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Journal articles on the topic 'Romantic sentimentalism'

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Published: 4 June 2025
Last updated: 23 June 2025

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1

Mikirtumov, Ivan B. "Sentimentalism and romantism: the structure of affect." Philosophy Journal 16, no. 4 (2023): 19–34. http://dx.doi.org/10.21146/2072-0726-2023-16-4-19-34.

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The purpose of this article is to describe the structure of sentimental and romantic affects. These structures set the forms of the life of the soul in sentimentalism and romanticism as spiritual movements that determine the epochs of culture. They remain relevant to the present and compete in it. I am starting from the distinction between emotion and affect, which has become one of the main themes of the “affective turn” in social sciences and humanities. Here I follow Brian Massumi and suggest that emotions and affects are dis­tinct entities. Emotion is formed in ontogenesis and works with direct perception as a pri­mary reaction. The affect connects later and can correct the emotion. In the sphere of the symbolic, on the contrary, affects are the first to work, and then emotions can already be connected. The description of the four-part structure of affect as such is given. On its basis, sentimental and romantic assemblages of specific affects arise. Sentimentalism is pluralistic, sees the world as a rhizome, works with the economy of feelings. Sentimental­ist humanity is held together by an empathic pleasure in a variety of feelings. Romanti­cism refers to the nomad and to organic unity. His affects are based on a combination of cognitively comprehended metaphors “grasps”, “lifts” and “carries away” with the in­teroception of the body’s organs. The Romantic offers the experience of ecstatic reincar­nation, performative mental action, and action on behalf of the absolute. Sentimentalism is moving towards deepening individual sensitivity and improving the skills of managing feelings; romanticism, on the contrary, is simplified to low mass affects. The conclusion of the article is that in the complex interactions of the two types of affects, the sentimen­tal ones gradually replace the romantic ones, when and if the ability to control one’s feel­ings is considered as a valuable quality.
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2

TenHouten, Warren D. "Alienation and Emotion: Hegel Versus Sentimentalism and Romanticism." Review of European Studies 11, no. 3 (2019): 1. http://dx.doi.org/10.5539/res.v11n3p1.

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The structuralist and social-psychological perspectives on alienation are described, with attention to Seeman’s contention that the experience of alienation is based more on sentiment than on reason. The passions in early modernity are described, and the eighteenth-century moral sentimentalists Hume, Smith, and Kant are discussed. Romanticism is described as the first self-critique of modernity, as it opposed Enlightenment science, rationalism, and uniformitarianism; it is linked to interiorized emotionality and to diversitarianism. Romantic concepts of alienation include inhibition of natural sexuality, oppressive condition of work, and the loss of an imagined Golden Age before human alienation. Hegel’s Phenomenology outlines a four-stage mode of the undoing of social domination which has a narrative structure consistent with romantic story-telling, but was grounded not in romanticism but in Gnosticism and Lutheran dialectics. Hegel’s critique of sentimentalism and romantism is explored, with Hegel emerging as a dedicated anti-romantic who condemned the sophistry of Schlegel and Novalis’s ‘beautiful soul’, arguing that the self, to be viable, cannot remain encapsulated in inner subjectivity but must rather engage in emotion-laden confrontation with self-willed others in the social world; this requires a positive kind of alienation of the self from itself. Romantic effort to keep the self in itself as protection from the corrupted and corrupting social world was misguided. Hegel was right in asserting that the self is necessarily both subjective and objective, both inner and outer, but wrong in his contention that the self can progress by resolving inner contradictions, for the self, as the core of our personality, rather progresses through incorporating and elaborating contradictions, ambiguities, and polysemantic meanings.
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3

Lenska, S. V. "FEATURES OF POETICS OF SHORT STORY “THE PROUD PAIR” BY P. KULISH." Literary Studies, no. 59 (2020): 112–19. http://dx.doi.org/10.17721/2520-6346.1(59).112-119.

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The short story “The proud pair” by P. Kulishtraditionally regarded in the romantic traditions context. But the plot, the main motives, the characters in thestory, the speech organization of the text are convinced that the elements of romanticism and sentimentalism are intertwined in poetry. At the center of the plot is a tragic love story of Marusya Kovbanivna and Prochor Osaulenko. They were parted due to misunderstanding, then married with others husband and wife, but could not live without each other. The story ends with a tragic interlude. In the short story traits of sentimentalism are presents, such as depicts exaggerated feelings, events that can move the reader, expresses democracy in the image of heroes, emphasizes nobility in their characters, there is a tragic ending.In the image of Marusya pride is hyperbolized as a leading character trait, and it is presented in the title of the story. The genre definition of the work is a story ballad. However, the poetics combines the stylefeatures of romanticism and sentimentalism (portraiture of the heroine, description of the wedding).
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4

Rückert, George. "Translation as sentimental education: Zhukovskij’s Sel’skoe kladbishche." Sign Systems Studies 36, no. 2 (2008): 399–416. http://dx.doi.org/10.12697/sss.2008.36.2.07.

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Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made it possible for Russian poets to think within an entirely new, though by no means foreign system of signs.
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5

Noor, Muhammad Arsyad, Irfan Effendi, and Ahsan Rasyid. "Ekspresi Romantik dalam Puisi Asyiq min Falishtin Karya Mahmud Darwish (Analisis Aliran Romantisme)." `A Jamiy : Jurnal Bahasa dan Sastra Arab 13, no. 1 (2024): 330. http://dx.doi.org/10.31314/ajamiy.13.1.330-347.2024.

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The poem Asyiq min Falishtin is a poem with a romantic flow. This poem contains expressions of Mahmud Dharwis' feelings of longing for the peace and prosperity of Palestine, as well as describing the sadness and suffering suffered by the land of Palestine, so this poem is synonymous with expressions of feelings expressed in the form of expressions. This research is to analyze aspects of romantic expression in this poetry, which does not only focus on romance but the expression of feelings. By using descriptive qualitative research methods, it can be seen that Asyiq min Falisthin's poetry is poetry with a romantic flow, this is proven by the presence of romantic elements, namely the content of the poem tells about me who was hit by longing for the country of Palestine, using words that go back to nature, by calling herself "I" shows individualism, telling about how much the author longs and loves her and the suffering of the people of her country due to colonialism, shows primivism, uses elements of sentimentalism by expressing excessive emotions of sadness and depicting life as if it were strange.
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6

Suslova, Inga V. "Between Sentimentalism and Appocalipsis: Landscape in the Novels by Michel Houellebecq." World Literature in the Context of Culture, no. 14 (20) (2022): 71–80. http://dx.doi.org/10.17072/2304-909x-2022-14-71-80.

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The article analyzes landscape images and motifs of four of the most "visual" novels by the modern French writer Michel Houellebecq. It is clarified that the works under study realize the traditional type of hero for the author (an alienated person) and the plot organization, a "sentimental journey" to the countryside. Rural landscapes are idyllic, made in a classic sentimental-romantic manner, contain traditional attributes of nature, urban are aggressive, monochrome, recreated with the participation of minimalism techniques. In the process of analyzing landscapes in novels, a complex of allusions to modern visual practices and painting of the XIX century is revealed. It is concluded that the inability of Houellebecq’s character to unite with nature expresses the extreme degree of alienation of modern man.
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7

Ismi Kusumaningroem and Ria Candra Dewi. "REPRESENTASI UNSUR-UNSUR ROMANTISME PADA DRAMA KOREA “HYME OF DEATH”." Sasando : Jurnal Bahasa, Sastra Indonesia, dan Pengajarannya Lembaga Penelitian dan Pengabdian Masyarakat Universitas Pancasakti Tegal 7, no. 1 (2024): 24–32. http://dx.doi.org/10.24905/sasando.v7i1.259.

