Ambiguity and Abstraction in Bob Dylan's Lyrics: Unterschied zwischen den Versionen

Aktuelle Version vom 10. Juli 2012, 19:34 Uhr

Too most people modern poetry is really a turn-off. The reason for this is that the majority of these poems are boring. They're so because they fail to allow individuals to identify with them. The bulk of contemporary poetry is no longer about reader identification but about facts transfer, data that could just as very easily be conveyed inside a prose form. These poems are written merely to convey the poet's thoughts and feelings about a particular event, scenario or place he or she has experienced or is inside the act of experiencing. The poet just isn't necessarily concerned with no matter if the reader is moved or not by the poem, so extended as he or she understands clearly the info the poet is trying to convey. This could consist of some "important" insight gained from an experience, or it could be (as is usually the case) a jaded statement or commentary about some mundane aspect of modern life.

The popular song at its most effective, having said that, does greater than this. It excites both the imagination and emotions; it enables you to unlock your own personal extremely personal box of pictures, memories, connections and associations. This is most readily evidenced in the songs of Bob Dylan . Even essentially the most perfunctory of his songs is able to do that to a greater extent than most "serious" poetry. This really is since his songs (and to a lesser extent songs in general) regularly utilise imprecise and abstract statements as an alternative to specific and distinct ones. Contemporary poetry, alternatively, does the exact opposite of this: it utilises specific and distinct statements as opposed to imprecise and abstract ones.

Dylan is not afraid to generalise, for he knows that it is only by means of generalisation that the reader can recognise the particular. Keats understood this when he said that a poem 'should surprise by a fine excess, and not by singularity' and that 'it should really strike the reader as a wording of his personal highest thoughts, and seem practically as a remembrance' (letter to John Taylor , 27 February 1818).

David Bleich, in Readings and Feelings champions the inventive powers of the reader. He believes writing about literature must not involve suppressing readers' person concerns, anxieties, passions and enthusiasms since 'each person's most urgent motivations are to know himself'. And as a response to a literary function often helps us discover something about ourselves, introspection and spontaneity are to become encouraged. Each and every act of response, he says, reflects the shifting motivations and perceptions of your reader at the moment of reading, as well as probably the most idiosyncratic and autobiographical response to the text need to be heard sympathetically. In this way the reader is able to construct, or make, a private exegesis by utilising the linguistic permutations inherent in the text to construct units of which means constituted from a predominantly autobiographical frame of reference. The ambiguities present in Dylan's oeuvre allow the listener to accomplish specifically this.

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