Academic literature on the topic 'Early Romantic Period'
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Journal articles on the topic "Early Romantic Period"
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Erdman, David V. "Treason Trials in the Early Romantic Period." Wordsworth Circle 19, no. 2 (March 1988): 76–82. http://dx.doi.org/10.1086/twc24042855.
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ETARYAN, Yelena. "Irony As “Ferment Of Philosophical And Aesthetic Speculation” (By Friedrich Schlegel And Thomas Mann)." WISDOM 14, no. 1 (March 6, 2020): 88–97. http://dx.doi.org/10.24234/wisdom.v14i1.309.
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The focus of our scientific contribution is German Romanticism with its early romantic concept of self-referentiality or romantic irony. In the article, according to Safransky (Safranski, 2007, p. 12), romanticism is considered not only as a literary era, but also as a ”mental attitude“ that can be imprinted in any era. Using the work of Thomas Mann as an example, we illustrate it by looking at the epoch of modernity. In the Romantic period irony became a philosophy of life and art. It is also a central concept for Thomas Mann. The goal of this scientific article is to demonstrate the consequent realization of the concept of (early) romantic irony of a self-reflective narrative in the work by Thomas Mann. In the article, as a conclusion, the thesis is put forward that Thomas Mann seeks to synthesize the spheres of knowledge and aesthetics, but this “synthesis” has a slightly different meaning than that of the early romantics. . The common ground of their concept of irony is mediating between opposites, but at the same time, these opposite sides are to be preserved in their specificity and can only be unified selectively. Another similarity that needs to be identified is the functionalization of art as criticism, in other words, of “literary criticism”.
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Salvatore, Jessica E., Katherine C. Haydon, Jeffry A. Simpson, and W. Andrew Collins. "The distinctive role of romantic relationships in moderating the effects of early caregiving on adult anxious–depressed symptoms over 9 years." Development and Psychopathology 25, no. 3 (July 23, 2013): 843–56. http://dx.doi.org/10.1017/s0954579413000205.
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AbstractThis study tests a model of young adult romantic quality as a moderator of the effects of early caregiving on anxious–depressed symptoms over a 9-year period in adulthood. Participants (n= 93) were a subsample from a longitudinal study of risk and adaptation. Quality of early caregiving was measured using observational data collected at five points in the first 4 years of life. Young adult romantic relationship quality was assessed from interviews with participants at age 23. Self-report anxious–depressed symptoms were measured at ages 23, 26, and 32. The results indicated that romantic quality moderated early caregiving to predict symptom levels across this period, with evidence for inoculation, amplification, and compensation effects. A discriminant analysis examining young adult work competence as a moderator provided further evidence for the distinctiveness of romantic relationships in changing the association between early caregiving and adult internalizing symptoms.
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Shulman, Shmuel, Inge Seiffge-Krenke, Miri Scharf, Lilac Lev-Ari, and Gil Levy. "Adolescent Depressive Symptoms and Breakup Distress During Early Emerging Adulthood." Emerging Adulthood 5, no. 4 (March 30, 2017): 251–58. http://dx.doi.org/10.1177/2167696817698900.
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Breakups are a normative and frequent part of the romantic experience. In this longitudinal study, we followed 144 adolescents (mean age = 16.57) for a period of 4 years and examined the extent to which level of depressive symptoms predicts the intensity of breakup distress during emerging adulthood and, further, the extent to which breakup distress reported during emerging adulthood is associated with the quality of a current romantic relationship. The findings suggest that higher levels of depressive symptoms during adolescence can lead to more difficulty in recovering from breakup in early emerging adulthood. In addition, experiencing greater breakup distress during emerging adulthood was associated with greater difficulty in handling a current romantic relationship. This association was, however, found only among women. The gender distinctive reaction to breakup distress among emerging adults is discussed.
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Budge, Gavin. "“Art’s Neurosis”: Medicine, Mass Culture and the Romantic Artist in William Hazlitt." Articles, no. 49 (April 9, 2008): 0. http://dx.doi.org/10.7202/017856ar.