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Abstrak Penelitian ini bertujuan untuk mendeskripsikan unsur romantisme dalam drama Korea Hyme of Death. Penelitian ini menggunakan metode penelitian deskriptif kualitatif dengan teknik analisis data yang terdapat pada adegan, dialog, setting, dan latar cerita yang ada pada drama tersebut. Hasil dari penelitian menunjukan bahwa dari ke enam unsur romantisme yang dikemukana oleh Noyes pada drama Hyme of Death memenuhi ke enam unsur romantisme. Keenam unsur romantisme antara lain individualism, kekaguman pada alam, kemurungan, sentimentalism, primitivisme, dan eksotisme. Dari keenam unsur romantisme aspek kemurungan sangat mendominasi dalam drama tersebut. Unsur kemurungan menjadikan drama ini semakin kompleks dan menguras emosi serta air mata dibuktikan dengan adanya kesedihan akan cinta antara Kim Woo Jin dan Yum Sim Doek sebagai tokoh utama dalam drama yang tak mungkin akan bersatu hingga akhirnya membuat mereka memutuskan untuk mengahiri hidupnya dengan bunuh diri bersama. Mereka berprinsip jika hidup seperti mati mungkin mati adalah pilihan. Kata Kunci: Representasi, Unsur-unsur, Romantisme, Drama Korea, Hyme of Death. Representation Romanticism Elements in Korean Drama“The Hymn of Death” Abstract This research purposes to describe the romanticism elements in the Korean Drama “The Hymn of Death”. This research method used is a qualitative descriptive method with analysis date used are scene, dialogue, setting and background of the story. the results of the research that the six elements of romanticism by Noyes proved that the romantic elements. The six elements are individualism, love for nature, Sadness, sentimentalism, primitivism, and exotism. For the six elements prove that the romantic elements in this drama but the sadness elements is dominate. The sadness in this drama showed that the love relationship between the major character Kim Woo Jin dan Yum Sim Doek is very emotional dan drain the tries. They are impossible to be happy live together until they make a decision to suicide. They claim that if we life likes a death maybe death is the best choice Keywords: Representation, Value, Romanticism, Korea Drama, The Hymn of Death.
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8

Khan, Farkhanda Shahid. "A Critical Exploration of Fear and Loathing in Selected Romantic Fiction." Journal of English Language, Literature and Education 4, no. 3 (2023): 69–94. http://dx.doi.org/10.54692/jelle.2023.0501155.

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Gothic is a twisting lens, an amplifying mirror; however, the pictures it shows to us have authenticity, and cannot be grasped in ordinary forms. At the end of the 18th and beginning of the 19th centuries, this genre was the only truthful alternative for psychology and the historical sciences, the only method to reach and understand those fierce territories where penetration of knowledge was restricted or late. Romantic writers broadened the range of gothic positively whilst providing a greater understanding of the connections between terror and other aspects, violence, spectatorship, the body, imagination, and cultural politics of emotions. Including Graveyard Poetry, the subtle and the sublime, and sentimentalism, the origin of the Gothic goes parallel to the origins of the novel. Furthermore, the research also unveils that my selected writers, by using the elements of fear and loathing have manifested people’s double standards, who want to rule the world by not giving space to other creatures; nonetheless, want to use other creatures for their benefit and ease. Keeping in a trial the scholarship on gothic theory given by David Punter and Aristotle’s view of tragedy this qualitative study critically examines the selected Romantic texts to trace the elements of fear and loathing bringing horror for some and tragedy for others.
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9

Jin, Wen. "Sentimentalism and the “Cult of Qing”: Writing Romantic Love in 18th-Century England and Late Ming China." Fudan Journal of the Humanities and Social Sciences 7, no. 4 (2014): 551–62. http://dx.doi.org/10.1007/s40647-014-0043-x.

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10

Fallon, David. "‘Can you say I am an old man?’: Sentiment and the Mask of Ageing in Thomas Holcroft's Duplicity (1781)." Romanticism 25, no. 3 (2019): 237–48. http://dx.doi.org/10.3366/rom.2019.0429.

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This article examines how in its representation of old age Thomas Holcroft's play Duplicity (1781) registers the impact of concerns over the welfare of his own ageing father as well as the influence of French sentimental comedy. Via a comparison with the rough comedy directed at the character of Solomon Flint in Samuel Foote's The Maid of Bath (1778), the article shows Holcroft's more sympathetic comic treatment of his elderly character Vandervelt. The play represents a progressive shift, associated with the influence of sentimentalism, in the representation of the old man, and anticipates some of the ways in which Romantic writers paid greater attention to questions of interior experience in relation to ageing. The article notes, however, a residual use of the old man as a personification when it comes to national identity, but one orientated towards a pacific resolution of Anglo-Dutch rivalry.
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11

Vorova, T. P. "Analysis of System of Personages and Composition of «The Double, or my Evenings in Malorossia» by А. Pogorelsky". International Letters of Social and Humanistic Sciences 66 (лютий 2016): 113–22. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.113.

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Antony Pogorelsky (1787-1836) (the pseudonym of А. А. Perovsky) was one of the writers active in the early stages of Russian romantic prose, when romanticism, with its new artistic outlook based on rapt attention towards and keen interest in the inner world of feelings and emotions of its literary heroes, replaced the literary movement of sentimentalism with its orientation toward the ideas of the enlightenment. The current article is aimed at the investigation of the first book by A. Pogorelsky «The Double, or My Evenings in Malorossia», the novelty of which lies not only in the fact that the book is directly correlated with the traditions of West European romanticism (which was undoubtedly well-known to the writer), but also in the introduction of a new principle of composition into Russian literature (the cycle of several stories united through dialogic framing), which was the first experiment of this kind in the Russian literary environment and would soon become one of the favourite techniques of other Russian romanticists
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12

Fan, Rui. "ARTISTIC MODEL OF THINKING IN TARAS SHEVCHENKO'S NOVEL "THE UNFORTUNATE"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 32 (2022): 90–95. http://dx.doi.org/10.17721/1728-2659.2022.32.17.

