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Journal articles on the topic 'Neo-romantic'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Klimenko, Irina. "Jack London’s Neo-romantic Techniques." Stephanos. Peer reviewed multilanguage scientific journal 30, no. 4 (July 31, 2018): 151–57. http://dx.doi.org/10.24249/2309-9917-2018-30-4-151-157.

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2

Markova, E. A. "Romantic and Neo-Romantic in W. B. Yeats’s Poetry." Nauchnyy dialog, no. 2 (2019): 105–15. http://dx.doi.org/10.24224/2227-1295-2019-2-105-115.

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3

Smith, Craig R. "Constructing a Neo-Romantic Rhetorical Theory." Western Journal of Communication 80, no. 2 (February 16, 2016): 220–37. http://dx.doi.org/10.1080/10570314.2015.1137102.

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4

Rosenblum, Robert. "A Postscript: Some Recent Neo-Romantic Mutations." Art Journal 52, no. 2 (1993): 74. http://dx.doi.org/10.2307/777241.

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5

Rosenblum, Robert. "A Postscript: Some Recent Neo-Romantic Mutations." Art Journal 52, no. 2 (June 1993): 74–84. http://dx.doi.org/10.1080/00043249.1993.10791512.

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6

Chumak, T. "Neo-Romantic Visions of Lesia Ukrainka’s Landscape and Intimate Lyrics." Mìžnarodnij fìlologìčnij časopis 12, no. 2 (April 22, 2021): 48–55. http://dx.doi.org/10.31548/philolog2021.02.048.

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7

Litvinenko, Ninel A. "The concept of “neo” and the novels of G. Rodenbach: between romanticism and symbolism." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (December 15, 2020): 682–91. http://dx.doi.org/10.22363/2312-9220-2020-25-4-682-691.

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Various forms of transition in literature and art of the turn of 19th and 20th centuries havent been explored enough. The use of the concept of neo allows to clarify the ideas of neo-romanticism that have developed in modern science. The article analyzes the novel heritage of the Belgian writer Rodenbach as a transitional phenomenon that brings together the writer's tetralogy with romanticism, Parnassus and symbolist French poetry; as well as phenomenon that organically includes Belgian literature in the European space of intertextuality. It is proved that addressing the problems of art, the artist-creator, the beautiful soul, connects Rodenbach with the traditions of Yens romanticism, at a new stage of development of literature generates a transformation of the myth of romanticism. The ideal of art is not subject to devaluation, but the artist, who lives in society, always fails. Indulging in earthly passion, coming into conflict with society and himself, he doesnt keep faith in his beliefs. Real life creates illusions and self-deception, leading the character to disaster. Rodenbach uses a romantic model of mythologization, saturating it with symbolic allusions and signs, on the eve of modernism creates a neo-romantic novel synthesis.

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8

Brand, C. P. "Dante and the Middle Ages in Neo-Classical and Romantic Criticism." Modern Language Review 81, no. 2 (April 1986): 327. http://dx.doi.org/10.2307/3729699.

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9

Saghir, Sana, Naumana Amjad, Amir Saeed, and Saira Batool. "Personality, Romantic Attitude, and Happiness in Young Adults." Pakistan Journal of Psychological Research 34, Spring 2019 (March 30, 2019): 175–89. http://dx.doi.org/10.33824/pjpr.2019.34.1.10.

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The present study investigated the relationship between personality traits, romantic attitude, and happiness in young adults. It was hypothesized that a positive relationship exists between extraversion, agreeableness, openness, romantic attitude, and happiness whereas neuroticism is negatively correlated with happiness. Nonprobability convenience sample of 150 students (85 women, 65 men), with age range of 18-25 years (M = 21.76, SD = 1.35) were selected from 3 educational institutions of Lahore. Neo Five-factor Inventory (Costa & McCrae, 1992a), Romantic Attitude Scale (Zafar & Amjad, 2012) and Oxford Happiness Questionnaire (Hills & Argyle, 2002) were used to assess study variables. Correlation analyses revealed a significant positive relationship of extraversion, agreeableness, conscientiousness, and openness to experience with happiness. Romantic attitude had significant positive relationship with neuroticism, extraversion, and agreeableness. There was a significant negative relationship between neuroticism and happiness. Neuroticism, openness to experience, and extraversion were significant predictors of happiness. Neuroticism was the strongest significant negative predictor of happiness. Findings are discussed in view of theoretical and empirical implications.