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AbstractAlthough criticism has traditionally focussed on the Romantic celebration of artistic genius, there is also an emphasis on artistic abjection in Romantic writing. This essay argues that the Romantic theme of abjection is linked to the claims of early nineteenth-century Brunonian medicine that conditions of nervous over- and understimulation are the cause of diseases such as consumption and hypochondria, a case which is made with particular reference to the writings of William Hazlitt. Brunonian medical theory also informs Romantic period analyses of a newly emergent mass culture, enabling Romantic depictions of artistic abjection to be understood as a denial of the Romantic artist's involvement in a mediatization of experience which potentially distances the audience from the intuition of reality to which Romanticism ultimately appeals. This ambivalence about the position of the Romantic artist is reflected in the Romantic period debate surrounding the aesthetic category of the picturesque, which is shown to draw on Brunonian ideas about nervous stimulation in a way which makes it exemplary of conflicted Romantic attitudes towards the effects of mediatization.
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Steigerwald, J., and J. Fairbairn. "The Cultural Enframing of Nature: Environmental Histories during the Early German Romantic Period." Environment and History 6, no. 4 (November 1, 2000): 451–96. http://dx.doi.org/10.3197/096734000129342370.
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Arronte, María Eugenia Perojo. "The Spanish Translation of Hugh Blair's Lectures: An Early Anglo-Hispanic Canon." Comparative Critical Studies 18, no. 1 (February 2021): 53–72. http://dx.doi.org/10.3366/ccs.2021.0386.
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The Spanish translation of Hugh Blair's Lectures on Rhetoric and Belles Lettres (1783) at the turn of the nineteenth century was one of the most remarkable literary events of the period in Spain. It appeared at a crucial time of shifting cultural paradigms and provoked an intense debate on some literary issues that were key in the transition to a new Romantic aesthetics, by introducing a view of the creative process based on pre-Romantic versions of the concepts of genius, the imagination and the sublime. But in its adaptation to the Spanish context Blair's work underwent a singular nationalization process. It also helped disseminate an Anglo-Hispanic canon that advanced the shift from French cultural dominance to an increasing Anglophilia that became noticeable in many Spanish authors and critics in subsequent decades. Thanks to the official adoption of the Lecciones as a rhetorical and literary handbook in schools and universities in the first half of the nineteenth century, the pre-Romantic canon established through Blair's work may have even contributed to the consolidation of literary eclecticism in Spain.
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BRUCE, NEVILLE W., and KATHERINE A. SANDERS. "INCIDENCE AND DURATION OF ROMANTIC ATTRACTION IN STUDENTS PROGRESSING FROM SECONDARY TO TERTIARY EDUCATION." Journal of Biosocial Science 33, no. 2 (April 2001): 173–84. http://dx.doi.org/10.1017/s0021932001001730.
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There is increasing interest in the nature and biological significance of romantic love but few quantitative data are available for testing specific hypotheses. This paper describes the use of a survey instrument to assess incidence and duration of romantic attractions over a 2-year period amongst students (121 male; 162 female) progressing from school to university education. The results for males and females were similar and schooling – single-sex or co-educational – had little effect. Students averaged 1·45 romantic episodes per year and 93% of students reported at least one episode over the survey period. Duration of attraction was around 9 weeks if never reciprocated and around 12 weeks if reciprocated. There was seasonal variation of onset of episodes with peak incidence over the summer or early autumn seasons. Collectively the results accord with the view that frequent, short-duration romantic episodes could have a role in selection of appropriate long-term reproductive partnerships.
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Boatner-Doane, Charlotte. "Sarah Siddons and the Romantic Hamlet." Nineteenth Century Theatre and Film 44, no. 2 (November 2017): 212–35. http://dx.doi.org/10.1177/1748372718763621.
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This paper considers Sarah Siddons’s cross-gender performances as Hamlet in relation to critical fascination with the character’s interiority in the early Romantic era. An examination of the responses to Siddons’s Hamlet in the context of late eighteenth- and early nineteenth-century studies of the play reveals that Siddons’s contemporaries saw the actress’s femininity and acting methods as particularly effective for conveying the sensibility and irresolution that became increasingly associated with Hamlet in literary criticism of the period. In particular, the responses to Siddons’s performances emphasise Hamlet’s first encounter with his father’s Ghost, a scene often considered the focal point of definitive performances by actors like Thomas Betterton, David Garrick, and Siddons’s brother, John Philip Kemble. The fact that these commentators describe Siddons’s Hamlet as superior to her brother’s and praise her reactions in the Ghost scene suggests that Siddons succeeded in creating a dramatic interpretation of the character that aligned with the Romantic focus on Hamlet’s inner life.