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The article examines the features of the artistic model of thinking in Taras Shevchenko's novel "The Unfortunate". It is emphasized that Taras Shevchenko's Russian-language works represent the evolution of Taras Shevchenko's artistic thinking. The specificity of the artistic model of thinking and its Ukrainian national character is revealed in the Russian-language stories of the author. The thesis is substantiated that using Russian language T. Shevchenko represents his multifaceted model of Ukrainian thinking inherent in his artistic worldview and the way of artistic interpretation of the world. An important factor in presenting the specifics of the artistic model of thinking in Taras Shevchenko's novels is the image of the author, his perception and interpretation of the world as a reflection of the author's view. Also, the factors of representation of the artistic model of thinking in the stories of T. Shevchenko, in particular in the work "Unfortunate", are manifestations of Ukrainian variants of romanticism and sentimentalism; the narrator's appeal to the epistolary, in which purely Ukrainian issues are comprehended; the image of the narrator thinking in national categories; travel notes with descriptions of paintings of Ukrainian cities, villages, nature, landscapes of Ukraine. It is noted that Taras Shevchenko's syncretic stories combine different styles and genres. We can see a number of autobiographical characters according to romantic traditions in them and in the story "The Unfortunate". Basically, the artistic model of Taras Shevchenko's thinking, which was Ukrainian and national in character and manifestation, first created in poetic texts, was transferred and integrated into his prose heritage. In prose works, it is synthesized the characteristics of sentimentalism, enlightenment, romanticism, naturalism.'The Unfortunate' is based on the use of a retrospective method. The text has such features as the presence of a number of main and secondary characters with a pronounced Ukrainian content and essence. All the heroes of the work are a manifestation and result of the national environment. The vocation of the heroes of the story "Unhappy" is to present the Ukrainian model of thinking and worldview. The work has a clear structure, its characteristics are logical, meaningful, often autobiographical (primarily the image of the narrator) and are of major importance in the formation of the Ukrainian national narrative of the story.
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Burlacu, Alexandru. "ANATOL CIOCANU, "THE LOVER OF FIVE WRITING MACHINES"." Akademos 2 (August 9, 2019): 125–29. https://doi.org/10.5281/zenodo.3364361.

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The poetry of Anatol Ciocanu, who ends the generation of ,60s, is examined in terms of the concepts of a solar poet, adolescent and romantic sentimentalism at its beginnings, and dramatism, tragedy in the stage of its maturity when it returns to a well-known tradition of the singing of our sufferings. The writer, the “child of the sun”, evolves in various roles, disguising himself in the young Telemah, voivode, son of emperor, peregrine, in Robinson “on the island of Patience” etc. In hymns, prayers and curses, ballads and sonnets there is a rhapsode that coveted life as a feast. In the most elaborated poems, one can notice the transposition by which the concrete is illuminated thanks to an extraordinary freedom of fantasy. The aesthetic value of the poetry lies in the way of reordering the elements of the world into a system of unrelated relationships established by the “creative fantasy” in a Rimbaldian manner. The game between appearances and essences, between “real” and “unreal” produces the effect of “sensory non-reality”, usually plasticized in folkloric colors, ritual actions and gestures, most of the time, all these dominated by the mioritic serenity of the lyrical character reconciled with the feeling of inexorable disappearance.
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14

Mikirtumov, Ivan. "Utopias and Fantasies of a Cosy Life: From Rational Hedonism to Generous Appropriation." Philosophical Literary Journal Logos 34, no. 6 (2024): 9–43. https://doi.org/10.17323/0869-5377-2024-6-9-43.

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The article discusses the utopia of a cosy life as a response to the challenges of modernity, primarily technology and digitalization. The history of the utopia of cosiness are traced from the project of “family happiness,” or “good” life in Jean-Jacques Rousseau’s novel Julia, or the New Heloise. The author shows why this project cannot be considered as utopia in the full sense of the word. Sentimentalism is being replaced by romanticism, which is not characterized by utopian thinking, since the ideal of romance is a specific inner state that cannot be described as part of the world. Romanticism sees the world of the future in the optics of science fiction, and reality — as a dystopia. The author interprets Karl Marx’s theory of alienation as a dystopia, since it is formulated in terms of affects. Furthermore, Rachel Jaeggy’s modern theory of alienation is considered, in which political and economic issues are present as little as the romantic ideal of realizing the human essence. Jaeggy’s concept combines elements of critical theory with analytical social psychology. Its main idea is the total appropriation of the world, which the author of the article calls generous. She assumes that alienation is the absence of relationships where they should be, so its elimination comes down to building relationships with practically anything. Jaeggy leaves aside the question of what internal mechanisms should move a person to generous appropriation. The author shows that Jaeggy’s theory is neo-sentimentalist and has much in common with Rousseau’s “good” life. However, Jaeggy’s theory borrowed belief in progress from romanticism. It turns out to be a constitutive element of generous appropriation. Progress takes on the function of bare necessity, or Marx’s “nonhuman” force. It stands above capitalism and any other social relations. As a result, a person is relieved of responsibility for anything that goes beyond his private life. But this conclusion comes across an important feature of progress: it brings happiness to some people, using others as a resource. The utopia of a comfortable life turns out to be a call to ignore this circumstance.
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Величковська, Юлія. "Особливості української антиколоніальної драматургії ХVIII – першої половини ХІХ ст." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 7, № 4 (2022): 15–22. http://dx.doi.org/10.15804/ppusn.2022.04.01.

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The article deal the general patterns and main trends in the formation and development of dramatic genres as a self-sufficient genre in Ukrainian literature of the XVIII – first half of the XIX century, aimed at highlighting anti-imperial ideas in close connection with the requirements of general literary genre and national traditions. It was found that the anti-colonial national literature found its expression in such genres as historical drama, drama-morality, vaudeville, social-household drama and comedy. «Vladimir» by Feofan Prokopovich, «God’s Mercy ...» by an unknown author, «Resurrection of the Dead» by Georgy Konysky, «Muscovite Magician» by Ivan Kotlyarevsky and «The Simpleton» by Vasyl Gogol, which were the embodiment of baroque and classicist styles with a combination of elements of ancient Greek comedies and tragedies, European medieval mysteries, Ukrainian interludes, miracles, morals and dramas of the Easter cycle, contributed to bringing to the stage the realities of the time and gave them a dynamic anti-colonial embodiment.The harmonious combination of high and low styles by the authors became an innovation of these dramatic works. It was found that the features of Baroque, Classicism, Enlightenment realism, sentimentalism and romanticism, which appeared in the social-household drama “Natalka-Poltavka” by I. Kotlyarevsky, social-household comedies “Yabeda” by V. Kapnist, «Noble elections», «A visitor from the capital, or the commotion in the county town», «Shelmenko – volost clerk», «Clairvoyant», «Shelmenko – batman « by G. Kvitka-Osnovyanenko and “Inspector” M. Gogol, were aimed at covering colonial problems in Ukraine after the abolition of the Hetmanate. A feature of these genres was the synthesis of Ukrainian Christmas dramas and social and domestic interludes with European bourgeois drama, which provided an opportunity to raise national drama to the European level. It is investigated that dramatic works of anti-colonial orientation of the XVIII – first half of the XIX century approved deviations from the established traditions of a particular literary genre. Instead, they presented a synthesis of baroque-classicist-educational-romantic aesthetic values that interacted with the folklore traditions of our people.
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Vinci, Tony M. "Posthumanist Sentimentality." Extrapolation 64, no. 3 (2023): 373–89. http://dx.doi.org/10.3828/extr.2023.23.

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Jeff VanderMeer’s The Strange Bird (2018) fuses speculative fiction’s project of cognitive estrangement with sentimental literature’s project of dispersing ethically charged affective experience. The resulting mode of narrative, what I term posthumanist sentimentality, estranges readers from established forms of both thought and feeling, opening them to models of care that operate in more-than-human worlds. Entangling the traumatic account of the eponymous posthuman creature with the romantic history of the humans who made her, The Strange Bird highlights both the dangers of anthropocentrism and the values of radical ontological vulnerability when learning to witness for and with posthuman and post-traumatic subjects.
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Popović, Radovan. "Meisterstreich: The formation of the concept of genius and the end of normative aesthetics." Zbornik Akademije umetnosti, no. 11 (2023): 106–27. http://dx.doi.org/10.5937/zbaku2311106p.