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10

Guinn, Matthew. "The Neo-Romantic in the Natural World: Naturalism in James Dickey's Poetry." South Atlantic Review 62, no. 1 (1997): 87. http://dx.doi.org/10.2307/3201200.

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11

Nicholls, D. "Voices in the Wilderness: Six American Neo-Romantic Composers. By Walter Simmons." Music and Letters 88, no. 4 (September 17, 2007): 704–6. http://dx.doi.org/10.1093/ml/gcm038.

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12

Gowan, Teresa. "New Hobos or Neo-Romantic Fantasy? Urban Ethnography beyond the Neoliberal Disconnect." Qualitative Sociology 32, no. 3 (June 17, 2009): 231–57. http://dx.doi.org/10.1007/s11133-009-9133-5.

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13

Murphy, Scott. "A Model of Melodic Expectation for Some Neo-Romantic Music of Penderecki." Perspectives of New Music 45, no. 1 (2007): 184–222. http://dx.doi.org/10.1353/pnm.2007.0015.

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14

Levchyk, Nadiia L. "Poetical World of Borys Hrinchenko." Слово і Час, no. 12 (December 20, 2019): 33–43. http://dx.doi.org/10.33608/0236-1477.2019.12.33-43.

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The paper focuses on the ﬁ gurative, style, and genre characteristics of B. Hrinchenko’s poetry. Three stages have been distinguished: early poetry of the 1880s, poems of the 1890s, and those of the1900s. The ﬁ rst period is marked by a thematic and formal imitation of T. Shevchenko, I. Manzhura, V. Zabila, etc., and yet the originality of poetic talent, attested by the poems “The Tiller”, “Sad Views”, and others, is evident. In terms of genre and style, the civic poetry prevails, in which the leading motive is work, sometimes interpreted as commitment to the beneﬁt of others (1880s), and sometimes as an immanent internal need of an individual (1900s). The researcher traces the dynamics of the lyric hero, being deﬁ ned mostly by the moral imperative. In B. Hrinchenko’s poetry of the late 1890s, philosophy and sensuality deepened, and as a consequence the lyrical hero changed; the strong-willed personality with a neo-romantic outlook emerges. The topicality of neo-romantic ideas for the poet is indicated by the interpretation of the motive of spiritual leadership, as a feature that characterizes someone who is able to elevate others to his level. The syncretism of the types of artistic understanding of reality is evident in Hrinchenko’s poems. The poems of the 1880s and 1890s were dominated by the positivist worldview, and the poetry at the turn of the century was rather focused on the subjective and emotional, neo-romantic perception of the world, although not devoid of the ‘two worlds’ concept of the late romanticism. Meditative and epical lyrics noticeably prevail in Hrinchenko’s genre system, due both to the thematic material and the focus on the reader. The most frequent were reﬂection, appeal, invective, and song genres, mainly romance, for example “The Soul is Burning, and the Heart is Singing.” Knowledge of folklore, interest in the Cossack era and the history of the Cossack state gave Hrinchenko material for his works; he wrote about twenty poems interpreting the history of Ukraine.

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15

Walker, Luke. "Allen Ginsberg's ‘Wales Visitation’ as a neo-Romantic response to Wordsworth's ‘Tintern Abbey’." Romanticism 19, no. 2 (July 2013): 207–17. http://dx.doi.org/10.3366/rom.2013.0133.

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16

Коржова, Инесса Николаевна. "ON THE QUESTION OF K. SIMONOV’S CREATIVE EVOLUTION: FROM «THE RETURN» TO «FIRST LOVE»." Вестник Тверского государственного университета. Серия: Филология, no. 1(68) (April 9, 2021): 25–37. http://dx.doi.org/10.26456/vtfilol/2021.1.025.

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В статье представлен сопоставительный анализ поэм «Возвращение» и «Первая любовь», являющейся переработкой первой. Создавая образ главного героя, Симонов переходит от типа неоромантического странника к реалистически усложненному образу представителя поколения. В структуре нового сюжета романтические мотивы изменяют семантику, усложняется форма повествования, появляется психологическая нюансировка образов героев. The article presents a comparative analysis of the poems «The Return» and «First love», the latter being is a reworking of the first one. Creating the image of the main character, Simonov moves from the type of neo-romantic wanderer to a realistically complicated image of the generation representative. In the structure of the new plot, romantic motives change the semantics, the form of the narrative becomes more complex, and the psychological nuances of the characters’ images appears.

