Produktdetaljer
Biographical note
John Hughes teaches literature at the University of Gloucestershire, UK. He has published widely on Romantic and nineteenth-century literature, and twentieth-century philosophy. He has written three previous books - Lines of Flight (1996), ’Ecstatic Sound’: Music and Individuality in the Work of Thomas Hardy (Ashgate, 2001) and Affective Worlds: Literature, Feeling, Nineteenth-Century Literature (2011).<p>Classified as 'Research Essential' by Baker & Taylor YBP Library Services ’John Hughes has written what can only be described as an essential contribution to the assemblage of works on Bob Dylan. This study of the singer songwriter's 1960s years gathers together a fascinating series of glimpses and overviews presented in an intelligent and highly readable format by a dedicated researcher and enthusiast. John evidences a clear knowledge and understanding of the currents and events driving the young Dylan forward through a decade of relentless change, social and political upheaval and the white heat of artistic fury. A must for all scholars of things Dylan.’ CP Lee, Writer, musician and broadcaster, and author of Bob Dylan: Like The Night ’This is the finest book on Bob Dylan I have ever read - and I've read a lot of them. Hughes strikes me as the only critic to have developed an idiom sophisticated enough to do full justice to the power and subtleties of Dylan's astonishing development in the 1960s.’ Mark Ford, University College London, UK ’This is a powerful and persuasive study of Dylan's career in the 60s. Without forcing Dylan's work into any simple container, John Hughes reveals subtle continuities running through Dylan early to late, the sum total of which provide an enlightening vision of Dylan's musical and psychological sensitivity to questions of self, other, tradition, and artistic expression. The consummate artist Hughes discovers will be familiar to all of us who have followed Dylan since the early sixties, while also opening up entire new realms of meaning and significance in his work.’ Russell Reising, University of Toledo, USA 'Hughes rejects the familiar idea of a Dylan who adopts a series of masks... Rather, he enacts a continual sense of indeterminacy and contingency, so that in refusing all identity he challenges our own... In this light, Hughes offers an intriguing account of the key albums of Dylan’s first and most fruitful de</p>