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Condiciones necesarias para que Bob Dylan ganará el premio Nobel:

*Ya era una figura canonizada en el ámbito músical

---"All this changed in the 1960's. Suddenly, popular music began to deal with civil rights demonstrations and drug experiences, with interracial dating and war and explicit sexual encounters, with, in short, the real world in which people live [...] A change of focus came when performers began to write their own songs, rather than relying on the traditional folk repertoir" (Rosenstone 133)
---"Dylan was beginning to write songs like "Blowin' In the Wind," "A Hard Rain's A-Gonna Fall," and "The Times They Are A-Changin'," which dealt with civil rights, nuclear war, and the changing world of youth that parents and educators were not prepared to understand" (133)

*Ya había sido analizado por varios académicos mucho antes

El estado de la cuestión de este artículo de 1991, ya habla de varios estudios realizados de su música:
"There are a number of studies of Dylan's work. Much has been written concerning Dylan's biography, his lyrics and his music. Although the political meaning of his songs has been discussed in the literature, no attempt has been made to look at his overall development from this perspective; more specifically, no attempt has been made to examine in a systematic manner Dylan's social critique. Dylan at his best, the author will argue, is a profound critic of the forms of domination in late capitalist society" (Fluxman, 91).

-Cambridge Companion:

-Chimes of Freedom:
Chimes of Freedom es un libro de Mike Marqusee, en el que narra las anécdotas relacionadas a la música de Bob Dylan.

*Ya existían publicaciones en forma de poema de sus canciones que facilitan la relación de su música con la literatura.

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El Primer Bob Dylan y La Tradición de La Canción Norteamericana: La Influencia de La Iconografía on the Road de Hank Williams.

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El Primer Bob Dylan y La Tradición de La Canción Norteamericana: La Influencia de La Iconografía on the Road de Hank Williams.

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Piqué, Andreu Maria Arribas. El Primer Bob Dylan y La Tradición de La Canción Norteamericana: La Influencia de La Iconografía on the Road de Hank Williams.

Este artículo presenta un análisis de la identidad de la música de Bob Dylan, tomando como su referente a Hank Williams.
En la introducción se menciona que fue galardonado con el premio Nobel, y se busca explorar un punto de vista más musical-literario, para explicar su canonización por parte de la Academia Sueca.

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THE ‘EXPANSION’ OF LITERARY AND POETIC: The 2016 Nobel Prize in Literature

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THE ‘EXPANSION’ OF LITERARY AND POETIC: The 2016 Nobel Prize in Literature

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Farooqi, Irfanullah. “THE ‘EXPANSION’ OF LITERARY AND POETIC: The 2016 Nobel Prize in Literature.” India International Centre Quarterly, vol. 44, no. 2, 2017, pp. 23–34.

Este artículo explora los efectos de la canonización de Bob Dylan, y justifica su canonización con su importancia histórica:
"His association with the civil rights movement, his stance on the Vietnam war, his criticism of neo-imperialism and corporatisation, etc., are well known. It is his politically charged progressive lyrics that are invoked while justifying the award" (Farooqi, 27).

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Este artículo celebra el galardón del Premio Nobel como un premio al arte en sí mismo. El autor celebra que se considera como arte mayor a la música, y hasta se plantea de la pregunta de si es comparable o incluso mayor a la grandeza de los poemas.
Al aceptar el proceso canónico, el artículo procede a ponerlo al lado de figuras literarias importantes, como lo es T. S. Elliot:

"When Eliot wrote the line "To the drift of the sea and the drifting wreckage," it was a creation of words only (though not merely). When Dylan sings ‘condemned to drift or else be kept from drifting,’ he compounds it all, with voice and music joining with words within a different drift and drive." (Ricks, 2017, p. p. 21)

Ricks, Christopher. “Bob Dylan’s Nobel Prize.” The Threepenny Review, vol. 148, 2017, pp. 20–21.

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The Nobel Prize vs. Bob Dylan: Bob Dylan’s Controversial Behaviour and Its Potential Impact on the Nobel Prize Reputation.

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The Nobel Prize vs. Bob Dylan: Bob Dylan’s Controversial Behaviour and Its Potential Impact on the Nobel Prize Reputation.

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The Nobel Prize vs. Bob Dylan: Bob Dylan’s Controversial Behaviour and Its Potential Impact on the Nobel Prize Reputation, 2018. https://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=8970840&fileOId=8970844. Accessed 14 Mar. 2023.

Este artículo se enfoca en una visión corporativa del suceso.
Analiza cuáles fueron las consecuencias para la Academia Sueca y su marca. Además, este artículos nos puede dar una idea de la controversia a raíz del suceso.
La conclusión a la que llega es que la polémica decisión resulto negativa para la marca, porque generó una desconfianza y la desprestigizó.

