Abstract and Keywords
Few contemporary artists have endured so long, reinvented themselves so frequently and successfully (folk, rock, country, gospel music), and contributed in such diverse media (music, film, poetry, prose, sketches) as Bob Dylan. What is more, there may be no other artist of the 20th and 21st centuries with such an unusual list of significant honours: Grammy Awards; an Academy Award (2000); a Polar Music Prize (2000); a Kennedy Center Honour (1997); honorary doctorates (Princeton University; St Andrew's University); nominations for the Nobel Prize for Literature; and a Pulitzer Prize Special Citation (2008), among them. In addition to this impressive list, Bob Dylan's music and writing is often the subject of serious academic analysis from a variety of disciplinary perspectives, including literary, cultural, religious, and music studies. This article argues that the use of the Bible in the songs and other art forms that comprise the Bob Dylan canon defies simplistic systematization and containment within categories. Dylan's art is idiosyncratic, involves constant blending and bending of his sources, and is often inconsistent; a biblical image or phrase used one way in one time and place may appear quite different in another.
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