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Brittan, Francesca. "Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography." 19th-Century Music 29, no. 3 (2006): 211–39. http://dx.doi.org/10.1525/ncm.2006.29.3.211.
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Both the literary program of Berlioz's Symphonie fantastique and his personal letters dating from the year of the work's composition are suffused with the rhetoric of illness, detailing a maladie morale characterized by melancholy, nervous "exultation," black presentiments, and a malignant idee fixe.. Often mistakenly identified as a term new to the 1830s, the idee fixe has a considerably longer history, dating from the first decade of the nineteenth century when it appeared in the writings of French psychiatrists Etienne Esquirol and Jean-Etienne Georget. Both Esquirol's early writings on insanity and his seminal 1838 treatise identify mental "fixation" as the primary symptom of monomania, the most contentious and well-known mental disease of the period, and one with far-reaching implications not only for medicine but for Romantic literature, philosophy, and autobiography. Examination of the disease's early reception reveals that, well before Berlioz, the psychiatric terminology surrounding monomania had been absorbed into popular discourse. Malignant and humorous idee fixes appeared in cartoons, diaries, and newspaper articles from the 1810s onward, and in fictional works by Hoffmann, Duras, Scribe, Balzac, and others. Here, and in essays published in musical and literary journals of the period, monomania emerged as an increasingly aestheticized malady, and the idee fixe itself as a signal, not of mental debilitation, but of creative absorption and artistic inspiration. When Berlioz figured himself as a monomaniac, both in his personal writing and his symphonic program, he was responding to a discourse of "creative aberration" permeating Romantic literary and medical culture, and to a fashionable fascination with mental pathology. Berlioz was by no means the only artist of the period to diagnose himself with the symptoms of mental fixation. Musset, Janin, and Georges Sand also described themselves in monomaniacal terms in autobiographical "confessions" permeated with references to hallucination, fixation, and emotional pathology. Indeed, we can draw clear parallels between the veiled self-referentiality of the Fantastique and the autobiographical strategies of the Romantic Confession. Berlioz's "self-sounding" resonates with a host of other confessional autobiographies of the period and reflects the collapse between inspiration and insanity, between anatomy and aesthetics, underpinning early-nineteenth-century theories of genius.
Dissertations / Theses on the topic "Early Romantic Period"
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Broadhead, Alexander Peter. "Poetic diction of the early romantic period." Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494217.
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Crawford, Joseph. "The Curious Case of Milton's Coffin : John Milton and the Sublime of Terror in the Early Romantic Period." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508765.
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Zhan, Le. "William Gillock's Contributions to Piano Pedagogy: A Comparison of Three Works of Gillock with Selected Stylistic Models from the Baroque, Classical, and Romantic Repertoire." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609147/.
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William Gillock, a 20th-century American composer and pedagogue, composed numerous works in the styles of different periods for early intermediate-level piano students. The purpose of this dissertation is to introduce Gillock's pieces to teachers of early intermediate students and illustrate how they can be used as a bridge to the study of similar music from Baroque, Classical, and Romantic periods. Gillock's Little Suite in Baroque Style is compared with Handel's Suite in E Major, HWV 430; his Accent on Analytical Sonatinas (Classical) is compared with Clementi's Piano Sonatinas, Op. 36, No. 3, 5, 6; and his Lyric Preludes in Romantic Style (Romantic) is compared with Chopin's 24 Preludes, Op. 28, No. 3, 6, 9, 16, 18, and 24. Each work is examined to reveal its compositional and technical elements along with pedagogical concepts.
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Eastham, Sohyun. "The role of the violin in expressing the musical ideas of the romantic period and the development of violin techniques in the nineteenth and early twentieth centuries." 2007. http://hdl.handle.net/1959.13/40827.