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The concept of beauty, based on the criterion of taste, marks the boundary that separates the era of normative aesthetics of classicism from the time when rejected elements played a decisive role in art. These elements include the subjectivation of experience, individual feelings as the driving force in the reception of art, and the individualization of criteria for judging artistic values. A new term emerges as the equivalent of rationalist sensus communis and classicist raison. This term can be tentatively defined as moderation (bon sens) or more narrowly, as politeness. While ancient art embodies unchanging and universal norms of artistic creation, leading to a historico-philosophical dualism, pre-romanticism, with its emphasis on sentimentality, demands a conceptual differentiation and nuancing of rational rules, taking into account cultural-philosophical and collective-psychological factors that modify those rules to fit specific creative contexts. Within sentimentalist-romantic theories of artistic creativity, the problem of genius arises, countering the rigid prescriptionism of pseudo-Horacian poetics and notions of mimesis as the constant imitation of immediate events and actions, and their 'possible' or 'probable' variants. An ingenious work of art in this context, relies not only on the strength of feelings and the immediacy of the artist's experience, but also on their ability to shape a flawless paradigm in their mind through unreflective, imaginative transposition. This paradigm is then brought to life using relevant materials. A genius artist does not oppose the rules in their creation; on the contrary, they understands them more deeply and reliably than someone who, in a fervent pursuit of innovation, abandons the safe and shortest path to artistic truth. Abbé Du Bos, Denis Diderot, and Johann Georg Hamann have delved into thisissue, shedding light on it and interpreting it from different angles, making lasting contributions to the aesthetics and theory of pre-romantic and romantic art.
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Bottaro, Mayra G. "Review: Sentimentality Reloaded. Reconsiderations of Romantic Sentimentality in Nineteenth-century Bolivia Today." Periphērica 1, no. 1 (2019): 369–74. http://dx.doi.org/10.5399/uo/peripherica.1.1.14.

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Schönle, Andreas. "Broken History and Crumbling Stones: The Romantic Conception of Architectural Preservation." Slavic Review 71, no. 4 (2012): 745–65. http://dx.doi.org/10.5612/slavicreview.71.4.0745.

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In this article Andreas Schönle explores the treatment of ruins in the Romantic period, in particular the propensity toward holistic reconstruction, rather than preservation of architectural heritage. He argues that the Romantic disregard of extant heritage harks back to the Sentimentalist infatuation with the fleetingness of life and dramatization of loss, that this melancholy feeling stoked a sense of national victimization, and that it legitimated an imaginary reinvention of the past and the constructedness of collective memory. The Church of the Tithe in Kiev serves as a case study illustrating that the Romantic commitment to totality has resulted in the significant destruction of architecture. Depictions of its ruins in travel accounts and in the writings of Vadim Passek and Andrei Murav'ev evidence a marked desire to exacerbate the sense of loss rather than to describe and valorize the remains. This disregard of heritage reprises the Sentimentalist infatuation with melancholy prominently deployed by Nikolai Karamzin. A comparison with Eugène Viollet-le-Duc in France and Augustus Pugin in England indicates that in Russia the invention of a national style of architecture required a much more radical imposition upon the historical landscape.
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Nixon, Mark. "Beckett and Romanticism in the 1930s." Samuel Beckett Today / Aujourd'hui 18, no. 1 (2007): 61–76. http://dx.doi.org/10.1163/18757405-018001005.

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This essay surveys Beckett's response to Romantic literature and painting in the 1930s. It examines the way he dismissed its sentimentality and elaborate style but was attracted to a particular strand of Romanticism that portrayed a melancholic sensibility.
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Zhdanov, Sergey S. "Image of the “Patchworky” Germany in the Poetry by P. A. Vyazemski." Two centuries of Russian classics 6, no. 1 (2024): 6–37. http://dx.doi.org/10.22455/2686-7494-2024-6-1-6-37.

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The paper deals with spatial images of Germany in the poems of P. A. Vyazemsky, dating back to the 1840–1870s. There is a marked anthropic element in the poet’s describing German spatial images when the focus of describing is not the landscape itself but its connection with a personality important to the author. Otherwise, the landscape can become a starting point for philosophical reflections on human existence. In addition, Vyazemsky uses both conditional and typed mimesis for the landscape descriptions of Germany. This technique aims to ensure that the reader completes the spatial picture depicted in his imagination by using the ʽreference’ topoi, and weakened spatiality in general. Finally, the article reveals the key variants of the German world-images in the poet’s texts — these are the travesty, romantic, and sentimentalist modes of description. At the same time, the article highlights many literary types that the author uses to characterize the travestied space: German scientist, philistine, and passionate dreamer. The author’s versions of the romantic world-image demonstrate ambivalence in the spatial structure of the chronotope as well as Vyazemsky’s appeal to the Rhine intertext of Russian literature. Various examples of demi-natural idyll represent the sentimentalist world-image.
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Seweryn, Agata. "Cyganie sentymentalni i romantyczni (Kniaźnin – Moniuszko) [Gypsies: sentimental and romantic (Kniaźnin – Moniuszko)]." Napis XXII (2016) (December 30, 2016): 70–86. https://doi.org/10.18318/napis.2016.1.6.

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The paper focuses on the libretto Jawnuta by Stanisław Moniuszko, interpreting it in the context of theory of intertextuality as a type of hypertext created primarily from <em>Cyganie</em> [Gypsies] by Franciszek Dionizy Kniaźnin, as well as from pieces by J&oacute;zef Korzeniowski, Kazimierz Brodziński, Jan Nepomucen Jaśkowski, Edmund Wasilewski, Władysław Syrokomla and Jan Czeczot. The author is particularly interested in the mechanisms of romantic reinterpretation of a drama of an 18th century sentimentalist. Therefore, first she analyses the works by Kniaźnin, indicating his pionieering character in Poland and how deep-rooted he was in the ideology of the European Enlightenment. Then she confronts her observations with the work by Moniuszko, extracting the conventions of romantic exoticism and individualism characteristic to substantial parts of the libretto <em>Jawnuta</em> and thus presents how romantic stereotypes of a Gypsy and the Gypsy culture modified the meanings inscribed in the Enlightenment&rsquo;s text.
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Trowbridge, Terry. "Asparapology." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 11, no. 1 (2019): 442–43. http://dx.doi.org/10.29173/cjfy29462.

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The poet’s seven-year romantic relationship with another writer ended in 2017. They were not married, but they did make a non-nuclear family. The poet reflects on positive, mutually supportive aspects of the relationship such as poetry, career support, food politics, exploring urban environments, and metaphors for justice. The poem reflects on how feelings of remorse, regret, and alienation, are structured by the idioms that shaped their lives together, but now are obsolete, retrograde, but still beautiful as sentimentality. The poem is offered here as an example of artwork generated by the paradoxes of a family dissolved: apology without reconciliation, a state of closure in a state of separation.
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Dr. Elizabeth Shad. "سر سید احمد خان: ایک عہد ساز شخصیت". Al-Qamar 6, № 2 (2023): 329–32. https://doi.org/10.53762/ev9k8216.

