Titlebook: David Bowie and Romanticism; James Rovira Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer N

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Current Perspectives on Sexual Selectionrock music of the late twentieth and early twenty-first centuries on a continuum with Romanticism instead of merely affirming its influence. A survey of Bowie’s life then establishes the origins of his aesthetic commitments and the Romantic themes that appear later in his music and film, including a

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Sexual Selection: Is Anything Left?from Plato to the nineteenth century. After comparing androgyny in Milton’s . to its Biblical origins, and then to androgyny in Plato, Ovid, and in Romantic authors such as Percy Shelley, William Blake, and Charlotte Dacre, the chapter discusses androgyny in Bowie’s life and work, demonstrating that

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E. Yartseva,L. Andruhiv,R. Abdulkadirov Samuel Taylor Coleridge and Thomas De Quincey to David Bowie passing through Baudelaire, Victorian pre-Raphaelites, and Aleister Crowley on the way. The chapter focuses on Bowie’s drug references from . (1970) to . (1976), discussing Crowley and the Pre-Raphaelites in relationship to this period of

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Culture of Human Male Germ Cells in Vitro such as Neu!, Kraftwerk, Tangerine Dream, and Manuel G?ttsching. Bowie’s European predecessors are themselves examined in the light of German Romanticism, the concept of “Sehnsucht,” and the Bildungsroman tradition, all of which?inform Bowie’s own negotiations of artistic identity in this period. A

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https://doi.org/10.1007/978-3-642-49733-9melancholia expressive of mourning and resilience. This melancholia, per Michael L?wy and Robert Sayre’s study ., is an expression of resistance to capitalist modernity and the alienating effects it has on the subject. This chapter traces expressions of it in select tracks from . and “.,” bringing B

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Histological Changes in NZB/NZW Miceel’: Bowie as Romantic ‘Type’”?explores the ways in which Bowie’s performances of gender exemplify and amplify notions of “the Romantic”?to offer insight into the Romantic figure as a problematically melancholic cultural type, even in its relatively conservative forms.?This chapter draws?from studie

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