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E-book A God of Time and Space : New Perspectives on Bob Dylan and Religion
He shows that “Señor” is a polyphonic text, which – like many other Dylan songs – evades one single interpretation. It can be heard as a historical song, a story about migration and ethnic tension, a descrip-tion of love lost, of human uprooting, of existential crisis, or even as an autobiographical account of Dylan himself. Aasgaard argues, however, that religion, and Christianity in particular, plays a central and integral part in the various interpretations. The song reflects Dylan’s artistic and personal situation at the time, but also fits well in a long trajectory of Dylan songs, from the 1960s to the present, that deal with fundamental human themes related to history, society, social relations, religion, and life in general.At the core of Robert W. Kvalvaag’s long analysis of the song “Tem-pest” is an attempt to discover how the song is structured, the relation-ship between text and music, the role of Dylan’s voice, and the influence of the Titanic-movie upon Dylan’s nearly quarter-hour epic ballad. The religious aspect manifests itself through the biblical material, and espe-cially in the apocalyptic scenery, which is very vividly present in the song. In an interview, Dylan said Te m p e s t is not the album he wanted to make; he wanted to make something more religious. Kvalvaag argues that Dylan in a subtle way achieved this goal with the “Tempest” song. Erling Aadland maintains that Dylan’s embrace of evangelical Christi-anity to a large extent is prefigured in much of his earlier work. Although his highly valued criticism of modern life and contemporary society in his earlier songs is taken further and extended in his gospel songs, this extension and deepening of thought has not received much appraisal. Indeed, the reverse seems to be the case. Many critics sidestep Dylan’s Christian songs. Instead, they are “explained” by all sorts of evasions of the main issue: Dylan’s songs have been imbued with Christianity ever since the early 1980s.
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