Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and American and European Romanticisms traditionally understood. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their eighteenth- and nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, and Hoffman are brought alongside the music and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in all of its varying forms and expressions.

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyonce, The Carters, Helene Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monae, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries.

David Bowie and Romanticism evaluates Bowie's music, film, drama, and personae alongside eighteenth- and nineteenth-century poets, novelists, and artists. These chapters expand our understanding of both the literature studied as well as Bowie's music, exploring the boundaries of reason and imagination, and of identity, gender, and genre. This collection uses the conceptual apparata and historical insights provided by the study of Romanticism to provide insight into identity formation, drawing from Romantic theories of self to understand Bowie's oeuvre and periods of his career. The chapters discuss key themes in Bowie's work and analyze what Bowie has to teach us about Romantic art and literature as well.

Apocalyptic nightmares that humanly-created intelligences will one day rise up against their creators haunt the western creative imagination. However, these narratives find their initial expression not in the widely disseminated Frankenstein story but in William Blake's early mythological works. This book looks at why we persistently fear our own creations by examining Blake's illuminated books of the 1790s through the lens of Kierkegaard's theories of personality and of anxiety. It offers a close examination of Kierkegaard's and Blake's similar, and to an extent shared, historical milieux as residents of Denmark's and England's political and economic centers. Each author's residence in a major urban center motivated them to develop a concept of innocence closely identified with the pastoral, and to place their respective and similar concepts of innocence within a larger developmental scheme encompassing an ethical and then a religious consciousness. Rovira identifies contemporary tensions between monarchy and democracy, science and religion, and nature and artifice as the source both of Kierkegaard's concept of anxiety and Blake's representation of creation anxiety in his early illuminated books.

Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and American and European Romanticisms traditionally understood. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their eighteenth- and nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, and Hoffman are brought alongside the music and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in all of its varying forms and expressions.

Reading and Democracy in Crisis: Interpretation, Theory, History explores the dialectic between historical conditions and the reading strategies that arise from them. Chapters covering Plato and Derrida; G.W.F. Hegel; Karl Marx; Ludwig Wittgenstein; Robert Penn Warren; Louise Rosenblatt; Theodor Adorno, Michel Foucault, and Jacques Derrida; Judith Butler; and Object Oriented Ontology and Digital Humanities provide overviews of and arguments about each subject's thought in its historical contexts, suggesting how the reading strategies adopted in each case were in part motivated by specific historical circumstances. As the introduction explains, these circumstances often involved forms of democracy in crisis, so that the collection as a whole is an engagement with the dialectic between democracies that are perpetually in crisis and the seemingly unlimited freedom of our reading practices.

Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2 is an edited anthology that seeks to explain just how rock and roll is a Romantic phenomenon that sheds light, retrospectively, on what literary Romanticism was at its different points of origin and on what it has become in the present. This anthology allows Byron and Wollstonecraft to speak back to contemporary theories of Romanticism through Bob Dylan and the Rolling Stones. Relying on Loewy and Sayre's Romanticism Against the Tide of Modernity, it explores how hostility, loss, and longing for unity are particularly appropriate terms for classic rock as well as the origins of these emotions. In essays ranging from Bob Dylan to Blackberry Smoke, this work examines how rock and roll expands, interprets, restates, interrogates, and conflicts with literary Romanticism, all the while understanding that as a term "rock and roll" in reference to popular music from the late 1940s through the early 2000s is every bit as contradictory and difficult to define as the word Romanticism itself.

Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2 is an edited anthology that seeks to explain just how rock and roll is a Romantic phenomenon that sheds light, retrospectively, on what literary Romanticism was at its different points of origin and on what it has become in the present. This anthology allows Byron and Wollstonecraft to speak back to contemporary theories of Romanticism through Bob Dylan and the Rolling Stones. Relying on Loewy and Sayre's Romanticism Against the Tide of Modernity, it explores how hostility, loss, and longing for unity are particularly appropriate terms for classic rock as well as the origins of these emotions. In essays ranging from Bob Dylan to Blackberry Smoke, this work examines how rock and roll expands, interprets, restates, interrogates, and conflicts with literary Romanticism, all the while understanding that as a term "rock and roll" in reference to popular music from the late 1940s through the early 2000s is every bit as contradictory and difficult to define as the word Romanticism itself.

Apocalyptic nightmares that humanly-created intelligences will one day rise up against their creators haunt the western creative imagination. However, these narratives find their initial expression not in the widely disseminated Frankenstein story but in William Blake's early mythological works. This book looks at why we persistently fear our own creations by examining Blake's illuminated books of the 1790s through the lens of Kierkegaard's theories of personality and of anxiety. It offers a close examination of Kierkegaard's and Blake's similar, and to an extent shared, historical milieux as residents of Denmark's and England's political and economic centers. Each author's residence in a major urban center motivated them to develop a concept of innocence closely identified with the pastoral, and to place their respective and similar concepts of innocence within a larger developmental scheme encompassing an ethical and then a religious consciousness. Rovira identifies contemporarytensions between monarchy and democracy, science and religion, and nature and artificeas the source bothof Kierkegaard's concept of anxiety and Blake's representation of creation anxiety in his early illuminated books.