Tale form replaced lyrical subjectivity in post-Romantic rock

Evidence

“Unsuitable for Romantics”, Smith will graffiti onto the cover of Hex Enduction Hour, and “Spectre Vs. Rector” is the template for the anti-Romantic methodology he will deploy on the Fall’s most important releases. After “Spectre Vs. Rector”, there is no Mark E Smith the romantic subject. The novelty of Smith’s approach is to impose the novel or tale form (“Part One: spectre versus rector…”) into the Romantic-lyrical tradition of the r and r song, so that the author-function supplants that of the lyrical balladeer. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1109

Categorization

• XREF: Ties to ch 58’s thread that the internal psychological space has been fully penetrated — the Fall’s extruding of the author-function over the expressive subject is the musical instance of it. — connects to: Roxy Music records assemble selves rather than express a pre-existing subjectivity — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 884; Musical form’s temporal unfolding embodies a dialectic toward future plenitude — Fredric Jameson, Marxism and Form, 275; Genre form refracts rather than directly reflects political ideology — Peter Morey, Islamophobia and the Novel, 321 (+2 more)

Broader Connections

• Late-romantic symphonies anticipated film scores by reducing musical form to melody potpourri #exemplifies (0.80)
• Musical form’s temporal unfolding embodies a dialectic toward future plenitude #corroborates (0.75) — Fredric Jameson, Marxism and Form, 275
• Genre form refracts rather than directly reflects political ideology #corroborates (0.75) — Peter Morey, Islamophobia and the Novel, 321