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17

Almăşanu, Carmen. "Values of neo-protestant choral works in Romania." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 265–79. http://dx.doi.org/10.2478/ajm-2019-0016.

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Abstract Borne from the relevant and efficient expression in the context of contemporary culture, neo-protestant choral spirituality uses a diversified and meaningful language. From the very beginning of the existence of neo-protestant cults on the territory of our country, the establishment of a liturgical repertoire intended for common intonation or by various choral or vocal-instrumental bands has been one of the primordial preoccupations. Along with choral creations translated from the universal literature, there is a significant number of original works created by Romanian composers within the religious services. Due to extremely diverse themes and extrovert character, neo-protestant choral music includes different styles specific to the great tradition of classical, romantic or modern music as well as influences from the extra-European sphere. The text of these creations, which has biblical inspiration or created by the composer, is a means of great diversification in the reproduction of the sound material. Composers and arrangers with high quality music training and a profound understanding of biblical truths, through sound art wanted to contribute to the enrichment of contemporary neo-protestant choral music repertoire, leaving posterity a significant amount of valuable choral pages as inheritance.

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18

Haglund, Magnus. "Mimitabu at Atalante, Gothenburg." Tempo 71, no. 281 (June 21, 2017): 91–92. http://dx.doi.org/10.1017/s0040298217000365.

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Why Swedish contemporary music over the past few decades has been such a provincial affair is a mystery. Most of the pieces receiving critical attention from the media are using neo-Romantic aesthetics – bombastic orchestral sounds more connected to the world of Richard Strauss than Helmut Lachenmann. Hearing this type of music, often characterised by its excesses of art nouveau ornamentations, one may wonder what century one is living in. Where is the contemporary world?

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19

Ináncsi, Tamás, András Láng, and Tamás Bereczkei. "A darker shade of love: Machiavellianism and positive assortative mating based on romantic ideals." Europe’s Journal of Psychology 12, no. 1 (February 29, 2016): 137–52. http://dx.doi.org/10.5964/ejop.v12i1.1007.

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Machiavellianism is a personality trait that is characterized by manipulative and exploitative attitude toward others, lack of empathy, and a cynical view of human nature. In itself or as part of the Dark Triad it has been the target of several studies investigating romantic relations. Nevertheless, the relationship between Machiavellianism and romantic ideals has not been revealed yet. An undergraduate sample of 143 (92 females) with an average age of 19.83 years (SD = 1.51 years) filled out self-report measures of Machiavellianism (Mach-IV Scale) and romantic ideals (Ideal Standards Scale and NEO-FFI-IDEAL). According to our results, Machiavellianism correlated negatively with the importance of partner’s warmth-trustworthiness, extraversion, openness, agreeableness, and with the importance of intimacy and loyalty in their ideal relationships. Machiavellianism correlated positively with the ideal partner’s possession over status and resources. Explorative factor analysis revealed three components of ideal partner’s characteristics. Machiavellianism loaded significantly on two out of three components. Results are discussed with regard to Ideal Standards Model and the Big Five model of personality.

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20

Johnson, Bret. "Voices in the Wilderness: American Neo-Romantic Composers by Walter Simmons. Scarecrow Press, $69.95." Tempo 59, no. 232 (April 2005): 72. http://dx.doi.org/10.1017/s0040298205250167.

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21

Plokharsky, A. E. "The archetype of the writer in a neo-romantic novel Tristan by Thomas Mann." Herald of Dagestan State University 34, no. 3 (2019): 21–30. http://dx.doi.org/10.21779/2542-0313-2019-34-3-21-30.

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22

Thomas, Priya A. "Dancing muses, roller disco and the phantasmagoric feminine: Reanimating Terpsichore in the movie musical Xanadu (1980)." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 53–65. http://dx.doi.org/10.1386/smt.13.1.53_1.

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This article takes as its main focus Robert Greenwald’s cult classic movie musical, Xanadu (1980). Reconsidering Xanadu’s distinction as one of the most critically and commercially panned films produced in Hollywood history, my reading uncovers the ways in which the musical’s campy, neo-mythological iteration of Terpsichore resuscitates key Romantic leitmotifs of the muse as technosensual, airborne woman. Focusing on the roller skate as wearable technology, I trace Xanadu’s muse to its historical predecessors. By extension, I reveal how the moving body’s prosthetic territories (i.e. the roller skate and the pointe shoe) and motion media technologies play a central role in reviving Xanadu’s muse as the ‘phantasmagoric feminine’, forming an enduring point of intersection between dance and musical theatre. I develop and theorize this term ‘phantasmagoric feminine’ within the article in reference to a constellation of representational strategies used in the history of Romantic ballet.