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Sir Syed Ahmad Khan was a visionary who carved a space for rationalist thought, gave a new direction to education, and laid the parameters of modernist Urdu prose. He did not only evolve a new philosophy and pedagogy for public instruction and write remarkable discursive prose, but also affected a change in the attitude of people, especially of the Muslim community, towards social, cultural, and national identity. He was an iconoclast who promoted a scientific view of life and found space for pure rationalism as opposed to romantic sentimentality. As he also influenced poets and writers, he came to be acknowledged and valued as one of the major reformers of modern India.
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Herrero-Senés, Juan. "Rosa Arciniega and the Transformations of Avant-Garde Fiction." Journal of Avant-Garde Studies 2, no. 1-2 (2023): 74–93. http://dx.doi.org/10.1163/25896377-bja10008.

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Abstract The objective of this article is to provide a reevaluation of Rosa Arciniega’s (1903–1999) literary work in Spain throughout the 1930s. While her work is currently labelled as ‘social literature’, the present study will argue that this label is reductive and does not take into account the complexities, contradictions and transformations of her work. As this article will show, Arciniega sought to represent and express modernity in its most varied facets by focusing on three different areas: social denunciation, renewal of literary expression, and an appeal to romantic sentimentality. This study seeks to shed light on Arciniega’s immersion in time and the consequent grim diagnosis of modernity which led her from left-wing radicalism to more conservative positions. Formal experimentation will be seen as a key part of her literary trajectory.
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Horovitz, Michael. "The Blake Renaissance." Bulletin of the John Rylands Library 98, no. 1 (2022): 7–16. http://dx.doi.org/10.7227/bjrl.98.1.2.

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This article, originally published in 1958, was written to commemorate William Blake’s bicentenary. In it, the author observes that Blake has been claimed or dismissed by successive generations since his death in 1827: for the Romantics, he was a ‘weird crank’, while the Victorians enveloped him in ‘their own damp sentimentalism’. The author argues that Blake ‘evades appraisal because he was always working for a synthesis of creation far beyond outward forms and genres’, which meant ‘he had to invent his own methods to express himself adequately’. He notes that the recent bicentenary was marked by ‘floods of exhibitions, magazine supplements, radio features, new books from all sides devoted to him’. This clearly anticipates the Blakean explosion of the 1960s, in which the author himself would play a major role. This article can therefore be seen as marking the beginning of Sixties Blake in Britain.
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Litvinenko, Ninel. "BYRONISM AND GEORGESANDISM IN THE FIRST HALF OF THE 19TH CENTURY AS SOCIOCULTURAL MYTHS OF ROMANTICISM: A TYPOLOGY OF DISTINCTIVITY." Lomonosov Journal of Philology, no. 5, 2023 (October 23, 2023): 126–39. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-10.

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: The article analyzes the features of Byronism and Georgesandism as sociocultural myths that arose in the post-revolutionary era and embodied the totality of socio-aesthetic gender representations. On the basis of the historical-typological approach, taking into account the trends of modern comparative studies, the origins of the gender opposition of male and female — the Hero and the Heroine — are regarded in the poetics of personified myths — Byronism and Georgesandism, which acquired an all-European scale in European culture of the first half of the 19th century. At the Enlightenment stage of mastering the specifics of the intimate and the public, the development of the ideas of civil society, the destruction of the paradigms of mental and universal laws of aesthetics, in public life and literature of the 18th century there was an increase in the gender consciousness of society. In the article it is correlated with the French tradition — the sentimentalist novel by J.-J. Rousseau Julia, or the new Eloise and the romantic concepts of the hero and the heroine in the works of Germain de Stael, where the conflict, antithesis, dichotomy of the feminine and the masculine began to be artistically meaningful from the standpoint of social and psychological egalitarianism. It is proved that Byronism and Georgesandism were complementary and oppositional to each other as socio-aesthetic currents, systems, paradigms, myths, in which variously interpreted skepticism and the individualistic concept of the Hero, the poet, are opposed to optimism and utopia, the feminine myth of the Heroine — in the works and biography of George Sand. The gender originality of typologically related romantic value ideas is considered: aspiration for the absolute, spiritual maximalism with a clear priority of the male myth in the image of Byron and his work — and the female, socialistically marked in George Sand. Biographical and biographically related material, the work of each in the first half of the century formed the basis of sociocultural and romantic symbolizations that characterize and form the gender specificity of the text of romantic culture.
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Talero-Gutierrez, Claudia, Felipe Durán-Torres, Milciades Ibañez-Pinilla, Isabel Perez-Olmos, and Carlos Mario Echeverria-Palacio. "Sleep quality perception and romantic relationships in university students: cross-sectional study." Revista de la Facultad de Medicina 65, no. 2 (2017): 197–202. http://dx.doi.org/10.15446/revfacmed.v65n2.58396.

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Introducción. El sueño en adolescentes está influenciado de manera especial por los estados emocionales presentes en las relaciones románticas. Esto puede ser determinante en la percepción de calidad del sueño.Objetivo. Evaluar la asociación entre la percepción de la calidad del sueño y las características de las relaciones románticas en estudiantes universitarios adolescentes y adultos jóvenes.Materiales y métodos. Estudio de corte transversal realizado en 443 sujetos. La percepción de calidad del sueño, los estilos de apego, estar en una relación romántica y sus características se determinaron utilizando medidas validadas.Resultados. La percepción de calidad del sueño se determinó utilizando cinco modelos multivariados que incluyeron características estadísticamente significativas de las relaciones románticas. El nivel de satisfacción del individuo con su relación de pareja y la atracción hacia esta se asoció con su nivel de percepción de calidad del sueño (p=0.035). La prevalencia de las relaciones románticas fue del 64% (IC95%: 59.4-68.9). Los que no estaban en una relación experimentaron latencia del sueño significativamente más prolongada (p&lt;0.05).Conclusión. Las relaciones sentimentales románticas y sus características se asocian con la calidad de sueño percibida por los individuos. Estos aspectos pueden ser identificados e intervenidos y ser útiles para los sistemas de apoyo de las instituciones educativas.
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Rosenthal, Debra J. "The White Blackbird: Miscegenation, Genre, and the Tragic Mulatta in Howells, Harper, and the "Babes of Romance"." Nineteenth-Century Literature 56, no. 4 (2002): 495–517. http://dx.doi.org/10.1525/ncl.2002.56.4.495.

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In this essay I construct a literary genealogy that situates William Dean Howells in the middle of a call-and-response literary conversation with popular women writers about race, gender, and genre. Since Howells correlated racial questions with realism, his only novel that treats intermarriage, An Imperative Duty (1891), offered Howells an opportunity to deploy his presumably objective, scientific, realist knowledge about race in order to challenge women's romantic miscegenation plots found in Margret Holmes Bates's The Chamber over the Gate (1886) and Alice Morris Buckner's Towards the Gulf (1887), two novels that he had recently read and reviewed. Yet the tragic mulatta stereotype, a stock figure of romanticism and sentimentality that was resistant to scientific discourse, ruptures Howells's goal of representing the figure according to the tenets of realism. In Iola Leroy (1892), Frances Ellen Watkins Harper cunningly recasts the tragic mulatta stereotype both to critique Howells's project and to represent the potential of black womanhood. Knowledge of Bates and Buckner can change critical conversation about the influence of women writers on Howells, the understanding of the role of the racialized woman in his fiction, and his conception of the link between the romantic mulatta and realist representation. Likewise, Harper takes issue with Howells's supposed ironic sophistication about race, and in Iola Leroy she rewrites many of his views in order to show the ways that miscegenation is at once a novelistic and a national problem.
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Philippovsky, German Y. "N. A. Nekrasov and the English pre-Romanticists (to the origins of the poetic motif of Night)." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 8–18. http://dx.doi.org/10.20323/2499-9679-2021-2-25-8-18.

