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Journal articles on the topic 'German romantic movie'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

Roman, Sergei N. "The movie “M” (1931) by Fritz Lang in the context of the scientific, social and cultural life of Germany in the 20-30 - ies of the twentieth century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 47 (2022): 204–16. http://dx.doi.org/10.17223/22220836/47/17.

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The article deals with the specifics of the social, political and cultural life in the Weimar Republic at time of the making of Fritz Lang's movie “M”. While showing the connection between the historic events of the time and the ideas conveyed in the movie, the author rejects the traditional interpretation of “M” as a pamphlet reflecting the problems in Germany before the national socialists came to power. The cooperation of the police and the criminal elements making attempts to catch the maniac is considered to be a logical continuation of the spiritual unity of the upper and lower classes s

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Joy, Aparna I. "From Page to Screen: Navigating the Influence of Culture on Adapted Fiction." Translation Today 18, no. 1 (2024): 48–62. https://doi.org/10.46623/tt/2024.18.1.ar3.

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Renowned German director and screenwriter, Robert Schwentke holds a significant position in the annals of cinema’s history. His directorial work on The Time Traveler’s Wife (2009) stands out as an exemplary American romantic science fiction drama film. The film adaptation draws its inspiration from Audrey Niffenegger’s 2003 novel of the same name. This paper aims to undertake a comparative study, delving into the cultural disparities between the book and its cinematic counterpart, shedding light on the transformation of the fiction genre into the unique visual medium of film. The central focus

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3

Clarke, Laura. "Painting the Globe with Wings: Sculpture and the Aesthetics of Realism in Aurora Leigh." Victoriographies 15, no. 1 (2025): 22–40. https://doi.org/10.3366/vic.2025.0554.

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Elizabeth Barrett Browning's debt to British Romanticism is well known, yet the influence of early German Romantic ideas on her poetics has been largely overlooked. In this essay, I show how Barrett Browning draws upon August Wilhelm Schlegel's comparison between sculpture and painting – representing classical and romantic art, respectively – as a framework for conceptualising Aurora and Carrington's move towards realism and for critiquing Romney's social theories, which are equated with the static forms of French neoclassical art. I contend that in framing Aurora and Carrington's artistic dev

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Solanki, Tanvi. "The Multisensorial Ramayana and Its Migrant Afterlife in the Making of German Romanticism and Narendra Modi’s India." Comparative Literature 77, no. 2 (2025): 188–212. https://doi.org/10.1215/00104124-11626857.

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Abstract This article traces the migration of late eighteenth- and nineteenth-century German philologists and writers’ textually mediated mythical images of India and the Sanskrit canon, particularly the Ramayana. Stories about Ram’s ultimate authority each have their own history as they migrate across different languages, communities, and media. While the migration of the story is textual for the Europeans, the article will show how it migrates across very sensory regimes for the Indians, most recently in Narendra Modi’s Ram Temple project. The German Romantics’ work cannot be isolated in Ger

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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.

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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic dev

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Banerjee, Suddhasattwa. "Wrong Train to Right Destination: Romantic Journey Motif in The Lunchbox." Humanities & Social Sciences Reviews 9, no. 6 (2021): 40–45. http://dx.doi.org/10.18510/hssr.2021.967.

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Purpose of the study: This paper attempts to analyze the theme of journey in The Lunchbox in the context of the varied strains of Romantic journey motifs present in 19th Century and early 20th Century Romanticisms prevalent in England, Germany, France, and America in the said period. Methodology: It is primarily a revisionist study. I have attempted to place The Lunchbox in the context of Romantic literature, predominantly of the 19th Century and early 20th Century and meticulous textual analysis is the basic procedure for this venture. Main Findings: The findings of this study ind

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Universidad, de Extremadura. "Märchenfantasie in der Berliner Gegenwart: Christian Petzolds Filmadaption Undine (2020)." Anuario de estudios filológicos XLVI (May 3, 2023): 323–39. https://doi.org/10.17398/2660-7301.46.323.

