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

竊喜

跟隨

,Capitalist Co-optation, Romantic Resistance, and Bowie’s Allegorical Performance in Nicolas Roeg’s nt to a small circle of human allies who derail his plans. Ultimately, the film’s complex interaction between Bowie’s musical and film personas, and the film’s engagement with Romanticism and capitalism, forces viewers to confront the difficulties of affirming Romantic resistance against modernity while being deeply implicated in it.

惡臭

捕鯨魚叉

Coronary

Negative Capability in Space: The Romantic Bowieverse,, from 1969’s “Space Oddity” to 2013’s “Dancing Out in Space” in the light of John Keats’s concept of negative capability. Guenther argues that Bowie’s space and alien imagery is developed “in anticipation of the deaths of self, the anthropocene, humanity, and the Earth itself,” so that Bowie’s alie

exercise

Drug Use and Drug Literature from the Eighteenth Century to David Bowie, 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

Phagocytes

,Capitalist Co-optation, Romantic Resistance, and Bowie’s Allegorical Performance in Nicolas Roeg’s f Romanticism, asking how his character represents the positive, regenerative forces of Romanticism against the forces of modernity. It posits that the film implies a Romantic home world of origin against the capitalist modernity of late twentieth-century Earth, a pastoral community that can be atta

過度

Too Late to Be Late Again: David Bowie, the Late 1970s, and Romanticism, 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

formula

,Relics of The Future: The Melancholic Romanticism of Bowie’s Berlin Triptych,melancholia 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

Condyle

,“Rebel Rebel”: Bowie as Romantic “Type”,el’: 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