Abstract
The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs. Among them is the representation of the figure of the Gypsy as a model of action for generations of listeners who were concerned about countercultural dynamics, as well as alternative life models to those that were legitimized by the middle class of the time. The objective of this study is to analyze the romanticized component that is presented in Morrison's work around his conceptualization of gypsyism, as well as to observe how these elements generate, firstly, a deontologizing function in the Gypsy figure, and then a resignification of the spaces in transit occupied by the imagination(s) of this community as a nomadic people.To carry out this analysis, several songs from the first albums of the Northern Irish author will be examined, and we will explain the function of representing the Gypsy in the countercultural spatial environment of their epistemology.
Highlights
The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs
In 1998, as newly incorporated students into a doctoral program of cultural and literary studies in New York, one of the first courses we studied was entitled “European Gypsies”, and was taught by two professors who would over the years become our theses directors
In a critical space such as the one that emerged around the identity construction of the Gypsy, we could observe that the poetic production of Northern Irish singer-songwriter Van Morrison, at that time frequently discussed in the culturalist analysis of Irish popular culture (McLoone 2008, 63), brought significant attention to gypsyism in and around that collective identity which lived in a permanent state of interrogation
Summary
The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs. In a critical space such as the one that emerged around the identity construction of the Gypsy, we could observe that the poetic production of Northern Irish singer-songwriter Van Morrison, at that time frequently discussed in the culturalist analysis of Irish popular culture (McLoone 2008, 63), brought significant attention to gypsyism in and around that collective identity which lived in a permanent state of interrogation.
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