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23

Barringer, Tim. "‘I am a native, rooted here’: Benjamin Britten, Samuel Palmer and the Neo-Romantic Pastoral." Art History 34, no. 1 (January 14, 2011): 126–65. http://dx.doi.org/10.1111/j.1467-8365.2010.00796.x.

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24

Hockenhull, Stella. "Neo-Romantic landscapes: aesthetic approaches to the wartime films of Michael Powell and Emeric Pressburger." Film International 4, no. 5 (October 2006): 38–45. http://dx.doi.org/10.1386/fiin.4.5.38.

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25

Osmuhina, O. Yu. "Specifics of the Breaking of Neo-Romantic Tradition in the Work of R. L. Stevenson." Nauchnyy dialog, no. 11 (2019): 173–85. http://dx.doi.org/10.24224/2227-1295-2019-11-173-185.

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26

Morgan, Clare. "VANISHING HORIZONS: VIRGINIA WOOLF AND THE NEO-ROMANTIC LANDSCAPE IN BETWEEN THE ACTS AND 'ANON'." Worldviews: Global Religions, Culture, and Ecology 5, no. 1 (2001): 35–57. http://dx.doi.org/10.1163/156853501750191571.

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AbstractMuch current scholarship has concentrated on Virginia Woolf as political writer. Such scholarship argues, on the one hand, that Woolf has little truck with nationalism, and, on the other, that she endorses the value of an inclusive community. This essay explores, through a concentration on her treatment of landscape, how Woolf's vision of art and of England comes to be grounded in the inter-war zeitgeist of Neo Romanticism, a grounding that significantly alters our perception of the role both nation and community play in her work.

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27

PRIYMAK, I. "STYLISTIC DOMINANTS OF OKSANA KERCH’S NOVEL «NARECHENY»." Current issues of linguistics and translation studies, no. 19 (October 30, 2020): 89–92. http://dx.doi.org/10.31891/2415-7929-2019-19-18.

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The article examines the work of Oksana Kerch – a representative of the literary process of the interwar period in Halychyna. Her work is considered in relation to the general artistic trends of the day, in particular in terms of stylistic features of the writer’s prose. For a long time, her work, removed from the cultural process, was on the margins of literary criticism. Although Oksana Kerch’s prose is unknown to the general public, her artistic heritage is original and distinctive. At one time, the writer’s works were published on the pages of well-known periodicals, such as “Women’s Fate”, “Nova hata”, “Ukrainian News”, and were published in separate prints. The return of the artistic figure of Oksana Kerch to the all-Ukrainian literary process necessitated a comprehensive study of her creative heritage. In particular, it is important to consider the genre and style specifics of the writer’s novels. The novel “The Groom” is bright and original in the writer’s artistic work. In this novel the author recreates the dramatic events of the interwar decades in Halychyna. A notable feature of the work is autobiography – the writer herself witnessed those turbulent events of the struggle of Ukrainian patriotic youth for their national identity. The novel consists of twenty-one stories. The four main characters take turns telling about the life of military and interwar Lviv and its inhabitants. On the printed pages, the author created a unique figurative world that reflected the conflicts of the era. In the novel, Oksana Kerch recreates the environment in which the ideas of the national liberation movement are born, and through the perception of her own national identity, she models neo-romantic ideals on her way to serve the native people. The neo-romantic concept is vividly embodied in the pages of the work. Here the author continues the tradition that has developed in Ukrainian neo-romanticism – the dominance of the theme of Ukraine, the struggle for its independence.

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28

Gazaneo, Jorge O., and Jorge A. Gazaneo. "The Basilica of Our Lady of Luján: transculturation to thepampasof romantic sensibility and Neo-Gothic theories." Journal of Architecture 17, no. 4 (August 2012): 493–540. http://dx.doi.org/10.1080/13602365.2012.709015.

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29

이태준. "A Study on the Romantic Inclination of Wu-Mi, a Pioneer in Neo-Humanism of China." Journal of Foreign Studies ll, no. 30 (December 2014): 371–402. http://dx.doi.org/10.15755/jfs.2014..30.371.

