inequalities in society. The second section considers more recent releases including a biopic, The Hurricane (1999) starring Denzel Washington and a second Carter autobiography Eye of the Hurricane: My Path From Darkness to Freedom (2011). Each is read as a multilayered text, reinterpreting the image of the fighter as his circumstances change from imprisonment to freedom.In 2003, in Journal of Pragmatics, Gerard Steen published his paper. This paper presents an empirical study of metaphor recognition by means of an underlining task in a famous Bob Dylan song, #8220;Hurricane#8221;. The paper develops a three-dimensional approach to metaphor processing, in which metaphors are assumed to have linguistic, conceptual, and communicative functions for the construction of a mental representation of the discourse [Understanding Metaphor in Literature: An Empirical Approach, Longman, London, 1994]. A selection of structural metaphor properties for each of these discourse functions is discussed, and predictions are formulated regarding which variables are deemed to boost metaphor recognition. Five of the eight variables are shown to behave according to the predictions. The other three variables are related to each other and do not conform to the expectations. Some possible explanations of the results and suggestions for further research are offered in the conclusion.Richard Elliott published an article in Popular Music and Society in 2009, this article explores the emphasis in Bob Dylan''s work on memory, place, and displacement. It rehearses some key issues raised by recent theorists who have been interested in the connections between these themes before proceeding to discuss tropes of displacement in Dylan''s work. Topics covered include the importance of the city and its projection of the rural, the theme of moving on and its association with accumulated experience, and the ability of Dylan continually to reinvent him. The article closes with a reflection on the album Time Out of Mind as a distillation of themes of place and displacement that can be found throughout Dylan''s work and argues that the work presents a poetics of displacement that cannot shed the pull of place and the desire for homely permanence.Ma Shifang said that Bob Dylan the legend of the music world, he became idol when he just 20 years old, and could conduct vocal concert and sell records when he was already 75 years old. He said that Dylan#8217;s songs had added a lot of word elements in the streets and grass roots, there isn#8217;t lack of literature and there is reality in Dylan#8217;s songs. So now we sound Dylan#8217;s songs, we still won''t be out of date.Zhou Yunpeng said in Bob Dylan#8217;s Commendation Conference: To the world, Bob Dylan was a dodging man.In the same conference, Chen Li said: When I was in high school, I listened to Dylan, who inspired my lifelong desire for equality and freedom and individuality.

4. 计划与进度安排

The paper will be written in the order of the outline. The first stage of writing the paper is to research the concerning papers about the poem and the poet and then makes a comprehensive analysis of related papers. Then, as the paper mainly focuses on the images in the poem, it is necessary to study the definition and classification of imagery and giving a general classification of images in the poem. Also, metaphors are widely used in the poem, so the paper will concentrate on analyzing the rhetoric used to describe the images. Finally, the change of images in the poem is one of the poem#8217;s great attractions, which need to be studied after careful consideration of all the problems. Meanwhile, the paper should be finished and handed in time.2022.10.26---2022.11.1Searching for the references and choosing the topic2022.11.2 ---2022.11.10Confirming the topic2022.11.11 ---2022.11.30 Writing the research proposal2022.12.1 ---2022.3.18 Writing the first draft of the paper2022.3.19 ---2022.4.30 Revising the first draft2022.4.30 ---2022.5.25 Submitting the final draft2022.5.25---2022.6.20 The thesis defense

5. 参考文献

Cohen, R. D. (2001). Bob Dylan in America by Sean Wilentz. The Journal of AmericaHistory, 97(4), 1186.Day, A. (2010). Satan Whispers: Bob Dylan and Paradise Lost. The Cambridge Quarterly,39(3), 260-280.Elliott, R. (2009). The Same Distant Places: Bob Dylan#8217;s Poetics of Place and Displacement. Popular Music and Societ, 43(2), 249-270.Friedman, J. (2009). Bob Dylan Is God. Prairie Schooner, 83(3), 93-94.Hinton, B. (1984). Performed Literature: Words And Music by Bob Dylan by Betsy Bowden. Folklor, 95(1), 134.Hussey, S. (2002). Like the Night: Bob Dylan and the Road to Manchester Free Trade Hall byPaul Kelly. Oral History, 30(2), 115-116.Knutson, J. (1994). Bob Dylan Said It Best. Educational Horizons, 73(1), 2.LEUPP, R. T. (2007). Tangled Up in the Bible: Bob Dylan Scripture by Michael J. Gilmour. Christianity and Literature, 56(2), 367-368.NEGUS, K. (2010). Bob Dylan#8217;s phonographic imagination. Popular music. 29(2), 213-227.Pastan, L (2007). Listening to Bob Dylan. Prairie Schooner, 81(1), 121-122.Reali, C.M. (2014). Bob Dylan: The Original Mono Recordings. American Music, 32(3),371-375.Riley, T. (2005). Another Side of Bob Dylan. World Literature Today, 79(3/4), 8-12.Rollason, C. (2009). #8220;Tell-Tale Signs#8221;- Edgar Allen Poe and Bob Dylan: Towards a Model of Intertextuality. Altantis, 31(2), 42-56.Shaw, J. (2007). Bob Dylan Australia. Australian Quarterly, 79(6), 17-18, 40.Snaevarr, S. (2014). Dylan as a Rortian: Richard Rorty, Postmodernism, and Political Skepticism. The Journal of Aesthetic Education, 48(4), 38-49.Sutton, M. (2009). #8216;ADMAPS FOR THE SOUI#8217; HISTORY AND CARTOGRAPHY IN BOB DYLAN#8217;S EARLY SONGS. Australasian Journal of American Studies, 28(1), 17-33.Wall, A. (1973). The Passage of Bob Dylan. New Blackfriars, 54(6), 557-564.Williams, J. (2013). #8216;One time he could-#8216;a#8217; been, the champion of the world#8217;: Bob Dylan#8217;s#8216;Hurricane#8217; as protest song. Sport in Society, 38(3), 371-387.Zak III, A.J. (2004). Bob Dylan and Jimi Hendrix Juxtaposition and Transformation #8220;All along The Watchtower#8221;. Journal of the American Musicological Society, 57(3), 559-644.

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