Here’s the full iTunes playlist for Women in Rock, Women in Romanticism (Routledge 2022): click the image.
CFP: Romanticism and Heavy Metal
The editors Julian Knox and James Rovira welcome chapter proposals for the forthcoming anthology Romanticism and Heavy Metal. Like the collections Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2 (Lexington 2018), Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms (Palgrave Macmillan 2018), David Bowie and Romanticism (Palgrave Macmillan 2022), and Women in Rock, Women in Romanticism (Routledge 2022), Romanticism and Heavy Metal seeks to interpret heavy metal as a cultural, artistic, and musical phenomenon using the historical insights and theoretical tools provided by the study of Romanticism.
As in previous collections, “Romanticism” is broadly conceived as a cultural, literary, artistic, philosophical, and musical movement first identified and named in the late eighteenth century without being limited in scope to that period. As a result, the relationship between metal and Romanticism should not be considered only in terms of influence: metal is or can be Romanticism in the present. “Heavy metal” is conceived as a late twentieth-century world musical phenomenon inclusive of a wide array of sub- and micro-genres that has its origins in the sonic and thematic innovations of 1960s and 70s bands such as Iron Butterfly, Black Sabbath, Deep Purple, Judas Priest, and Metallica that continues into the present.
Chapters considering historically significant heavy metal bands that engage with Romantic works and themes are welcome, as are analyses of Romanticism in relation to metal subgenres including, but not limited to, doom metal, black metal, death metal, thrash, grindcore, folk metal, the New Wave of British Heavy Metal, power metal, and noise.
Contributors seeking to define Romanticism outside of its usual eighteenth- to nineteenth-century periodization are encouraged, but not required, to consult Romanticism Against the Tide of Modernity by Robert Sayre and Michael Löwy (2001). Chapter topics might include, but are not limited to,
- Romantic Satanism and heavy metal
- Romantic paganism and heavy metal
- Green Romanticism and heavy metal
- Brown Romanticism and heavy metal
- Individual author / painter / musician / band / album / music video comparisons
- Nineteenth-century musical Romanticism and heavy metal
- Romantic folk traditions and folk metal
- Working class Romanticism and metal
- Romantic celebrity and heavy metal
- Adaptations of Romantic texts in heavy metal albums
- Romantic visual art as album art
- Romanticism, metal, and political/social/environmental action
- Reception studies and fan communities
- Representations of apocalypse, post-apocalypse, and the world without us
Chapter proposals should be approximately 500 words in length, demonstrate familiarity with scholarship in both Romanticism and heavy metal, and should be accompanied by a one-page CV.
Please email all proposal materials by February 2023 James Rovira at jamesrovira at gmail dot com
If you need flexibility with proposal or chapter deadlines, please describe your needs in an email.
Women in Rock, Women in Romanticism (Routledge 2022) is the first book-length work to explore the interrelationships among contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The art, music, and videos of contemporary artists including Erykah Badu, Beyoncé, The Carters, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of the pastoral, Afropresentism, the Gothic, male and female Gothic, and the music and literature of Hélène Cixous, 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.
Contributors to Women in Rock, Women in Romanticism (Routledge 2022) participated in a virtual book launch on Saturday, November 19th, 2022. You can meet the contributors and listen to them discuss their chapters here:
Table of Contents
Introduction, James Rovira
1. Are Women in Rock also Women in Romanticism?, James Rovira
2. Jane Williams, Rolling Stone: Reconstructing British Romanticism’s Guitar God(dess), Rebecca Nesvet
3. “Work Me, Lord”: Janis Joplin’s Kozmic Blues, Sasha Tamar Strelitz
4. “All Romantics Meet the Same Fate Someday”: Joni Mitchell, Blue, and Romanticism, Christopher R. Clason
5. “There is no pure evil, nor pure good, only purity”: William Blake’s and Patti Smith’s Art as Opposition to Societal Boundaries. Alicia Carpenter
6. “A Woman with an Attitude”: Male and Female Gothic in Siouxsie and the Banshees, Diana Edelman
7. “Our Generation”: Gender, Regeneration and Women in Rock, Linda C. Middleton
8. “Laughing with a Mouth of Blood”: St. Vincent’s Gothic Grotesque, Sherry R. Truffin
9. “I can’t believe we made it”: Romanticism and Afropresentism in Works of African American Female Hip Hop and R‘n’B Artists, Kirsten Zemke
If you’d like to support the author, purchase a copy directly from him through PayPal
Women In Rock, Women in Romanticism
Women in Rock. Women in Romanticism (Routledge, 2022) is the first book-length work exploring the interrelationships among contemporary women rock musicians and eighteenth- and nineteenth-century art and literature, the literature of the Romantic era. LIMITED QUANTITIES ONLY available at a 37% discount.
I’m pleased to announce the publication of Women in Rock, Women in Romanticism (Routledge, 2022), which is the first book-length work to explore the interrelationships among 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, Beyoncé, The Carters, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Hélène Cixous, Gothic, male and 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.
You can read more about the book here.