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30

Antliff, Mark. "Pacifism, Realism, and Pathology: Alex Comfort, Cecil Collins, and Neo-Romantic Art during World War II." Modernism/modernity 27, no. 3 (2020): 519–49. http://dx.doi.org/10.1353/mod.2020.0039.

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31

Ulanova, A. E. "The image of the opponent of technological innovation in Galley Slave by A.Asimov: modern interpretation." Concept: philosophy, religion, culture 4, no. 2 (July 31, 2020): 135–43. http://dx.doi.org/10.24833/2541-8831-2020-2-14-135-143.

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The image of Simon Ninheimer — the opponent of scientific and technological progress — is described by A. Azimov in the story «Galley Slave». It is used to develop the idea of resistance to mechanization, which is now finding increasingly supporters due to the increased influence of information and communication technologies in general and artificial intelligence and robotics in particular. The historical and conceptual foundations of neo-luddism are linked with modern trends calling for a gradual, controlled innovation. It is noticed that the ideas of the luddites have been preserved in romantic literature and transformed into neo-luddism in the 20th century. The theorists of this movement use philosophical concepts of different epochs (e.g. Socrates, J.-J. Rousseau and M. Heidegger) to confirm the legitimacy of their own status. As a result, in the 21st century more moderate areas of struggle against scientific and technological progress are actively developing under the influence of postmodernism. For example, the slow movement is growing strength, and its supporters are trying to slow down the pace of life and are calling for a thoughtful, responsible attitude towards emerging technologies. The positions underlying the slow movement are in tune with the dromology of P. Virilio and the slow philosophy of G. Fleistad. However, neo-luddism has social status of counterculture, but the situation can be changed due to the rapid and sometimes uncontrollable development of technology.

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32

Khachatryan, N. M. "NEO-ROMANTIC ARCHITECTONICS OF SPACE IN THE NOVEL "TWENTY THOUSAND LEAGUES UNDER THE SEA" BY JULES VERNE." Filologické vědomosti 2, no. 4 (November 13, 2017): 43–47. http://dx.doi.org/10.24045/fv.2017.4.8.

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33

Golikova, Guzel, and Irina Khairova. "The “little man” in Tatyana Tolstayas prose." Przegląd Wschodnioeuropejski 8, no. 1 (July 1, 2017): 289–99. http://dx.doi.org/10.31648/pw.3620.

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The aim of the article is to reveal peculiarities of implementation of the theme and the image of the “little” person in the stories by Tatyana Tolstaya, show artistic form of interaction with Gogol and Gogol’s images according to the particular aesthetics of the writer. Playing with Gogol’s characters – Bashmachkin, old-world landowners, using Gogol’s chronotope, the composition, the writer translates the classic theme in ironic-parody plan. Neo-romantic orientation of Tolstaya’s texts leads to the existence of a particular philosophical component. Postmodern dominant determines the game with “word”: citations, intertextuality. Special aesthetic game with the classics allows the writer to convey the nature of the modern era, the cynicism and absurdity.

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34

Biryulov, Yuri. "NEW JEWISH STYLE IN LVIV ARCHITECTURE: THE HISTORIC TRANSFORMATION IN THE URBAN SPACE." Architecture and Engineering 5, no. 4 (2020): 18–27. http://dx.doi.org/10.23968/2500-0055-2020-5-4-18-27.

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Introduction: The phenomenon of expressing national identity in architecture is manifested in many countries and cities. In this article, it is considered in the context of Lviv with the main focus on Jewish architects. Purpose of the study: We are planning to study the process of the emergence of a new Jewish style in the architecture of Lviv from the mid-19th century to the first decades of the 20th century in the context of urban development, and consider the formation of a characteristic art language, together with the corresponding symbolic elements of décor. Methods: We use a comprehensive art approach, which involves the method of systematization for material processing, comparison and synthesis. In the course of the study, we applied comparative analysis, as well as elements of systematic analysis of the Jewish architecture evolution. Results and discussion: We conclude that the architects used several strategies and theories to express Jewish cultural identity in their works, in particular, neo-romantic transformations of medieval, Renaissance and Oriental architecture, rethinking in the spirit of Art Nouveau of the Neo-Moorish style, incorporation of old regional architecture motifs, applying decor saturated with Jewish symbols.

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35

Spólna, Anna. "Dispersed messianism. Wojciech Wencel’s Epigonia and Polonia Aeterna." Świat i Słowo 35, no. 2 (November 26, 2020): 109–25. http://dx.doi.org/10.5604/01.3001.0014.5467.