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Christian Petzold's drama Undine, a German-French co-production released in 2020, transposes the Romantic myth of the scorned nymph into modern-day Berlin. This is the first part of a trilogy planned by Petzold on figures of German Romanticism, which intends to bring the so-called elemental spirits closer to our reality. The result is a poetic film fairy tale, in which the main characters move between two worlds: not only underwater and on land, but also between reality and fantasy, between the present and the past. Petzold shows that the myth of Undine is ahistorical and doomed to be repeated

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Farkas, Márton. "Lukács in Self-Translation: The Necessity of Contingency in The Soul and the Forms." October 161 (August 2017): 23–41. http://dx.doi.org/10.1162/octo_a_00302.

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A series of meditations on history and criticism, György Lukács's The Soul and the Forms appeared first in Hungarian in 1910 and then in German in 1911—arguably having been translated by the author himself, as a work of mourning. Despite renewed interest in the work, English-language editions have been taken from the German translation and barely consider the Hungarian version. This essay argues that an exemplary skirmish takes place in translation between the Hungarian and the German texts, as Lukács shifts from an Epicurean-Lucretian to a Stoicist view of causality. Not unlike in the early n

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9

Kay, Carolyn. "German children’s art during World War I." Global Studies of Childhood 11, no. 2 (2021): 195–212. http://dx.doi.org/10.1177/20436106211015694.

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My article considers German wartime propaganda and pedagogy from 1914 to 1916, which influenced young schoolchildren (aged 5–14) to create drawings and paintings of Germany’s military in World War I. In this art, the children drew bodies of German soldiers as tough, heroic, on the move, armed with powerful weapons, and part of a superior military movement; their enemies (French, Russian, British soldiers) embodied disorder, backwardness, ineptitude, and deadly weakness. The artwork by these schoolchildren thus reveals the intense propaganda of the war years, and the children’s tendency to see

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10

GOEHRING, EDMUND J. "MUCH ADO ABOUT SOMETHING; OR, COSÌ FAN TUTTE IN THE ROMANTIC IMAGINATION: A COMMENTARY ON AND TRANSLATION OF AN EARLY NINETEENTH-CENTURY EPISTOLARY EXCHANGE." Eighteenth Century Music 5, no. 1 (2008): 75–105. http://dx.doi.org/10.1017/s1478570608001206.

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ABSTRACTAmong the gems buried in Johann Friedrich Reichardt’s short-lived Berlinische musikalische Zeitung is a ‘Musikalischer Briefwechsel’ that appeared over three volumes in September 1805. The text, cast as an epistolary exchange between the fictional characters Arithmos and Phantasus, argues the merits of Mozart’s Così fan tutte. (The opera had recently returned to the Berlin stage after a thirteen-year absence.) The exchange has received little scholarly attention, and yet it is a remarkable document for the glimpse it gives both into Berlin’s musical politics and, most of all, the recep

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Holtz, Peter. "What's your music? Subjective theories of music-creating artists." Musicae Scientiae 13, no. 2 (2009): 207–30. http://dx.doi.org/10.1177/102986490901300202.

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In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the

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Pankaj Kalita, Reena Sanasam. "Programming of Humanoid Artificial Intelligence, Robosexuality and Queer Robotics in Occidental LGBTQ+ Cinema: An Experimental Survey." Journal of Information Systems Engineering and Management 10, no. 2s (2024): 480–94. https://doi.org/10.52783/jisem.v10i2s.6751.

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This research paper explores and scrutinises the nature of representation and treatment of the elements of ‘Humanoid Artificial Intelligence or Robots with Emotions, Robosexuality or Human beings having Sexual and Romantic Desire for Robots as well as Queer Robotics or Homosexual Robots with LGBTQ+ Orientation’ in Queer Cinema produced in the Western countries, with the application of the tools and techniques of content analysis and critical review through qualitative prism in ten LGBTQ+ sample motion pictures in a meticulous fashion. These very ten queer movies have been nominated from the co

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13

Tunbridge, Laura. "Versioning Strauss." 19th-Century Music 40, no. 3 (2017): 283–300. http://dx.doi.org/10.1525/ncm.2017.40.3.283.

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Strauss's song “Frühlingsfeier,” op. 56, no. 5, was originally composed for voice and piano in 1906 and orchestrated in 1933. Its choice of poet—Heinrich Heine—–is unusual in the context of the literary trends and political attitudes in Germany at the contemporaneous moments. “Frühlingsfeier” resembles Strauss's opera Salome in subject matter: female grief for a beautiful man. The corybantic musical style of Strauss's setting is emphasized in its orchestral version, which was intended for the soprano Viorica Ursuleac, who recorded it in 1936. Strauss's stature as a Lieder composer—despite the

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14

Невидимова, М. А. "On Richard Wagner’s Music in the Context of Werner Herzog’s Films: Regards the Dialog with Cultural Heritage of the Past." Научный вестник Московской консерватории, no. 2(41) (June 19, 2020): 158–99. http://dx.doi.org/10.26176/mosconsv.2020.41.2.008.

