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Informationen zum Autor Laurence Estanove is an independent scholar and co-editor of the online journal FATHOM. Her more recent research focuses on popular music, cultural geography, and digital sociability. She has co-edited two books including Thomas Hardy, Poet: New Perspectives (2015), and is currently working on a book-length study of the independent music scene of Glasgow, Scotland. Adrian Grafe is Professor of English at Université d’Artois, France. He has published widely on the connections between popular music and literature and written for TLS , Essays in Criticism and The Spectator . He co-edited and contributed to 21st-Century Dylan: Late and Timely (Bloomsbury, 2021). His novel The Ravens of Vienna was published in 2022. Andrew McKeown is Senior lecturer in English at the University of Poitiers, France. He has made several contributions to scholarly works on poetry and popular music. He co-edited and contributed to Edward Thomas: Roads from Arras (2018) and 21st-Century Dylan: Late and Timely (Bloomsbury, 2021). He has also published poetry, You What? (2017) and fiction, Spurts (2022). Claire Hélie is a senior secturer in the Arts Department at Université de Lille, France. She has published several articles on contemporary poetry, drama and translation and co-edited the No D ialect Please, You're a Poet - English Dialect in Poetry in the 20th and 21st Centuries (2019). Zusammenfassung Bob Dylan has constantly reinvented the persona known as “Bob Dylan,” renewing the performance possibilities inherent in his songs, from acoustic folk, to electric rock and a late, hybrid style which even hints at so-called world music and Latin American tones. Then in 2016, his achievements outside of performance – as a songwriter – were acknowledged when he was awarded the Nobel Literature Prize. Dylan has never ceased to broaden the range of his creative identity, taking in painting, film, acting and prose writing, as well as advertising and even own-brand commercial production. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. This volume consists of multidisciplinary essays written by cultural historians, musicologists, literary academics and film experts, including contributions by critics Christopher Ricks and Nina Goss. Together, the essays reveal Dylan’s continuing artistic development and self-fashioning, as well as the making of a certain legitimized Dylan through critical and public recognition in the new millennium. Inhaltsverzeichnis List of Figures List of Tables Editors Contributors Acknowledgements Introduction – Some Variations On Late Dylan Adrian Grafe, Université d’Artois, France Part 1: Honest with Me: Late Dylan’s Performing Personae1. ‘I Made It So Easy for You to Follow Me’: A Case for Dylan’s Revisionist Art (2012) Nina Goss, Fordham University, New York, USA 2. Masked, Anonymized and Chronicled: Dylan’s Fatal Auto-Mythos for the New Millennium Jim Salvucci, Union College, Kentucky, USA 3. Performativity, Subversion and Mask-ulinity: Dylan On Screen, Dylan As Screen Sara Martínez, Lancaster University, UK 4. No Direction Home : When Dylan Does Look Back Charles Bonnot, Université Sorbonne Nouvelle Paris 3, France 5. Dylan Does Adverts. Surely Not? Surely? Andrew McKeown, University of Poitiers, France 6. Bringing the Margin to the Centre: Dylan’s Visible Republic Erin C. Callahan, San Jacinto College, Houston, USA 7. Creation and Re-creation in Dylan’s Performances of ‘Blowin’ in the Wind’ (1963–2016) Julie Mansion-Vaquié, Université Nice Sophia Antipolis, France 8. ‘Behind Every Beautiful Thing There’s Been So...