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Research Doctorate - Doctor of Philosophy (PhD)The major purpose of the research in this thesis is to add to the available knowledge on advanced violin playing of the Romantic Period by, firstly, investigating the historical and technical knowledge and, secondly, adding some of my own findings. The project consists of a thesis, five recordings of live performances by the candidate and a guide to those performances. The development of violin techniques in the nineteenth and early twentieth centuries and the role of the instrument in expressing the musical ideals of the age were chosen to study because there is a general lack of literature on the subject written by players who have performed the music chosen by the researcher. Furthermore, studies of this literature have left some important questions unanswered. One such question concerned how the development of the violin allowed musicians to better express the music in that era. Another question is what kinds of techniques were developed and how they related to the expression of the music. The thesis includes a study of the historical background of the Romantic period, as well as instrument development in this period. Analyses are made of the music considering techniques only where they are new techniques which considers the expressive reasons lying behind the new styles of writing. Treatises, violin methods, as well as modern studies are examined and compared in order to determine the development of violin techniques specifically in the period. This study is an investigation of both the written literature and the experiences of playing Romantic violin pieces in five concert situations, conducted over a time span of four years. The first concert presented a programme of German composer Robert Schumann’s Violin Sonata No. 1 in A minor Op. 105; with French composer Camille Saint-Saёns’ Havanaise Op. 83; and also Fritz Kreisler-‘Pugnani’s’ Praeludium und Allegro. The second concert presented a programme of Schubert’s Sonata in A major Op. 162 and Prokofiev’s Sonata No. 2 in D major Op. 94a. The third concert presented a programme of Brahms’ Sonata No. 3 in D minor Op. 108 with Tchaikovsky’s Three Pieces Op. 42. It also included Ravel’s Tzigane. The fourth concert programme presented Beethoven’s Piano Trio No. 1 in D major Op. 70, commonly called “The Ghost”. The fifth concert presented a programme of Brahms’ Sonata No. 1 in G major Op. 78 and also the Sonata No. 2 in A major Op. 100. In addition his Sonatensatz (Scherzo) in C minor was performed. For each of these concerts, the researcher made written reports detailing the reasons behind the choice of each piece, the place of the piece in the context of the research and an examination of the effectiveness of the concert recital programme. The reports included notes on the mastery of the different new violin techniques required to play the piece with an historic awareness. As evidence of this, each concert was recorded onto compact disc audio format. The reports were used as a basis for the accompanying Guide to Performance. This is a work of critical analysis and aims to give a record of the progress of the research through performance. It documents the gradual discovery of how the historical theory can be realised in practice and provides a rationale for the techniques and strategies adopted in the creative component. The appendices include lists of repertoire and composers of the period, a chart of significant events from the period relating to the violin, and a chart of some of the key genealogical relationships in violin pedagogy. The investigation of violin techniques of Romanticism produced a number of major results. One important finding suggests that there are solutions to the difficult technical passages, which require an understanding of the historical context and literary background. In summary, this research produced findings which are of significance to violin educators and advanced violin students.
Books on the topic "Early Romantic Period"
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Jones, Elizabeth. Early U.S. and Romantic Period (American Literature Library). Moonbeam Publications, Incorporated, 1990.
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Raising Miltons Ghost John Milton And The Sublime Of Terror In The Early Romantic Period. Bloomsbury Publishing PLC, 2011.
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Niayesh, Ladan, and Claire Gallien. Eastern Resonances in Early Modern England: Receptions and Transformations from the Renaissance to the Romantic Period. Palgrave Macmillan, 2019.
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Beecher, Jonathan. Early European Socialism. Edited by George Klosko. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199238804.003.0022.
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As a self-conscious movement and ideology, socialism came into being in France and in the Romantic period. The first self-proclaimed socialists were contemporaries of Victor Hugo, Eugene Delacroix, and George Sand; and the word socialisme itself was first used in the early 1830s. This article focuses on the early history of socialism, beginning with the work of the romantic or “utopian” socialists and concluding with a consideration of four new forms of socialism that emerged during the pivotal years following the European revolutions of 1848 and continued to have resonance well into the twentieth century. It traces the early history of Marxism, one of these new forms of socialism. After considering the problem of utopian socialism, the article looks at the challenges posed to Marxism by anarchist socialism and Russian agrarian socialism during the 1860s.
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Whitehead, James. Madness and the Romantic Poet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.001.0001.