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The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.
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Flynn, Deirdre. "‘Come up to a place like this?’ The Problem with Seeking Sanctuary in the Rural in Mary Lavin's Short Stories." Irish University Review 49, no. 2 (2019): 218–28. http://dx.doi.org/10.3366/iur.2019.0402.

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Mary Lavin's stories subtly suggest that the rural idyll that De Valera dreamed of cannot materialise. The past plays heavy on the modernity promised, and through Lavin's ecocritical eye, it creeps in to each of her stories like the ‘powdery green lichen’ that covered the walls in the yard of Ella and Robert's home in ‘A Happy Death’. Her characters are not romantic outsiders but people trying to come to terms with, and move away from, the sentimentality and cliché of Irish identity. The negotiation that the characters undergo, and the influence of this pastoral trope on their lives, is manifested in Lavin's use of ecological signposts. Her stories act as a reminder of this failed rural promise and allow Lavin to make a critical statement on the promise of post-independence Ireland, and the reality of life. The environment becomes a dominating presence on the landscape, both urban and rural and on the characters that inhabit this newly independent state. This article will investigate Lavin's engagement with the rural in her short stories.
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Хрущева, Н. А. "“Werther. Sentimental Music” by Yuri Krasavin as an Early Metamodern Work." OPERA MUSICOLOGICA 16/1, no. 2024. 16/1 (2024): 98–113. http://dx.doi.org/10.26156/operamus.2024.16.1.005.

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Творчество Юрия Красавина — композитора, отметившего в 2023 г. свой 70-летний юбилей, — только начинает осмысливаться в музыковедческих работах. Фортепианный цикл Красавина «Вертер» в данной статье рассматривается в контексте раннего метамодерна. В цикле прослеживаются такие особенности сочинения, как господство единого аффекта, «вновь обретенная» функциональная ладовая система, работа с общеупотребительными музыкальными формулами — и отстраненная сентиментальность. Подобно культовому исследованию Ролана Барта «Фрагменты речи влюбленного», «Вертер» Красавина представляет «фрагменты» музыкально-романтической речи, отсылая одновременно к Шуману, Шуберту, Чайковскому и Вагнеру. The art of Yuri Krasavin, a composer, who is to celebrate last year his 70-th anniversary, has just started to be comprehended in musicology. This article follows his Werther piano cycle in the context of the early-metamodern style. In this cycle, one can trace such specifics as dominance of uniform affect, «regained» functional tonality, work with commonly used formulas and cold sentimentality. Like the iconic text of Roland Barthes’ Fragments of love speech, Werther represents “fragments” of musical-romantic speech, referencing Schu mann, Schubert, Tchaikovsky and Wagner at the same time.
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Wang, Aiqing. "Women’s Matrimonial Role in Classical Chinese Literature: A Case Study of the Protagonist in Shen Fu’s Six Records of a Floating Life." Transformatika: Jurnal Bahasa, Sastra, dan Pengajarannya 9, no. 2 (2025): 287–300. https://doi.org/10.31002/transformatika.v9i2.2441.

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Fusheng Liu Ji ‘Six Records of a Floating Life’ is the autobiographical prose composed by an intellectual Shen Fu in the High Qing era, which chronicles his impoverished life featured by both sorrow and exaltation. A substantial portion of the work concerns Shen’s wife named Yun, who is adulated as one of the most meritorious women in Chinese literature by an illustrious writer and translator Lin Yutang. From a pre-modern perspective, in her postnuptial life, Yun complies with the Confucian teachings prescribing women’s conduct, virtue and demeanour, viz. ‘Three Obediences and Four Virtues’; additionally, Yun exhibits filial piety which is also a preponderant creed in imperial China. From a modern perspective, Yun demonstrates proto-feminist thinking and sentimentality that defy orthodox institutions, embodied by her courageous cross-dressing and harmonious matrimonial relationship enriched by profound emotional devotion and physical intimacy. Furthermore, Yun is equipped with intelligence, generosity, romantic spirit and artistic temperament, and is hence eulogised by her husband for possessing a mentality and merits like a man, which, I posit, is the ultimate accolade in a patriarchal context.
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Dolcerocca, Özen Nergis, and Jennifer Flaherty. "The Cry of the Heart: Russian and Ottoman Literary Enlightenments." Comparative Critical Studies 22, no. 1 (2025): 7–30. https://doi.org/10.3366/ccs.2025.0545.

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This article examines the works of Alexander Radishchev and Namık Kemal to explore how Russian and Ottoman Enlightenments conceptualized emotion as integral to political subjectivity. Moving beyond conventional interpretations of these traditions as reactionary or subordinate to Western Enlightenment ideals, the study argues that both thinkers redefined emotion as the foundation of autonomy and collective identity, challenging binaries between rationalism and sentimentality. Radishchev’s Journey from Petersburg to Moscow demonstrates how emotional introspection enables the critique of social and political systems, transforming individual awareness into communal ethical engagement. Similarly, Kemal’s writings merge Romantic individualism with Enlightenment rationality, advocating for emotional conscience as a basis for modernization and cultural reform in the Ottoman Empire. This comparative study situates Radishchev and Kemal within the broader nineteenth-century intellectual field, where tensions between reason and emotion, individuality and collectivism and internal versus external authority shaped debates about modernity. It ultimately reveals the transnational complexity of Enlightenment thought and its enduring relevance for understanding the intersections of emotional and rational paradigms in shaping modern political and cultural discourses.
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Peace, Mary V. "The Magdalen Hospital and the Fortunes of Whiggish Sentimentality in Mid-Eighteenth- Century Britain: "Well-Grounded" Exemplarity vs. "Romantic" Exceptionality." Eighteenth Century 48, no. 2 (2007): 125–48. http://dx.doi.org/10.1353/ecy.2007.0010.

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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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Pakhsarian, N. T. "THE PLEASURE OF FEAR: PARADOXES OF GOTHIC POETICS IN THE FRENCH “BLACK NOVELS” OF THE 1790 S." Lomonosov Journal of Philology, no. 3, 2024 (June 17, 2024): 182–94. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-03-14.

