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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.
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.
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.
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.
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.
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.
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