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This book examines writing that has linked poetry and poets to madness, covering early literary criticism, biography, medical literature, and poetry itself, and moving between the late eighteenth and the twentieth century. More specifically, its purpose is to offer an account of the development and dissemination of the figure of the ‘Romantic mad poet’ in the nineteenth century, and to show how this figure interacted with coeval ideas about genius or creativity, and the varying fortunes in reception and reputation of Romantic poets, poetry, and conceptions of Romanticism generally. The opening sections address the currency of popular myths on the topic, and the relevance of modern psychological studies on mental illness and creativity. The greater part of the book focuses on reception, broadly conceived, discussing the Romantic conversation with classical and early modern ideas about poetic madness; attitudes towards the creative and literary mind in the psychiatric medicine of the period; contemporary reviews of Romantic poetry, and the hostile rhetoric of insanity they deployed; and life-writing, moving from early brief lives and popular anthologies of the ‘infirmities of genius’ to the larger narratives of irrationality in Victorian literary biography. Figures discussed include Wordsworth, Coleridge, Blake, Hazlitt, Byron, Lamb, Shelley, and Clare. The book reassesses how Romantic writers both contributed to and resisted the construction of the mad poet, or new and rediscovered mythologies of poetic madness. Finally, the Romantic mad poet is considered as an image of the artist in modernity, and the image’s long afterlife and importance are explained.
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Frazier, Adrian. Irish Acting in the Early Twentieth Century. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.16.
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Frank Fay, with his brother William Fay, were primarily responsible for the development of what became known as the Abbey style of acting, Frank drawing upon his study of the French actor Coquelin and the director André Antoine, William with his experience of acting in fit-up touring companies. This style, conditioned by the limited playing resources available to them, centred on fine speech, teamwork, and restraint. In a later period, after the Fays had left in 1908, the tradition of ensemble playing in a permanent company allowed for the development of fine individual character acting represented by Sara Allgood, F. J. McCormick, and Barry Fitzgerald. The actor-manager Anew McMaster, with his large romantic style, helped to shape the tradition of the otherwise modernist Gate Theatre. Irish acting in the first half of the twentieth century was thus a hybrid compound of many different elements.
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Whitehead, James. ‘A Precarious Gift’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0001.
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This chapter (along with those following) concerns reception, broadly conceived, beginning with the Romantic reception of classical and early modern commonplaces about poetic madness. The chapter examines the status of earlier topoi such as the furor poeticus and the vesanus poeta in the Romantic period, by looking at the way in which these topoi were handled or discussed in the period. Subjects include Plato’s dialogue Ion, via Coleridge’s notebooks and Shelley’s Platonic translations, the Aristotelian Problems, Byron’s translation of Horace’s Ars Poetica, and figurations of Renaissance melancholy in Ficino, Robert Burton, and Shakespeare, especially Hamlet, as they were discussed by Romantic writers, especially Coleridge in his influential lectures on the play.
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Nicholls, Angus. Goethe the Writer. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.16.
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The late Goethe’s apparent total condemnations of what he calleddas Romantischehave often been used to argue that, although Goethe lived through and influenced the period known as German Romanticism, he, like his friend Friedrich Schiller,did not belong to it. The middle phase of Goethe’s life (roughly 1786–1805) came to be defined as Weimar Classicism, a reassertion of Classical aesthetic models that rejected all things redolent of mysticism and the Middle Ages, which in the early nineteenth century meant all things Romantic. But with even a cursory investigation of Goethe’s famous remark on aesthetic health and sickness this narrative begins to unravel: only a few lines later he claims that theNibelungenlied, that paragon of the mystical German Middle Ages, isklassischand therefore healthy, suggesting that the surface opposition between the Classical and the Romantic is more complicated than one might have first thought.
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Hunnekuhl, Philipp. Henry Crabb Robinson. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621785.001.0001.
