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Anglais – Bob Dylan Doc B: Mr Tambourine Man     

Harmonica  US folk musical Acoustic guitar  BD (Bob Dylan) he playing and singing the song by himself Rather slowrhythm / long rhythm  feelings of nostalgia / melancholy. Specific intonation, drawling syllables, nasal voice.

There is no drums / no tambourine / no percussion instruments  surprising because the singer is addressing himself to “Mr Tambourine Man”.  ‘Play a song for me’  mirror effect, mise en abyme  Specific situation at the beginning = ‘I’m not sleepy’ + ‘ther’s no place I’m going to’  idea of immobility / Wandering. + idea of exhaustion & weariness. + solitude / loneliness

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Notion of journey / trip / Travel / voyage  metaphor for life. Initiates a trip on a ship = a boat  sea vocabulary / on a spaceship  traveling across or to the sky and beyond  direct access to the universe, pushing back the limits + moving beyond boundaries He Also goes on a trip; as of using drugs!  trip within himself, deep in his own mind in order to discover himself? What he discovers deep down in his feeling of ‘crazy sorrow’ and his utmost desire is to escape it by going to sleep. Romantic dimension / French poetry / spleen  typical stance of the cursed romantic poet.

Doc A: “Fascinating, infuriating, enduring: Bob Dylan deserves his Nobel prize”  

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Main influences & inspirations in music / in the American song tradition. Folk song & country music  ‘tangled, darkly mysterious, wilfully primitive, unexplored’ + cultural and historical root of the USA.  vision of the cow-boy, farmer in the mid-west as typical white American.  historical exploration of the mid-west, image of the Yankee pioneer… Blues music = cultural & historical dimension with Southern states + slavery  typical AfricanAmerican song tradition. BD uses all these historical influences in his own music which is described as ‘pop’; and yet he also refuses to be categorized as this ‘pop artist’ / ‘maintsteam artist’.

Plan PB : 

‘It’s the journeying itself that counts’

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How does the muti-faceted artist Bob Dylan / play with the notion of voyage at the heart of his art ? I. Bob Dylan the space/time traveller = initiated a long journay trough his career a. Going back to the origins of music i. Historical & geographical roots of US music with folk, country and blues music (Doc A & C) + symbolism attached to it (darkness, mystery, old weird Amrica…. Doc A) b. Focus on the ideo of moving on/back, discovering new territoris being always on the move  it’s not destination/the goal which counts but the road travelled by (Doc A & C)  metaphor for life destiny II. Bob Dylan the explorer = explores diverse forms of arts a. Ff b. Always goes further  explores beyond i. Stretched the pop song to a breaking point before going back to origins (doc A) III. Bob Dylan the philosopher = forever singular/stepping out / against flow ? a. BD as symbol of counter-culture  artistic commitment to always question the limits of conventions nut never any direct political activism + always questioning himself (Doc A + B) as a living and thinking entity b. Always on a journey to discover himself  quest for identity which is never fulfilled  BD always in-between + idea of solitude (Doc B & C) i. Philosophical questioning throughout BD’s art = is it the nature of the artiste to be alone? is he alone because he KNOWS. (cf chorus to ‘blowing in the Wind’)

KINDS MONSTERS Document C : Tim Burton, Nightmare Before Christmas   

The opening scene begins like a typical fairy tale + reuses the underlying theme of religious / religious holidays (holy-days) Holloween = based on pagan / Celtic belief (Samhain), Christian belief (All Hallow’s Eve). Burton plays with the codes of those celebration which have become typically destined at children in the last 20 / 30 years.

Prob : In which way do the authors at stake play with the codes of children culture an education 1. The gothics revival for children : a comis controversy a. The discrepancy between children’s and adultes expectation b. The historical / Social dimension of detractors c. The key to enjoyment : comis distanciation 2. Who is the monster ? The power of showing a. Dubious moral teaching : praising children’s tolerance while criticizing adult’s or parent’s narrow  mindeness i. Doc A : role of adult character in R? Dahl’s stories + Doc B & C = accepting monsters & death as part of life itself b. Psychological dimension : monstrous children ? i. Doc A : children possess a dark dimension within themselves + Doc C = even monsters can be integrated & accepted in society

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Final educational purpose ? : art for the sake or art i. Evolution of the concept of children literature / children culture in the 2nd part of the 20nd century

Momento Mori Doc A : Hamlet = one of Shakespeare’s most famous tragedies  

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Prince of Denmark + his uncle Claudius conspired against the King (Hamlet’s father) and murdered him. Hamlet has been faking madness to escape his fate & enemies (his is speaking in prose; quite surprising for his social status as Prince & future king  is might refer to the idea that he is refuses to accept his own fate, he identifies with a lower social conditions / he hides behind lower social status) In the scene, a Clown is literally singing while throwing out ols bones from the grave he is digging : The Clown here refers to a gravedigger, his function is to bring death as a central topic of this scene rather than to bring comis relief (fun fact : the bones in the grave actually belong to the King’s Jester who entertained Prince Hamlet as a child) The gravedigger here represents the lower classes: he is a commoner, a simple worker  because of the hardships of this working life & the lack of recognition, he has already accepted death as a part of his life  he is more knowing than Hamlet on this point!

For Hamlet, death bears a superior & sacred dimension (religious interpretation).  his only desire and goal is to respect his father’s death & pay his tributes by avenging him a killing his enemies!  Great moment of revelation here when he learns that there’s nothing sacred about death at all  idea of équality, equity, futility, anonymity… 

Hamlet uses the term “revolution” to refer to how the bones are treated by the gravedigger  ironical double-meaning : idea of circularity, going back to the origins, back to the beginning (form ashes to ashes, from dust to dust  genesis, Bible) o There ironically nothing revolutionary about death, but it was quite revolutionary to think in this way at the time  great revolution in Humanist thinking & philosophy....