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Предметом рассмотрения в статье являются фильмы Вернера Херцога— философские картины, скрытые за маской художественного или документального повествования. Важнейшей смыслообразующей частью кинематографической вселенной режиссера выступает классическая музыка, которую Херцог использует не просто как саундтрек, но как средство сообщения фильму метасмысла. Устойчивые соотношения определенных музыкальных сочинений и конкретных визуальных рядов на протяжении десятилетий мигрируют от ленты к ленте, функционируя в качестве аудио- и видеолексем, что позволяет говорить об особой семантической роли музы

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15

Jütersonke, Oliver. "Echoes of a Forgotten Past: Mid-Century Realism and the Legacy of International Law." Ethics & International Affairs 26, no. 3 (2012): 373–86. http://dx.doi.org/10.1017/s0892679412000469.

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Those studying the work of Hans J. Morgenthau, widely considered the “founding father” of the Realist School of International Relations, have long been baffled by his views on world government and the attainment of a world state—views that, it would appear, are strikingly incompatible with the author's realism. In a 1965 article in World Politics, James P. Speer II decided that it could only be “theoretical confusion” that explained why Morgenthau could on the one hand advocate a world state as ultimately necessary in his highly successful textbook, Politics Among Nations, while writing elsewh

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16

Schöch, Christof. "Big? Smart? Clean? Messy? Data in the Humanities." Journal of the Digital Humanities 2, no. 3 (2014): 2–13. https://doi.org/10.5281/zenodo.8432.

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This paper is about data in the humanities. Most of my colleagues in literary and cultural studies would not necessarily speak of their objects of study as “data.” If you ask them what it is they are studying, they would rather speak of books, paintings and movies; of drama and crime fiction, of still lives and action painting; of German expressionist movies and romantic comedy. They would mention Denis Diderot or Toni Morrison, Chardin or Jackson Pollock, Fritz Lang or Diane Keaton. Maybe they would talk about what they are studying as texts, images, and sounds. But rarely would t

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17

Wipfler, Esther Pia. "Luther im Stummfilm: Zum Wandel protestantischer Mentalität im Spiegel der Filmgeschichte bis 1930." Archiv für Reformationsgeschichte - Archive for Reformation History 98, no. 1 (2007): 167–98. http://dx.doi.org/10.14315/arg-2007-0108.

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ABSTRACTThe “Luther film” is still a little-examined source for the Protestant self-image, despite the fact that the medium was employed since 1911 to portray the history of the Reformation. Of the four known silent films on the subject, two are preserved only as copies of a late censored version. There is a clearly recognizable paradigm shift in the portrayal of the reformer over the twenty-year span of these Luther films. Luther is transformed from the romantic aesthete of the “Wittenberger Nachtigall” in 1913 to the hero of the “deutschen Reformation” in 1927. Concerning the earliest films,

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18

Cherednychenko, O. V. "Concert genres for piano and orchestra in the works of Sergei Bortkiewicz." Aspects of Historical Musicology 15, no. 15 (2019): 138–57. http://dx.doi.org/10.34064/khnum2-15.07.

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Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”,

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19

Stone, Alison. "Bettina von Arnim's Romantic Philosophy in Die Günderode." Hegel Bulletin, September 28, 2021, 1–24. http://dx.doi.org/10.1017/hgl.2021.19.

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Abstract This article puts forward a philosophical interpretation of Bettina von Arnim's epistolary book Die Günderode, in the following stages. First I situate von Arnim's work in relation to women's participation in early German Romanticism and idealism. The ideal of Symphilosophie, which was integral to Romantic epistemology, created possibilities for women to participate in philosophical discussion, albeit not on equal terms with men. This suggested that perhaps Symphilosophie between women could be more equal and reciprocal. However, interpreters have considered the Sym- in Günderrode and

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20

Juvan, Marko. "Irony and sentiment in the literary field: Prešeren’s sonnets and the Slovenian alphabet-censorship war." Neohelicon, October 19, 2023. http://dx.doi.org/10.1007/s11059-023-00714-9.