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The article shows forms that neo-romantic messianism takes in Wojciech Wencel’s poetry volumes Epigonia and Polonia aeterna. The Polish nation, understood as a primordial community, is depicted through the prism of national-conservative clichés, taken from freely interpreted Sarmatian literature and Mickiewicz’s romanticism. The hero of Wencel’s poems has a sense of mission as a guide for his compatriots through the traps of late modernity and as a guardian of national memory. The language of this poetry, ostentatiously old-fashioned, serves to sacralize history seen as a continuum of struggle and martyrdom. Both books demonstrate a strongly internalized, martyrological-heroic concept of the messianic calling of Poland – although not expressed as directly as in the preceding volume, De profundis.

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36

Korolyova, Vera V. "STYLISATION OF ‟HOFFMANN’S COMPLEX” IN THE STORIES BY ALEKSANDR CHAYANOV." Vestnik of Kostroma State University, no. 3 (2020): 159–64. http://dx.doi.org/10.34216/1998-0817-2020-26-3-159-164.

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The Hoffmann’s layer of intertext in the neo-romantic stories of Aleksandr Chayanov is manifested systematically in the form of «Hoffmann’s complex», which was formed at the turn of the 19th – 20th centuries and it is a part of «Hoffman text of Russian literature». Aleksandr Chayanov’s stories are his own modernist text, which includes not only features of Ernst Theodor Amadeus Hoffmann’s poetics, but also the totality of the subsequent of Hoffmann’s tradition, which was refracted in the works of Russian writers of the late 19th – early 20th century. One of the important aspects of the article is the analysis of individual elements of «Hoffmann complex», which are reflected in Aleksandr Chayanov’s stories (romantic irony and grotesque, psychologism, the problem of violent influence on the personality of another, the problem of echanisation of life and human, symbol images of the mask, doll, automaton, puppet and double, the symbol image of the mirror). Aleksandr Chayanov’s work becomes the final stage in the functioning of «Hoffmann’s complex « in the Fin de siècle and it is characterised by a conscious «play» with Ernst Theodor Amadeus Hoffmann’s style, images and plots, which allows us to talk about stylisation as one of the artistic techniques in Aleksandr Chayanov’s stories.

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37

Shunikov, Vladimir L. "RUSSIAN LITERATURE IN THE DIGITAL AGE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 102–14. http://dx.doi.org/10.28995/2686-7249-2021-3-102-114.

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The article examines the influence of digital technologies on Russian literature. The author explores new poetic formations caused by Web impact. Transformation of the author’s and reader’s competencies, ideas about a literary work and its language are discussed. Web as a literary startup determines the further creative path of the writers. Network “navigators” that help the reader look around the current literary situation are named. The opposition “literature – network literature” leads to the literary phenomena, which are functioning only on Internet. The most significant of such projects, features of text generating and reception on Web are noted. The researcher points to the implementation of different sub-paradigms of modern literature (postmodern, neo-naturalist, avant-garde, neo-sentimentalist, post-romantic, etc.) using the principles of Internet communication. The most representative phenomena of Internet creative work are characterized: blog literature in its various incarnations, both the invariant features of the blog discourse – and the searches of modern authors using that form. Modernization of genre strategies, the precedent of network drama, influence of computer games on the literary poetics are considered. Language renovations, attempts to generate texts by neural networks and other experiments that form the “digital poetics” of the newer literature are discussed.

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38

Ying, Zheng. "Big heroine dramas in contemporary China: Costume, authenticity and an alternative history of women of power." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 211–38. http://dx.doi.org/10.1386/scp_00026_1.

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Big heroine dramas (da nü zhu jü) – a specific category of Chinese costume dramas – have been popular recently, due to the big market of female audiences/consumers in China, and brought up fierce debates on feminism. The shows, written by female authors, are about the stories of powerful women in imperial China. A critical hypothesis here is that the shows combine the figuration of ancient, powerful women and a persona of neo-liberalist feminism. Why do audiences accept the anachronism of big heroine dramas, and how does historical authenticity become coherent with a modern narrative? With costume as an analytical corpus, this article involves the approaches of feminist theory, historical theory and costume studies. The costumes of big heroine dramas are a hybridity of authentic antique and imaginary design. They contribute to building up historical authenticity and the neo-liberalist ideas of power and hierarchy. Costumes thus become the field where the authenticity of the past folds with the reality of the present. Meanwhile, big heroine dramas rewrite an alternative history of powerful women for women audiences. The assemblage of historiography and modern feminist fiction offers rebellious narratives that disturb the state-advocated notion of heterosexual romantic relationships, marriage and family.

