Titlebook: Rock and Romanticism; Post-Punk, Goth, and James Rovira Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 The Rolling Stones.S

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2946-5133 Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in all of its varying forms and expressions..978-3-030-10253-1978-3-319-72688-5Series ISSN 2946-5133 Series E-ISSN 2946-5141

Gnrh670

Book 2018tal 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, Byr

MUTED

Introduction: Theorizing Rock/Historicizing Romanticism,ment,” and “Marxism” and then suggests that the historical conditions following World War II are meaningfully similar to those of eighteenth-century Europe. It then explains this volume’s focus on the Gothic and its relationship to Romanticism and discusses the tradition of the Female Gothic as it summarizes each chapter.

Inertia

OVERT

,“Bliss was it in that shirt to be alive”: Connecting Romanticism and New Romanticism through Dress,ated nature of the self, a sense that they were struggling with and against repressive hegemonies, and a renewed focus on the place of the individual, themes examined here through similarities of dress. Taking a historicist and cultural studies approach, this chapter explores the ways in which the New Romantics connected to the Romantic movement.

Contort

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烦人

Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of ,Mope,” with mood and Bowie, the stylistic chameleon, with manner, each draws on both of these experiential and representational modes to articulate a complex philosophy that returns, time and again, to the ideas Shelley explores: love and loss, hope and despair, beginnings and endings, and the power of language to create and to destroy.

矿石

,Tales of the Female Lover: The Poetics of Romantic Desire in P. J. Harvey’s , and ,een the modalities of love as agony on Harvey’s two albums and in English Romantic poetry. The aim of this chapter is to probe Harvey’s independent rock idiolect for a Romantic scope by examining its structural and aesthetic intersections with Romanticism.

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