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Henry Crabb Robinson (1775–1867) earned his place in literary history as a perceptive diarist from 1811 onwards. Drawing substantially on hitherto unpublished manuscript sources, Henry Crabb Robinson: Romantic Comparatist, 1790–1811 discusses his formal and informal engagement with a wide variety of English and European Romantic literature prior to this point. Robinson thus emerges as a pioneering literary critic whose unique philosophical erudition underpinned his activity as a cross-cultural disseminator of literature during the early Romantic period. A Dissenter barred from the English universities, he educated himself thoroughly during his teenage years, and began to publish in radical journals. Godwin’s philosophy subsequently inspired Robinson’s first theory of literature. When in Germany from 1800–05, Robinson became the leading British scholar of Kant’s critical philosophy, which informed his discussions of Goethe, Schiller, Lessing, August Wilhelm Schlegel, and other German literature. After his return to London, Robinson aided Hazlitt’s understanding of Kant and early career as a writer; this also laid the foundation for Robinson’s lifelong critical admiration of Hazlitt’s works. Robinson’s distinctive comparative criticism further enabled him to draw compelling parallels between Wordsworth, Blake, and Herder, and to discern ‘moral excellence’ in Christian Leberecht Heyne’s Amathonte. This excellence also prompted Robinson’s transmission of Friedrich Schlegel and Jean Paul to England in 1811, as well as a profound exchange of ideas with Coleridge. Robinson’s ingenious adaptation of Kantian aesthetic autonomy into a revolutionary theory of literature’s moral relevance, Philipp Hunnekuhl finds, anticipated the current ‘ethical turn’ in literary studies.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Subjectivities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0024.
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The chapter continues to trace attention to emotions, begun in the context of Sentimentalism and further developed in the works of the pre-Romantic period. The discovery of the self-promoted active autobiographical writing practiced by men and women throughout the century. The masonic interest in the “inner man,” evident in diary writing early in the century, survived to manifest itself in Leo Tolstoy’s intense focus on self-analysis. The chapter presents Herzen’s formidable memoir My Past and Thoughts as a work crossing the boundary between the personal and historical. The chapter then moves to examining the presentation of the self in poetry, in elegy and love lyrics.
Book chapters on the topic "Early Romantic Period"
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Orr, Jennifer. "Dissenting Romanticism in the Early Union Period." In Literary Networks and Dissenting Print Culture in Romantic-Period Ireland, 162–95. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137471536_6.
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Saunders, Corinne. "Thinking Fantasies: Visions and Voices in Medieval English Secular Writing." In Visions and Voice-Hearing in Medieval and Early Modern Contexts, 91–116. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52659-7_5.
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AbstractThe creative engagement with visions and voices in medieval secular writing is the subject of this essay. Visionary experience is a prominent trope in late medieval imaginative fiction, rooted in long-standing literary conventions of dream vision, supernatural encounter and revelation, as well as in medical, theological and philosophical preoccupations of the period. Literary texts repeatedly depict supernatural experience of different kinds—dreams and prophecies, voices and visions, marvels and miracles, otherworldly and ghostly visitants. In part, such narratives respond to an impulse towards escapism and interest in the fantastic, and they have typically been seen as non-mimetic. Yet they also engage with serious ideas concerning visionary experience and the ways in which individual lives may open onto the supernatural—taking up the possibilities suggested both by dream theory and by the theological and psychological models of the period. Examples drawn from a range of Middle English romances and from Chaucer’s romance writing demonstrate the powerful creative potential of voices and visions. Such experiences open onto fearful and fascinating questions concerning forces beyond the self and their intersections with the processes of individual thinking, feeling and being in the world, from trauma to revelation to romantic love.
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Schnabel, Reinhold. "Migrants’ Access to Social Protection in Germany." In IMISCOE Research Series, 179–93. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51241-5_12.
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Abstract Migration patterns in Germany have changed considerably during the post-war period. The active recruitment of “guest workers” stopped during the 1970s and was replaced by family reunification. Two big crisis-driven immigration waves swept Germany, following the collapse of Yugoslavia and the crises in the countries from Syria to Afghanistan. These immigration waves triggered legislation aimed at reducing immigration incentives, especially in the asylum law. From the early 2000s on, German policy turned more liberal following the EU Directives on freedom of movement and for highly qualified persons from non-EEA countries. Migration patterns changed dramatically, with EEA countries becoming the leading source of German immigration. EEA countries replaced the Anglo-Saxon immigration countries as the leading sources and destinations of migration. It is reassuring for economic policy that EU migrants, notably from Bulgaria and Romania, display high levels of employment and have boosted German employment, while unemployment rates reached historic lows. During the past decades, migration obstacles for EEA citizens have been lowered or abolished. Main obstacles to immigration of non-EEA citizens persist due to the restrictive law on residence permits. As a result, student visas, academic credentials, or family reunification are the main legal pathways to Germany. Given the difficulty to proof the equivalence of a foreign non-academic degree, it is far more promising for persons from third countries to apply for asylum with the chance to get a permanent residence permit after several years as a tolerated migrant.