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*Breaking with tradition:
*Creation of a new voice:
"Dylan is suggesting that his songs are modern folk songs. 'My Name is John Johanna' by Kelly Harrell is a simple travelling song from rural Arkansas and was one of the songs included in Harry Smith's monumental 'Anthology of American Folk Music' of 1952, an immeasurable resource and inspiration for the young Dylan. Dylan's artistic mode takes the structure and style of such folk songs and reconfigures them to reflect the concerns of his time. By using traditional forms to describe current political events, Dylan manages to be at once contemporary and to position himself as part of the wider narrative of American culture" (Sutton,25).

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The Jeremiad / Biblical prophetical speech

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The Jeremiad / Biblical prophetical speech

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"He uses the Jeremiad form and its associations to promote and explore a secular programme of justice and equality. As Sacvan Bercovitch writes, the Jeremiad was used in early American political writing as a means of explaining the shifting 'signs of the times'" (26).

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Dylan statement, 1963, Newport Folk Festival

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Dylan statement, 1963, Newport Folk Festival

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"I can 't sing "John Johanna " cause it's his history an' his people's story
I gotta sing "With God on My Side " cause it's my story an' my people". (citado en Sutton, 25)

*Revisar explicación de Chimes of Freedom

*Breaking with tradition:
*Creation of a new voice:
"Dylan is suggesting that his songs are modern folk songs. 'My Name is John Johanna' by Kelly Harrell is a simple travelling song from rural Arkansas and was one of the songs included in Harry Smith's monumental 'Anthology of American Folk Music' of 1952, an immeasurable resource and inspiration for the young Dylan. Dylan's artistic mode takes the structure and style of such folk songs and reconfigures them to reflect the concerns of his time. By using traditional forms to describe current political events, Dylan manages to be at once contemporary and to position himself as part of the wider narrative of American culture" (Sutton,25).

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"Instead of predominantly looking forward towards a better future, Dylan often prefers to look back, and to contextualise his historical position within the wider story of America. This positioning is the archetypal self-mythology of folk singers, as encapsulated in Pete Seeger's 'links in a chain' image, connecting the singer inextricably to a wider folk history of the United States. Although Dylan's universe is grounded in modern America, his adoption and manipulation of the folk idiom, literally the 'music of the people,' with its frequent use of timeless, natural symbols (wind, rain, floods) and biblical prophecy, is a key element of his democratic agenda. Folk music's simple melodic and rhythmic structure and basic instrumentation allows it to be performed and enjoyed by anyone of any social station, from any part of the country. This in part explains the concurrence of the protest movement of the 1960s with the folk revival. Similarly, as folk music liberates Dylan's poetic voice from his historical position, so too does he seek geographical emancipation" (Sutton, 24)

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"Indeed, part of Dylan's formulation of an amorphous geography is his refusal to settle down in any one place. As such, though based in New York, his consciousness is still on the open road. There is an inability to codify space or geography, leaving the landscape of Dylan's songs in a state of flux". (Sutton, 18).

"Here [Down the Highway] Dylan depicts a whole nation in a state of motion; a fitting description of the protest movement of the 1960s. If everyone is on the highways then everything is on the move, and 'he that gets hurt will be he who has stalled" (Sutton, 19).

"that Dylan owes his greatest debt to Walt Whitman. Dylan, like Whitman before him, inextricably yokes his heroes with the land. In this way they can both be defined at once as poets of the body, the soul and of democracy" (19).

Change of mindset:
"Dylan figures highways in such a way that the poet/singer is a citizen of all parts of America, identifying with his nation as having a unity and cohesion consistent with Whitman's democratic ideal" (20).

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El 28 de Agosto de 1963, en el mismo evento en el que Martin Luther King presentó su discurso "I have a dream", Bob Dylan se presenta para cantar dos canciones nuevas.
Antes de cantar estas canciones, los presentes cantaron 'Blowin' in the Wind'. (Marqusee, 7).

"In retrospect, 'Blowin in the Wind' seems timeless, abstract, naive. But in context its glancing references to the great social challenges of the day -racism and war- carried a powerful topical punch. Listeners had no doubt what Dylan was referring to when he asked when the 'cannon balls' would be 'forever banned' or how long it would be before 'some people are allowed to be free'" (Marqusee, 55).

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"The song is a marvelously determined, fresh-faced refusal to take part in the fraud of civil defense and the larger insanity of the nuclear weapons race. More than that, it uses a visceral reaction to a perverse social policy to make an argument that is both wider in political scope and more intimately personal (...) The bomb shelters are symptoms of a life-fearing mentality: 'some people thinkin' that the end is close by / 'Stead of learning' to live they are learning to die'" (Marqusee, 52).

