Références littéraires dans les paroles de Bob Dylan

[quote="Tapeculbanquise"]Bonjour !

Tout est dans le titre

Je suis actuellement en train de faire mon TPE, ayant pour sujet "L'aspect littéraires des textes de Bob Dylan". Nous avons trouvé quelques ouvrages par lesquels il aurait été inspiré, mais sans trouver de références explicites.Voilà la liste des ouvrages :
-Allen Ginsberg, "Howl"

Tiens, Ta[…]quise, à propos de Ginsberg, voici ce qu'il disait de Dylan, qui selon lui renoue avec la grande tradition poétique :

The following text appeared in the underground newspapers St. Louis Outlaw (date unknown) and in the Georgia Straight, May 25, 1971. To my knowledge, no author was ever cited. I have made efforts to contact the former publishers of Georgia Straight. If anyone can help me with this, please send me email.

Allen Ginsberg on the New Dylan

"Dylan's fading into a classical American background which is partly political or psycho-political. If he can integrate himself into Southern, Country=Western, Folk, Automobile-Truck-Stop music and get himself very firmly grounded there, then whatever develops out of that will be on a really vast and universal basis. Whatever message or whatever communication he makes through that mode of music might be very beautiful. I would take it that he's just practicing.

You see when you have a really great poet like Rimbaud or Dylan you simply have to trust them to go through changes because nobody stays the same. Sometimes someone like Dostoevski, or Kerouac, or Pound can go through some really weird changes that seem reactionary or strange but the fallout of their artwork is always revolutionary. You know, they may be preaching "Love the Czar" like Dostoevski; but the fallout of it is a spread of perceptions that wakens all sorts of younger people and older people.

I think that Dylan has already given so much of himself and so altered the course of poetics in America that no matter what he does it's just gravy at this point. Dylan has almost singlehandedly brought language back into its original poetic form which is minstrelsy.

The people who were carrying on the tradition for English poetry were actually just the blacks, through the great oral treasury of historical blues in America. Which was neglected as poetry though it was the only great, original poetry on this continent except or a few geniuses who know that the voice was supposed to be connected with poetry and not just writing on the page. Pound knew that through Whitman, but Dylan actually brought it back to the old tradition. He also drew from the black tradition and folk sources so that he built a great twentieth century art out of roots, out of ground minstrelsy, which was a mighty achievement.

Now he's going deeper into an exploration of white roots and "American" roots, and I think that's just interesting - particularly for one who's been out of that. If he succeeds in putting his soul into it, it should be a great unifying influence. If he succeeds.

Like everybody else I sort of wish that he were a little more crazy-magnanimous and open, and spaced out, that to him it may have been a question of whether to live or not. He may have perished if he had not changed. He may have worn his body down, spaced his body out. So he's like complaining that he wants to live instead of kicking the bucket immediately for the edification of the crazed masses. I think anything he does is all right. I have this feeling for him like you have if you're married to someone or have a sweet uncle."


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