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Yoshikawa, Saeko. "Romantic Motorists, Romantic Cyclists." In William Wordsworth and Modern Travel, 119–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621181.003.0005.
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Chapter 4 investigates how and why the motorcar attracted George Dixon Abraham, James John Hissey and other early motorists, and explores how they adopted and adapted the poetics and aesthetics of Romantic writers, including Wordsworth and Shelley, in describing their new mobilised perceptions and bodily sensations as they hurried through changing weather and scenery, attempting inaccessible mountain passes and dizzying descents. As motor cars gradually replaced horse-drawn vehicles, and the speed of travel increased in the pre-War period, the pursuits of a more leisurely literary tourism gradually declined. At the same time, motorists were finding their own ways of enjoying the country roads, free movement and self-reliance, which was impossible for railway passengers. Likewise, intrepid bicyclists, such as Fitzwater Wray, relished their mobility and self-dependence as they toured in the Lake District in the early twentieth century. The chapter reveals how the Romantic ethos of oneness with nature, freedom of wayfaring and personal independence were revitalized in early motorists’ and cyclists’ poetics of the road.
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"ROMANTIC FANTASIES: EARLY CHRISTIANS LOOKING BACK ON THE APOSTOLIC PERIOD." In The Apostolic Age in Patristic Thought, 28–40. BRILL, 2004. http://dx.doi.org/10.1163/9789047404293_004.
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Bellaviti, Sean. "Early Música Típica and Its Antecedents." In Música Típica, 57–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0003.
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Chapter 2 examines música típica’s antecedents in Panama’s Azuero peninsula during a period of great social change. Focusing on developments in areas of musical sound and all the practices that surround large rural dances called bailes, this chapter reveals how the evolution of this music was shaped by the peninsula’s geography, its evolving economic structure and labor relations, and, most of all, the musical preferences of performing musicians and their fans, the dancing baile-goers. In sharp contrast to the Panamanian folklorists’ romantic portrayals of their rural compatriots as untouched by modernization, this chapter outlines a history that makes clear that in terms of their musical interests and dance preferences, Azuerenses were not too dissimilar from their urban counterparts. Moreover, whether in terms of the social imperatives that led to the baile’s emergence as the foremost occasion for broad-based community participation or the seamless elision of themes of romantic love, nostalgia, and the pain of physical separation, this chapter shows that many of música típica’s most compelling, widely-embraced, and distinctive features were firmly established well before the sea changes brought about by the genre’s eventual commercialization.
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Garloff, Katja. "Romantic Love and the Denial of Difference." In Mixed Feelings. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501704963.003.0003.
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This chapter moves into the early Romantic period, when the increased social interaction between Jews and Christians in the Romantic salons led to much-discussed interfaith love affairs that found their way into literature. When in 1799 Friedrich Schlegel, the leading theoretician of German Romanticism, published Lucinde, the clearest example of the Romantic love ideal in German literature, it was widely assumed that the novel was based on the author's relationship with Dorothea Veit, the oldest daughter of Moses Mendelssohn. It is argued that Schlegel's transformation of love into a model for society hinges upon the elision of religious difference in favor of sexual opposition, an elision that explains the striking absence of references to Jews and Judaism in the novel. The second part of the chapter reads Veit's own novel Florentin (1801), in which love conspicuously fails to secure the hero the sense of home and identity he desires, as a critical response to Lucinde and a subversion of the Romantic love ideal. In resisting the homogenizing force of romantic love, Veit continues the political project of Mendelssohn, who sought to harness the powers of love for Jewish emancipation while guarding against forced assimilation.
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Bainbridge, Simon. "Conclusion." In Mountaineering and British Romanticism, 268–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857891.003.0010.
Full textAbstract:
This book has argued that in Britain the pursuit Coleridge christened ‘mountaineering’ was established during the Romantic period and that it had a mutually energizing relationship with the era’s literature. Both these developments were important factors in mountaineering’s continuing evolution in the nineteenth and early twentieth centuries, inspiring the extraordinary growth of cultures of ascent in the Alps and beyond. Many of the notable British mountaineers who ‘made the Alps’,...