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"During this time, Dylan seemed synchronised with the protest movement of the 1960s through a series of scathing and pithy 'finger-pointing songs,' which were often written in reaction to specific current events, such as the death of Medgar Evers in 'Only a Pawn in the Game". (Sutton, 17)

"It is firstly an analysis of the personality of the kind of white man who engages in such deeds: he is mindlessly obedient ('like a dog on a chain'), he is herd-like Che's taught to walk in a pack') and psychopathic (he kills 'with no pain'). Secondly, Dylan shows us how racist ideology is much more than just a set of irrational beliefs; it is one of the chief mechanisms employed by the rulers for the maintenance of their domination over all men, black and white" (Fluxman, 94).

"The focus of the song is not, in fact, Medgar Evers but the man who shot him, and above all the political system that generated the murder" (Marqusee, 8).

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Artículo de Ioana Gruia,
Interesantísimo.
Habla de los mecanismos de canonización, y al igual que Bloom,
comenta que debe de haber textos no canónicos, para que puedan existir los textos canónicos.
Así mismo, la cultura que decida sobre estos textos, tiene que hacer la diferenciación entre texto artístico y no artístico.
También debe diferenciar entre literatura masiva y alta literatura.
El canon debe funcionar como una suerte de memoria: la cultura reclama en el elenco del canon ciertos textos para ser parte de su memoria, y excluye otros.
Aquí puede entrar la parte de la historia como mecanismo de canonización de Bob Dylan. Pues, además de su importancia novedosa, las situaciones históricas en donde surgen estas canciones, reclaman una permanencia en la memoria colectiva.

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Harold Bloom explica que el Canon tiene como centro a William Shakespeare.
Luego, en su lista entra Walt Whitman.
Luego, un académico compara a Bob Dylan con la proeza literaria de Walt Whitman.
¿Podría trazarse una línea que regrese a Shakespeare, y así confirmar el proceso de canonización a partir de Harold Bloom?

Después de la lectura: Whitman es el centro del canon Americano, porque configuro una voz que cambio el pensamiento espiritual del 'yo', a través de sus poemas.

Además de esto, Harold Bloom también habla de que las obras que entran en el canon deben de ser universales, no deben de hablar de contextos específicos únicamente; si no que sus temas se extrapolan hacia cualquier situación.

También habla de la existencia de la cultura masiva, y la high culture.

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"In the new song, he presented the change, the vindication, as imminent and inevitable. Most importantly, he asserted that the instrument of change was to be a generation- Dylan's generation" (Marqusee, 84).

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Legitimación de Bob Dylan por parte de la Academia Sueca.

Explicación de la justificación:
Entrevista hecha a Sara Danius, Secretaria permanente de la Academia Sueca.

Recomienda empezar por el albúm Blonde on Blonde; “Victorian thinking”, “English tradition”, “Brilliant way of rhyming; putting together refrains”.
"Of course he does, he just got it. He is a great poet"

-Has the English academy widened the horizon of the Nobel Prize in Literature?

“Really we haven’t”

“If you look back, far back, two thousand five hundred years or so, you discover Homer and Sappho, and they wrote poetic texts that were meant to be listen to, they’re were meant to be performed…”

Justificación del galardón (nótese que se pone en forma de cita):

“for having created new poetic expressions within the great American song tradition”.

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Consecuencias en la sociedad:

*Declaraciones de Margaret Atwood.
*Declaraciones del propio Bob Dylan ("no soy un poeta").
"They’re meant to be sung, not read. The words in Shakespeare’s plays were meant to be acted on the stage. Just as lyrics in songs are meant to be sung, not read on a page. And I hope some of you get the chance to listen to these lyrics the way they were intended to be heard: in concert or on record or however people are listening to songs these days. I return once again to Homer, who says, “Sing in me, oh Muse, and through me tell the story" (Dylan).

*"Bob Dylan's controversial decision not to attend the award ceremony sparked a media commotion, and in addition to the already on going debate as to whether the artist's choice as a winner was appropriate or not, generated negative comments from the general public and stakeholders - including fellow laureates - about the reliability of the its selection process" ("The Nobel Prize vs. Bob Dylan: Bob Dylan's controversial behaviour and its potential impact on the Nobel Prize reputation", 12).

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"'When the Ship Comes In' depicts the hoped-for success of the Second Reconstruction as an apocalyptic cataclysm. Significantly, however, the song's epic overtones of reckoning and regeneration had their origins in a personal incident of discrimination and prejudice. In May 1963, Dylan's vagabond appearance prompted a hotel clerk to deny him a room. After being admitted through the intervention of the already popular Joan Baez, Dylan wrote the entire song in one bile-fuelled sitting. Dylan transformed this personal snub into a universal call for social justice, presenting the impending overcoming and death of the old social order in epic, biblical prophecy" (Sutton, 22-23)

"Here 'ship' is a metaphor for freedom and the message is that when the ship does come in justice will be achieved and all moral debts will be repaid" (Fluxman, 94).

"But there can't be much doubt that on this day, and in this era, it [The Ship] symbolized that complex of insurgent social forces commonly dubbed, among participants, "the Movement" (Marqusee, 7).