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Dufka, Ámos, Pavla Rovnaníková, and Rostislav Drochytka. "Investigation of the Causes of Colour Inconsistency in the Facades of Vrchotovy Janovice Castle." Advanced Materials Research 688 (May 2013): 45–52. http://dx.doi.org/10.4028/www.scientific.net/amr.688.45.

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The paper deals with the causes of pronounced colour inconsistency in the facades of Vrchotovy Janovice Castle. The original stone Gothic fortress has undergone a number of reconstructions, the last one taking place in the mid 19th century when the castle acquired its current neo-Gothic, romantic look. At the beginning of the second half of the 20th century the sporadic maintenance of the castle led to a decline in facade quality and the eventual restoration was very insensitive. Major restoration work was carried out on the facades in 2006 but once this was complete, the renewed facades started to show marked colour inconsistency. This paper analyses the causes of these defects with regard to the technological processes applied and sets out possible steps that can be taken to eliminate them.

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Bretherton, David. "The Musico-Poetics of the Flat Submediant in Schubert's Songs." Journal of the Royal Musical Association 144, no. 2 (2019): 239–86. http://dx.doi.org/10.1080/02690403.2019.1651495.

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AbstractComposers' increasing and increasingly evocative use of chromatic mediants during the first few decades of the nineteenth century is arguably a hallmark of early Romantic harmony. The apparent association in Schubert's songs between ♭VI and the representation of utopia, fantasy, reverie, dreams and other positive, other-worldly states has been noted by many scholars. However, the fact that he also occasionally employed ♭VI to portray darker sentiments is rarely commented on and questions the degree to which the ♭VI harmony itself acts as a positive, other-worldly signifier. This article accounts for these various opposing uses and proposes that surface voice-leading details (ones that are often overlooked by Schenkerian and neo-Riemannian approaches) are key to understanding the musico-poetics of ♭VI in Schubert's songs.

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Hiroshi Uemura. "From Romantic localism to a new aesthetics of place - Rethinking locality via the example of the Neo Mingei movement -." Korean Journal of Art and Media 16, no. 1 (May 2017): 11–30. http://dx.doi.org/10.36726/cammp.2017.16.1.11.

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Kobzan, L. A. "“HOMO NOVUS” IN THE NEO-ROMANTIC VIEW OF THE WORLD IN THE WORKS OF J. CONRAD AND O. GRIN." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 30(69), no. 2 (2019): 95–99. http://dx.doi.org/10.32838/2663-6069/2019.2-2/19.

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Laes, Christian. "Close Encounters? Giovanni Pascoli's Crepereia Tryphaena (1893): Accessing Roman Childhood Through the Lens of a Romantic Neo-Latin Poem." Classical World 112, no. 4 (2019): 335–55. http://dx.doi.org/10.1353/clw.2019.0044.

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BURNS, ROBERT G. H. "German symbolism in rock music: national signification in the imagery and songs of Rammstein." Popular Music 27, no. 3 (October 2008): 457–72. http://dx.doi.org/10.1017/s0261143008102239.

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AbstractIn this article, I discuss aspects of national identity in the performance style of the German rock band Rammstein from the perspectives of imagery, vocal style and the textual content of their songs. Investigation into Rammstein’s music reveals transformations of signifiers from earlier German performance styles and earlier textual themes that the band use as a means of relocating notions of German identity into their own performances. The adoption of national German signifiers enables Rammstein to establish connections between the band and the growth of national awareness among German youth who follow them. In this way, marketing and promotion of notions of a new national German identity to generations unaware of the origins of neo-romantic, national German signifiers in Rammstein’s music supports a successful commercial enterprise that, I argue, runs close to boundaries existing between national and nationalist.

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Karácsony, Noémi, and Mădălina Dana Rucsanda. "Influences of Classical Indian Music in Albert Roussel’s Evocations." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 125–41. http://dx.doi.org/10.24193/subbmusica.2021.1.09.

