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Bob Dylan and Intertextuality

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Tangled Up in New Bob Dylan and Intertextuality Appropriation has always played a key role in Bob Dylan's music. Critics and fans alike have found striking similarities between Dylan’s lyrics and the words of other writers. On his album “Love and Theft,” a fan spotted many passages similar to lines from “Confessions of a Yakuza,” a gangster novel written by Junichi Saga. Other fans have pointed out the numerous references to lines of dialogue from movies and dramas that appear throughout Dylan’s works. He has stolen words from Shakespeare, F. Scott Fitzgerald and more recently, Henry Timrod in his latest album, "Modern Times" (Rich 1). Culturally, we have reached a point in time where revisiting past movements and styles have …show more content…

(Eliot 4) Eliot's point is that the meaning of a poem is influenced by the writer's predecessors, and that the meaning of a text is not confined to the time of its creation. Its meaning develops even beyond the death of its writer. Texts do not stand alone or in isolation; they are interrelated to other texts. It is a "living whole," and is dependent on what preceded. Literature is the fruit of interrelated texts (O'Day 546). Dylan is a master at intertexuality, rewriting earlier songs, both his own and "borrowed" traditional blues and folk material, but always with a new twist, sometimes by incorporating Biblical and classical mythology or by transforming current idioms. Dylan’s ancestry stretches back to Old Testament Prophets and to political progressives, but also musically to African-American gospel and blues singers and to the old English and Appalachian troubadours. Dylan has shown respect for the sources of the transcendence as he refines from the old blues and folk traditions by singing a vast array of classic songs, from "Copper Kettle" and "Alberta" to "Delia" and "Froggy Went A-Courtin'," with such a depth of feeling that a casual listener would not suspect they were not his own writings (Heine 8). Perry Glasser

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