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In the process of the formation of the “black novel” poetics in French literature at the turn of the 18th–19th centuries, along with its Baroque and sentimentalist origins, both translations of English Gothic novels and various stylizations for them play a significant role. The appeal of describing novelistic “horrors” determines their growing popularity among readers. Paradoxically, it turns out that parodies of such works arise almost immediately — both in England and in France, testifying more to the viability of this genre than to its decline. Unlike the English Gothic plots, which involve mandatory departure to the Middle Ages and other countries, in France, the plot of such novels can also become post-revolutionary modernity. One of the first parodies of the “horror novel”, English Night by Bellen de la Liborliere, is a kind of medley of borrowings from various Gothic works, the reading of which brings pleasure to the main character, who became rich on the confiscation of the property of aristocratic emigrants, bourgeois Dabo, and becomes a means of obtaining from him consent to the marriage of his son Roger with his beloved noblewoman Ursula. The play of imagination, the concentration of romantic cliches, the psychologization of Gothic fears becomes a way of combining the ridiculous and the frightening in the poetics of the “black novel”.
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Hoeveler, Diane Long. "Equivocal Beings: Politics, Gender and Sentimentality in the 1790s—Wollstonecraft, Radcliffe, Burney and Austen. Claudia L. Johnson.Sexual Power in British Romantic Poetry. Daniel P. Watkins." Wordsworth Circle 27, no. 4 (1996): 219–21. http://dx.doi.org/10.1086/twc24043065.

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Roberson, Jessica. "Shelley's Grave, Botanical Souvenirs, and Handling Literary Afterlives in the Nineteenth Century." Victoriographies 6, no. 3 (2016): 276–94. http://dx.doi.org/10.3366/vic.2016.0242.

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The touristic practice of gathering flowers from famous graves has been allowed to contribute, relatively unexamined by critical scholarship, to narratives of Victorian sentimentality. This essay rethinks the role of such botanical ephemera in constructing and responding to representations of literary afterlives in the nineteenth century. Specifically, it considers botanical souvenirs taken from the grave of Romantic poet Percy Bysshe Shelley by Anglophone tourists over the course of the nineteenth century. Shelley's grave at the Protestant Cemetery in Rome, where his ashes were ultimately interred following his death by drowning in 1822, was a popular destination for literary tourists by mid-century. The numerous botanical souvenirs collected from Shelley's gravesite in the nineteenth century complicate simple narratives of textual reiteration, revealing reciprocal material gestures necessary to posthumous existence. These souvenirs constitute a branch of the Shelley mythology that thrives on the appearance of natural regeneration but that is, in fact, profoundly dependent on the material and emotional investment of readers and admirers. Examining the overlapping cultural discourses of botany, tourism, and the textual reception and reproduction of Shelley's Adonais in which these souvenirs emerged, this essay argues that these souvenirs provide an alternative archive for an embodied, affective posthumous Shelley. However, these souvenirs do not speak only to Shelley's poetical afterlife. Attention to particular souvenirs, such as a rose sent to American author and critic Margaret Fuller, reveals ways in which interest in a dead poet could also be a palpable expression of personal identity and desire.
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Isidro de Pedro, Ana Isabel, and Isaac Peñil Fernández. "ROSAS Y ESPINAS EN LAS RELACIONES DE PAREJAS DE NOVIOS: AMOR, EXPECTATIVAS Y PROBLEMAS." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 3, no. 1 (2016): 385. http://dx.doi.org/10.17060/ijodaep.2014.n1.v3.516.

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Abstract:ROSES AND THORNS IN ROMANTIC RELATIONSHIPS: LOVE, EXPECTATIONS, AND PROBLEMSThe intimate relationships have a great value in the life of the persons and, for most of them, to find and to maintain a stable couple relation, well-established and happy continue to be occupying a preponderant role in his/her “ideal” of life (to short, half or long-term), while either his absence or failure is frequently detected as a negative or stressful condition that affects the life of their protagonists. The present work deals with a psychosocial approximation to the study of the sentimental relations in youngster’s couples that are not yet living together neither they have done it in the past. In this phase it is accustomed to give rise the germ of future-conflicts and the couple behaviour patterns become established to be perpetuated and to constitute the guideline or the posterior relation model for it. Thus the way to understand love, the couple relationship, the conflict and the management skill to solve it, will be analyzed.Keywords: Romantic relationships, Love, ConflictResumen:Las relaciones íntimas tienen un gran valor en la vida de las personas y, para la mayor parte, encontrar y mantener una relación de pareja estable, consolidada y feliz sigue ocupando un papel preponderante en su “ideal” de vida (a corto, medio o largo plazo), mientras que su ausencia o fracaso es frecuentemente percibida como una condición negativa o estresante que mediatiza la vida de sus protagonistas. El presente trabajo pretende una aproximación psicosocial al estudio de las relaciones sentimentales en parejas jóvenes que aún no conviven juntas ni lo han hecho en el pasado, es decir, lo que popularmente se denomina pareja de novios. Es en esta fase cuando suele fraguarse el germen de futuros conflictos y cuando se establecen los patrones de comportamiento de pareja que tenderán a perpetuarse en el tiempo y a constituir la pauta o modelo de relación posterior entre ambos. Así se analizará la forma de entender el amor y la relación de pareja, el conflicto y las estrategias y habilidades exhibidas para resolverlo.Palabras clave: Relaciones de pareja, amor, conflicto
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Vinitsky, Ilya. "The First Serbian Female Writer: From the History of Nineteenth-Century Women’s Literature." Slovene 9, no. 1 (2019): 284–327. http://dx.doi.org/10.31168/2305-6754.2019.8.1.11.

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At the end of the nineteenth century the Romantic image of Eustahija Arsić (1776–1843) was introduced to the Serbian national pantheon as the first Serbian woman writer and philosopher of the modern age. This image was based first and foremost on her book “Useful Thoughts on the Four Seasons” which appeared in Budim in 1816 under that author’s name. In the second half of the twentieth century several scholarly studies and a biography were devoted to Arsić. More recently this image has attracted the attention of scholars of women’s literature in South Slavic countries. These scholars note that her “Thoughts”, while influenced by Western pre-romantic (sentimentalist) literature, illuminate a wide range of fields, including philosophy, ethics, history, natural science, anatomy, physics, and religion, while at the same time they introduce the genre of the “feminist essay” into Serbian literature. The poems that are included in “Thoughts” appear in anthologies of Serbian literature as original poems by Arsić. The present essay shows that the ideas about the originality, European erudition, cosmopolitanism, personal tone, philosophical gifts and poetic talent are highly exaggerated, and that the image of this author is a cultural construct that was created at a certain stage of the formation of Serbian national literature and was reconceived at a later time. The essay establishes that Arsić’s “Useful Thoughts” is a compilation of essays, tracts, and poetry that appeared in Russian journals from the late 1780s to the early 1810s. These works (including some by Nikolai Karamzin) were transferred into her book with minor orthographic and grammatical changes (e.g. masculine noun endings are changed to feminine ones) and without any indication of the source. The work of the compiler of “Thoughts” consisted solely in taking the sentimental texts of Russian male authors and attributing them to a pious female author. The essay does not simply give the direct sources of this “Slavono-Russian” book of “the first Serbian woman writer” and describe the process of adaptation of the “foreign” as a stage of the national and literary self-affirmation of the “younger” Slavic culture, but it also offers material for a more general (philological and literary-critical) study of the “Slavono-Russian” period in the history of Serbian literature in particular and “pan-Slavic” pre-romanticism more generally. The case of Arsić is likewise interesting for a comparative analysis of the formation of national literary “pantheons” and for a gender history of Russian and other Slavic literatures.
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KARABULUT, Tuğba. "Repositioning the Representation of Femininity in H.D.'s "Garden"." fe dergi feminist ele 14, no. 2 (2022): 90–102. http://dx.doi.org/10.46655/federgi.1176837.