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Chapman, Con. "Swee’ Pea." In Rabbit's Blues, 79–88. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0011.
Full textAbstract:
The chapter discusses the addition of Billy Strayhorn to the Ellington band at the end of 1938. Strayhorn gradually transformed its music with harmonic enhancements that he had mastered as a student of European classical music. He also began to write pieces that served as vehicles by which Hodges developed a romantic style to broaden his appeal beyond the hot jazz and blues of his early period. Ellington had learned his trade from East Coast stride pianists, who used the piano as a percussion instrument in the bass register. Strayhorn’s music showed the influence of Debussy and Ravel, romantics with a softer side that was well suited to Hodges’s warm tone. Strayhorn took control of the Ellington small-group sessions and became so closely associated with Hodges that the two formed a four-man group for a time that played apart from Ellington.
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Wright, Angela. "Heroines in Flight: Narrating Invisibility and Maturity in Women’s Gothic Writing of the Romantic Period." In Women and the Gothic. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699124.003.0002.
Full textAbstract:
Chapter One examines the phenomenon of heroines in flight in Gothic texts by women, arguing that although it is a truth well known that mothers are invariably dead or dying when such flights occur, the reasons underscoring that recognised truth require further scrutiny. Wright notes that Jane Austen’s narrator in Northanger Abbey brilliantly parodies this well-known trope as early as 1797, drawing upon the fictional models of Ann Radcliffe, Maria Regina Roche, Eliza Parsons and Eleanor Sleath. And yet, she suggests, closer study of all these novels reveals that the mothers therein portrayed are less dead than one might imagine; they may be imprisoned, disguised or wronged, perhaps, but they are nonetheless disturbingly present. In this chapter Wright sets out to recover the undead mother and, in doing so, interrogates why so many heroines of women’s Gothic take flight during the Romantic period.
Conference papers on the topic "Early Romantic Period"
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Grubac, Gabrijel, Radu Patrascu, and Laura Precupanu. "Fluid Cool Down vs. Heat Back - An Analysis of Bottomhole Gauge Temperature Responses to Optimize Stimulation Fluid Clean Up and Thereof Testing, Offshore Black Sea." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/206313-ms.
Full textAbstract:
Abstract In an effort of maximizing the production from low permeability reservoirs in mature fields, operators often strive to implement innovative technologies and engineering approaches that can help achieve that goal. This paper presents an analysis of the temperature responses from bottom hole gauges of several horizontal wells that have been stimulated offshore Black Sea. The analysis covers the fluid cool down and heat back profile during stimulation and production. Ultimately, the analysis' goal being to better understand the rheological properties of the stimulation fluid and enhance well clean-up by avoiding miss-allocation of temperature ranges during fluid testing for when the well is brought on production. Based on available data from bottom hole gauges implemented in the horizontal wells stimulated in the Black Sea, an analysis of the temperature gauge responses has been performed. The analysis includes a workflow of temperature change validation per well, considering fluid pumped per port in stimulation phase and fluids produced per port in production phases. The fluid production allocation per port was done utilizing chemical tracer technology results. Stimulation treatments in the same reservoir offshore Black Sea, Romania have been analyzed in terms of bottom hole gauge readings of temperature during the stimulation fluid pumping and during the early production period of each well. A workflow was implemented on each well to correlate fluid per stimulation stage pumped to temperature changes during the treatments. Similar approach was used to correlate the temperature heat back profile during the shut in of wells in the initial 48 hours for proppant curing to the production phase clean-up of the wells. The observed cool down during pumping was of no surprise, but the heat back indicated a slower process of warm back that affects the stimulation fluid testing approach and the understanding of possible near wellbore pressure differentials caused by misallocation of temperature range testing of pre job rheology tests. A combination of temperature data with diagnostic tools and the pertaining analysis will provide a better description of wells' performance. In conclusion, misinterpretation of modelled cool down and reservoir heat back can lead to erroneous understanding of fluid clean up, ultimately affecting reservoir fluid inflow. Understanding the areal temperature response helped optimize fluid testing approach and plan for better clean up. The approach and the sensitivity analysis results are beneficial in understanding the temperature behavior during treatment pumping and production of stimulated wells. This process can enhance an engineer's approach in scrutinizing stimulation fluid testing for improved post stimulation clean up.