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"An important figure of early 20th century music, the French composer Albert Roussel was deeply influenced by his encounter with India, which led to the composition of several orientalist works. The present paper aims to disclose the influences of classical Indian music in the orchestral work Evocations. Despite the Impressionist sound of the musical discourse, a careful analysis reveals the incorporation of several scalar structures in which Hindu rāgas can be recognized. Roussel goes beyond the musical representation of India: his goal is not the creation of a musical work with powerful oriental sound, but the evocation of the impact this encounter had on his creation. Situated at the crossroad of several stylistic orientations, Roussel incorporates Impressionist, Neo-classical and Post-romantic influences in rigorously devised structures, aiming to create an unusual and novel sound. Keywords: Albert Roussel, orientalism, Impressionism, India, rāga "

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Berenbein, I. "Neo-romantic features of Valentin Kostenko (on the example of the cycle "12 romances on the words of Lesia Ukrainka")." Ukrainian musicology 44 (December 19, 2018): 58–66. http://dx.doi.org/10.31318/0130-5298.2018.44.0.152859.

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Smith, Amy. "‘The far-off hills of the imagination’: W.R. Rodgers and the Second World War." Irish University Review 46, no. 2 (November 2016): 309–23. http://dx.doi.org/10.3366/iur.2016.0229.

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According to most accounts of the literary history of Northern Ireland, the flourishing of poetry during the late 1960s marked a radical departure from the creative stagnation of the preceding decades; Heaney, Mahon, Longley, and others sought to establish poetic roots in a relatively barren landscape. In this essay I challenge such preconceptions by exploring aspects of a loosely-formed coterie of poets who lived and wrote in Northern Ireland during the Second World War. Perhaps the most popular figure within this group was the Presbyterian minister W.R. Rodgers, whose neo-romantic idiom and Audenesque ideas received many favourable reviews throughout Britain and Ireland. Focusing on Rodgers, I identify the central concerns which united an otherwise diverse group of writers: left-wing political conviction and a desire to see radical social change. In Rodgers's poetry, this theme is communicated through his repeated use of the symbol of the airman.

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MURPHY, SCOTT. "In the Beginning of Penderecki's Paradise Lost." Twentieth-Century Music 10, no. 2 (August 12, 2013): 231–48. http://dx.doi.org/10.1017/s1478572213000030.

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AbstractInstead of using Milton's famous opening lines, librettist Christopher Fry begins the text for Krzysztof Penderecki's opera Paradise Lost with the invocation that opens Book III, which alludes to acts of creation both biblical and literary. While the primordial effects of Penderecki's instrumental introduction to the opera parallel this allusion in easily discernible ways, his melodic lines used within this introduction also parallel this allusion in ways understood using recent theoretical perspectives on the composer's neo-Romantic style. These melodies exhibit a rare feature of paradoxicality, in that they are at once finite and infinite within stylistic constraints. This musical paradox corresponds to notions of paradox in accounts of cosmological creation, in a literary-operatic creation in which the author is character, and in the hypostatic union of the divine and human in Jesus Christ, a union foregrounded more in Fry's and Penderecki's opera than in Milton's original poem.

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Górska, Magdalena. "Psychometric Properties of the Polish Version of the Interpersonal Competence Questionnaire (ICQ-R)." European Journal of Psychological Assessment 27, no. 3 (January 2011): 186–92. http://dx.doi.org/10.1027/1015-5759/a000066.

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This article presents the development and validation of the Polish version of the Interpersonal Competence Questionnaire – Revised (ICQ-R; Buhrmester, 2002 ; Buhrmester, Furman, Wittenberg & Reis, 1988 ). A total of 372 pupils and students (222 women and 150 men) aged 18–25 were studied. The instrument’s five-factor structure was confirmed and its reliability was satisfactory. Construct validity was investigated with respect to the NEO-FFI and to information on the participants’ relationship experiences and satisfaction with life. The majority of the ICQ-R scales correlated positively with Extraversion and Conscientiousness and negatively with Neuroticism. Participants who had never been in a romantic relationship were less interpersonally competent than participants who had such an experience. Competence was also related to the duration of the longest relationship and the number of relationships. Life satisfaction correlated positively with all the ICQ-R scales except Conflict Resolution.

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Greenberg, Joy H. "From Sacred Grove to Dark Wood to Re-enchanted Forest (Part I): The Evolution of Arborphilia as Neo-romantic Environmental Ethics." Journal for the Study of Religion, Nature and Culture 9, no. 4 (October 27, 2015): 376–413. http://dx.doi.org/10.1558/jsrnc.v9i4.28905.

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