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AbstractRestoration censorship forced European Romantic literature to retreat from society and politics into subjective intimacy, fantasy, mythology, history, and exotic places. In addition to conforming to restrictions, however, censorship also led writers to evade its control (pseudonyms, publication abroad, allusive style) and, more rarely, to overt or covert rebellion (petitions, satire, etc.). An example of this is the German sonnets written by the Slovenian romanticist France Prešeren in the mid-1830s as a poetic response to the public controversy over the cultural strategies of national

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21

Douka-Kabitoglou, Ekaterini. "Varia: Beauty and/(n)or Truth: A (Hermeneutic) Rhetoric of the Aesthetic." VTU Review: Studies in the Humanities and Social Sciences 4, no. 1 (2020). http://dx.doi.org/10.54664/wusw7936.

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“Tell all the Truth but tell it slant –,” a line of poetry by the nineteenth-century American poet Emily Dickinson can be used as a signpost for this article, which attempts a hermeneutic regress from the postmodern to the archaic, in search of a rhetoric for the aesthetic. In this textual tour, some of the master narratives of our culture examining various versions of the story of beauty and truth are visited, and more specifically (always in backward motion), the work of the postmodern theorists Paul de Man and Jacques Derrida, the German philosophers Hans-Georg Gadamer and Martin Heidegger,

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22

Stemmann, Anna. "Tannengrund und Wald." Jahrbuch der Gesellschaft für Kinder- und Jugendliteraturforschung, December 1, 2020, 122–33. http://dx.doi.org/10.21248/gkjf-jb.57.

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Artikelbeginn:[English title and abstract below] In Ludwig Tiecks Die Elfen (1812) und E.T.A. Hoffmanns Das fremde Kind (1817) nehmen Naturräume eine zentrale Position ein. Insbesondere der Wald ist als ein Kindheitsraum besetzt, der ambivalent konnotiert ist. Im Wald können sich die kindlichen Figuren fernab der Eltern autonom bewegen, dennoch geht diese Raumaneignung auch mit bedrohlichen Erfahrungen einher, die die aufstörenden Ablösungsprozesse in der Kindheit verdeutlichen. Into the WoodsConstructions of Fragile Childhood in Ludwig Tieck’s Die Elfen and E.T.A . Hoffmann’s Das fremde Kind

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23

Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi

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24

Beyer, Sue. "Fantasyland Autofiction." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3104.

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This essay explores a return to hope and romanticism by contemporary artists looking at themes of fantasy worlds and mapping imaginary lands as a type of autofiction. These fantasylands are created in collaboration with hallucinating machine learning platforms, as a tool for contemporary art-making. Seen through the framework of Metamodernism, how does AI hallucination contribute to Metamodern structure of feeling? AI, as part of the metacrisis, places society and culture in a type of no man’s land or in-between, where rapid and unchecked advancements in machine learning and generative technol

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Tacchi, Jo, and Lawrence English. "Jam." M/C Journal 9, no. 6 (2006). http://dx.doi.org/10.5204/mcj.2676.

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   ‘Jam’ enjoys a varied set of associations. It’s a responsive term that reflects shifts in technologies of all sorts – from the kitchen to the web and just about everything in between. Over the past century, associations of jam, jamming and being jammed have collided with and guided popular culture in innumerable ways. An example being Mel Brooks’ humorous problematisation of the word via his ‘jamming’ skit in Spaceballs, where the use of a particular flavour of jam (hurled in a giant space jam jar shatter on the radar of Dark Helmet’s flagship) signified a particular enemy

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Connor, Will. "Making It Magical." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3006.

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In the late 2010s, I owned and operated a bespoke drum-building company, and during that time, I was commissioned to build a frame drum by the partner of a musician who was also a magic practitioner. The commission was fitting despite my business not being related to magic or Paganism directly. I have been working with drum construction in all of my research projects during my academic career, a touring percussionist for decades, and the company focussed on making drums inspired by Lovecraftian narratives and Lovecraftian Futurist music. Due to the nature of Lovecraftian horror and science fic

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Waelder, Pau. "The Constant Murmur of Data." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.228.

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Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, p

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