I will be hosting a virtual book launch this coming Saturday, November 19th from noon to 3:00 p.m. ET (we’re off Daylight Savings Time now, -5 UTC). The book launch will be held simultaneously on Zoom and on Instagram live streaming at the account rock.and.romanticism:
The lineup is as follows.
If you’d like to attend on Zoom, please email me privately for the session login. Feel free to promote the session on social media and elsewhere.
11:55-12:10 – Jim Rovira introducing the book and session.
12:10-12:30 – Alicia Carpenter on William Blake and Patti Smith
12:30-12:50 – Rebecca Nesvet on Jane Williams and the figure of the rolling stone
12:50-1:10 – Sasha Strelitz on Janis Joplin and “electric Romanticism.”
1:10-1:30 – Christopher Clason – on Joni Mitchell and German Romanticism
1:30-1:50 – Diana Edelman – on Siouxsie Sioux and the male/female Gothic
1:50-2:10 – Sherry Truffin on St. Vincent, the Gothic, and the grotesque
2:10-2:30 – Kristen Zemke on Romanticism and Afropresentism in Erykah Badu, Missy Elliott, and Beyonce
2:30-2:50 – Sherry Truffin interviews Jim Rovira on Schopenhauer, music, and women in German Romanticism, and the extension of that topic to the study of British Romanticism and women in rock.
Each section will reserve five minutes at the end for questions.
On January 7, 2016, about a week before his death, David Bowie released his final music video, “Lazarus.” The similarities between Donne’s death shroud portrait and Bowie’s video are unmistakable as both highlight the artists’ engagements with mortality and creation of an artful death. In this song and video, and throughout his final album, ★, Bowie’s use of symbols associated with early modern death rituals as well as the communal aspects of his parting gift to fans reveal possibilities for rediscovering the art of dying for our modern age.Jennifer Lillian Lodine-Chaffey, David Bowie and Romanticism, p. 258
I have my own memories of the release of Bowie’s Lazarus video. I remembered I’d first caught it not long after its initial release, just hours. I remember thinking to myself, wryly but pleased, “He did it again. Weirded us all out.” Not just the visuals. The music too. I’d never heard anything quite like it. Then I checked the video again about 24 hours after it was released and was very, very pleased again: the video had received over 1 million views in a little more than 24 hours. It was a hit.
And then I heard he died, and then I watched the video again, seeing it differently this time. He knew. And then, before the next day had passed, I committed to this book. Bowie had been on my radar since my teenage years, and especially since I saw him perform live on Saturday Night Live in December 1979, when I was 15. But I didn’t buy many of his albums. I picked up his Singles Collection on CD within a couple years of its release in 1993 and loved it. Then I picked up another CD at a flea market, I think Reality, overpriced because it was “rare,” sometime after 2008. But then he died, and now I have all of his studio albums on vinyl and a nice stack of his CDs. And now I have this book, David Bowie and Romanticism.
What struck me the most about Bowie’s loss was the loss of his genius and humanity at the beginning of a year in which Trump’s star started to rise. It seemed so unfair–such a horrible tradeoff, like trading in a Ferrari for a brown Matchbox sedan. Plus it was the loss of David Bowie. The world lost some of its color that day; I knew it could come back, but I didn’t know when it would.
A colorless world. His final album, Blackstar, ★, packaged black on black. Even the inner booklet is matte black with gloss black lyrics and images printed on it. But when you hold the outer sleeve up to the light, you see stars through the Blackstar cutout. Constellations. There’s little joy on this album. There’s bitterness, confusion, anger, betrayal. Death. But he took all of that and turned it into art. He wants us to see the constellations through all of that darkness.
Bowie reinvented himself musically once again on this album. I write about his musical transformation in my chapter on Bowie and jazz in the forthcoming collection Jazz and Literature (Routledge 2023), but I believe as much is communicated through the album art, as sparse as it is, and through the videos, as is communicated through its music and lyrics. It begs for visual interpretation. Jennifer Lillian Lodine-Chaffey’s “‘Blackstar’: David Bowie’s Twenty-First-Century Ars Moriendi,” chapter 11 of David Bowie and Romanticism, the book’s final chapter, does this work of visual interpretation. She interprets Bowie’s album and videos in the light of the ars moriendi tradition, or the early modern practice of an artful death which “encouraged individuals to thoughtfully and artfully plan for and practice their deaths” (pp. 257-8). She traces the loss and then rediscovery of this tradition in the Romantic era, particularly “Ode on a Grecian Urn.” Just as Keats’s urn preserves eternally the memory of a moment, Bowie’s “Lazarus” video “re-envisions his history through objects that tell of his demise, while simultaneously reminding the viewers of his past and pointing toward his future as an object of memory” (p. 269).
Check out the iTunes playlist for David Bowie and Romanticism.
Jennifer Lillian Lodine-Chaffey is Assistant Professor of English, Department of English, Philosophy, and Modern Languages, Montana State University. She is the author of A Weak Woman in a Strong Battle: Women and Public Execution in Early Modern England (2022).