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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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發(fā)表于 2025-3-25 05:20:04 | 只看該作者
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發(fā)表于 2025-3-25 07:38:29 | 只看該作者
23#
發(fā)表于 2025-3-25 15:17:24 | 只看該作者
,Empathy for the Devil: The Origins of Mick Jagger’s Devil in John Milton’s London,revious centuries in England. The context of the English Civil Wars and John Milton’s poetry transformed Satan into a figure with a recognizable psychology. A new readership, the Romantics, then re-evaluated, responded to, and empathized with Milton’s Satan. This chapter attempts to identify the spe
24#
發(fā)表于 2025-3-25 19:26:58 | 只看該作者
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發(fā)表于 2025-3-25 23:56:15 | 只看該作者
,“Crying like a woman ‘cause I’m mad like a man”: Chrissie Hynde, Gender, and Romantic Irony,ogetically reveling in her contradictions on the . album, Chrissie Hynde’s songwriting employs a range of distancing tactics and is riddled with multiple forms of irony, including Romantic irony as characterized by Friedrich Schlegel and Anne Mellor. This chapter explores the Romanticism that emerge
26#
發(fā)表于 2025-3-26 01:10:22 | 只看該作者
27#
發(fā)表于 2025-3-26 07:19:15 | 只看該作者
28#
發(fā)表于 2025-3-26 10:16:32 | 只看該作者
,Postcards from Waterloo: Tom Verlaine’s Historical Constellations,rawing on those Romantics who, like Keats, do not write with immediate reference to their historical context, Verlaine constructs songs that constellate past eras in relation to the present. In particular, his song “Postcards from Waterloo” draws a parallel between the creation of punk as a cultural
29#
發(fā)表于 2025-3-26 16:12:31 | 只看該作者
Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of ,elped to define and upon which much of its popular legacy depends. David Bowie and Steven Patrick Morrissey have effectively captured the mood, manner, and message of Shelley’s novel in their music, videos, and album-promoting campaigns. While one might too readily associate Morrissey, the “Pope of
30#
發(fā)表于 2025-3-26 18:55:18 | 只看該作者
,Tales of the Female Lover: The Poetics of Romantic Desire in P. J. Harvey’s , and ,antic dimension of her music has remained unchartered, leaving a critical gap that seems all the more startling as the love motif features high in Harvey’s repertoire, notably on the albums . (1995) and . (1998), her two odysseys of desire and self-damnation. This chapter analyzes the interplay betw
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