ATLANTIS Vol 31,2: article /artículo BOB DYLAN / EDGAR ALLAN POE

Now out is the latest issue of ATLANTIS, the journal of AEDEAN (the Spanish Association for Anglo-American Studies). I am pleased to state that it includes my article:

          "’Tell-Tale Signs’ – Edgar Allan Poe and Bob Dylan: towards a model of intertextuality"

 

Details:

Atlantis Vol. 31, No. 2, December 2009, pp. 41-56; on-line at: www.atlantisjournal.org/ARCHIVE/31.2/2009Rollason.pdf

 

This text was given as a plenary lecture at the ‘International Conference: Poe Alive in the Century of Anxiety’ held in May 2009 at the University of Alcalá de Henares, Spain (see entry on this blog for 5 June 2009)

 

Acaba de salir el último número de ATLANTIS, la revista de AEDEAN (Asociación Española de Estudios Anglo-Norteamericanos). Me complazco informar que incluye mi artículo: "’Tell-Tale Signs’ – Edgar Allan Poe and Bob Dylan: towards a model of intertextuality" – detalles: Atlantis  Vol. 31, No. 2, December 2009, pp. 41-56; www.atlantisjournal.org/ARCHIVE/31.2/2009Rollason.pdf

 

 Dicho texto fue dictado como conferencia plenaria en el congreso internacional ‘Poe Alive in the Century of Anxiety’ que tuvo lugar en mayo de 2009 en la Universidad de Alcalá de Henares (véase entrada en esta bitácora, 5-VI-09).

 

**

SUMMARY / RESUMEN:

 

This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth-century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality.

Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad.

 **

Note added 15-XII-09:

I am pleased to say that an appreciative piece about this article, by Peter Kellton, has appeared in the on-line Albuquerque Examiner (New Mexico, USA) at: http://tinyurl.com/yew6n8e:

‘Literary text message to Bob Dylan: Edgar Allan Poe is embedded in your songs’ (11-XII-09)

**

Note added 7 April 2010:

I am further pleased to add that the article has been included on the reading list for the course ‘Popular Favourites, or “Song Lyrics Are Poetry, Too”’ (Topics in Literary and Cultural Studies, Department of English, Faculty of Arts) at the University of British Columbia, Canada (spring 2010 edition, week March 1-5 – teacher: Prof. Kevin McNeilly, to whom my thanks) – see:
http://faculty.arts.ubc.ca/kmcneill/228_2010.htm

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