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Hilda Doolittle, an American poet, playwright, and novelist known by the initials H.D., was one of the few female figures of the male-dominated early modernist era. Her early works are of crucial importance as they are associated with Imagism, the literary movement shaped by Ezra Pound as a reaction to the wordiness, indirectness, and sentimentality of Victorian and Romantic poetry. H.D. played an important role in Imagism. Ezra Pound, who suggested that Hilda Doolittle append the signature “H.D., Imagiste” to her works, introduced her as the leader of Imagism. Her first poetry collection, Sea Garden (1916), which includes twenty-seven poems, is a paragon of Imagist poetry. The poems were composed in free verse without thematic boundaries and with the use of harsh and impersonal style and diction, natural imagery, a melodious rhythm, and economical word choice. However, H.D.’s “The Garden,” an image-focused poem from this collection, goes far beyond Imagism. It is not simply a nature poem; the narrator glorifies fierce natural objects such as hard roses, rigorous winds, and thick air to represent women’s potential strength, resilience, and productivity. It also subverts the stereotypical representation of femininity and female vulnerability by displacing dominant patriarchal myths. The poem is brimming with encoded images that metaphorically reconstruct female imagery and representation. This paper investigates how “The Garden” unfolds hidden and disregarded concepts of femininity to reposition the female figure in the ideal imaginary “Garden” by saving her from the confinement of the man-made “Garden” in order to suggest a new representation of femininity, mirroring Pound’s call to “Make It New!”
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Nykytiuk, Svitlana. "HRYGORIY KOSTIUK’S WORKS AS A UNIQUE FACE OF THE UKRAINIAN CULTURE." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION, no. 19 (December 29, 2022): 174–80. http://dx.doi.org/10.32626/2309-7086.2022-19.174-180.

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The article deals with the Hrygoriy Kostiuk’s works as a unique face of the Ukrainian culture of 20-s-80-s of the last century. He was famous as a writer, a lit-erary and memoirs scholar, a historian and a journalist. His merit is in the research-es in the fi eld of cultural, theological, historical-publicistic and literature studies. Kostiuk being a literature historian, a literature critic, a person of encyclopedic knowledge became a prominent fi gure in cultural life of Ukraine and the Ukrainian Diaspora of the XXth century. In the time allotted by his fate he become a world-known personality, a giant of the spirit, University man. Kostiuk’s personality at-tract with his only human features as follows: tolerance, kindness and steadfast ad-herence to principle together regarding cultural and social items. Impulsive, prone to controversy, however he has romantic, mild, touching, sensitive, to the point of sentimentality, temper. He profoundly got interested in the history of Ukrainians, their problems, journalistic researches. His historical and literature, critical and historical-publicistic studies are primarily based on the cultural concept implying a free development if the Ukrainian nation. Kostiuk’s style as a publicist is distin-guished with logic and synthesis of thought, consistency and simplicity of the facts presentation, brevity of conclusion and generalizations. Kostiuk’s contribution lies in his presenting of objective assessment of the Soviet society and the contempo-rary Ukrainian science at the same time. All his life Hrygoriy Kostiuk tried to keep to his own credo, working and increasing the national cultural treasury by editions of the forgotten writers and scientists whose works of art were deleted from the Ukrainian literature history. He took care of valuable documents preservation as historical facts regarding them to be a cultural heritage. His researches propel com-prehension of his phenomenon for all scholars.
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Wals,, Francisca, Eva M. Romera*, and Carmen Viejo. "Influencia de la auto-eficacia social y el apoyo social en la calidad de las relaciones de pareja adolescentes." Psychology, Society, & Education 7, no. 1 (2015): 71. http://dx.doi.org/10.25115/psye.v7i1.541.

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Resumen: Este estudio analiza las características de las relaciones de pareja adolescentes y la influencia que tiene la auto-eficacia social y el apoyo social en su calidad. un total de 209 estudiantes (49.3% chicos) de entre 12-18 años (X=14.28; D.T=1.21), escolarizados en tres centros de Educación Secundaria Obligatoria de Córdoba, cumplimentaron un cuestionario de auto-informe formado por preguntas abiertas que informaban del sexo, edad, nivel educativo y situación sentimental, y por un conjunto de instrumentos medidos en escala Likert que exploraban la calidad de las parejas, la auto-eficacia y el apoyo social. Los análisis descriptivos y correlacionales señalaron alta implicación en las relaciones sentimentales, mostrando más satisfacción y expectativas de futuro los chicos y los participantes de mayor edad. Se detecta que los/as jóvenes más auto-eficaces contaban con más habilidades para manejar las exigencias de una relación romántica. Se discuten los resultados en base a la importancia que tienen las relaciones positivas dentro del grupo de iguales y el apoyo social respecto a la calidad de estas parejas.Influence of self-efficacy and social support in the quality of teen couple relationshipsAbstract:This study analyses the characteristics of adolescent relationships and influence that has social self-efficacy and social support. A number of 209 youth (49.3% boys) aged between 12-18 years (X=14.28; D.T.=1.21), enrolled in three centers of compulsory secondary education of Cordoba, completed a selfreport consisting of open-ended questions that reported the sex, age, educational level and relationship status, and a set of instruments measured on Likert scale that explored the quality of couples, self-efficacy and social support. Descriptive and correlational analysis indicated a high involvement in romantic relationships, showing more satisfaction and future expectatives boys and older participants. It is detected that teenagers with more social self-efficacy had more skills to handle the demands of a relationship. We discuss the results based on the importance that have positive peer group relationships and social support with respect to the quality of these couples.
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45

Lacalle, Charo, and Beatriz Gómez. "The representation of workingwomen in Spanish television fiction." Comunicar 24, no. 47 (2016): 59–67. http://dx.doi.org/10.3916/c47-2016-06.

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During the sixties and seventies the limited presence of women in the public sphere was reflected in the restricted repertoire of roles played by female characters in television fiction (mainly those of mothers and wives). The strengthening of the feminist movement in the following decades increased and diversified the portrayals of women in the workplace, and further encouraged academic research on the social construction of working women. Despite the relevance of female professionals in current TV shows, the importance of romantic relationships and sexuality has led to a decreasing number of studies on the subject. This article summarizes the results of a study on working women in Spanish TV fiction, part of a larger project on the construction of female identities. The research uses an original methodology that combines quantitative techniques and qualitative methods (socio-semiotics) to analyse the sample of 709 female characters. The results show a coexistence of the traditional stereotypes of working women in customer service and care-giving positions with those of highly skilled female professionals. However, the empowerment of women in positions of responsibility is often associated with a negative portrayal of the character, while the problems of reconciling family and work are systematically avoided. La reducida presencia de la mujer en la esfera pública durante los años sesenta y setenta se reflejaba en el limitado repertorio de roles (madre y esposa principalmente) que le atribuía la ficción televisiva. El impulso feminista de las décadas sucesivas estimuló las representaciones de los personajes femeninos en el ámbito laboral y la reflexión académica sobre la construcción social de la mujer trabajadora. Pero, a pesar de la relevancia del rol profesional en las protagonistas de la ficción actual, la relevancia de las relaciones sentimentales y de la sexualidad ha revertido en el reducido número de estudios sobre el tema. Este artículo sintetiza los resultados de un análisis de la mujer trabajadora en la ficción televisiva española, integrado en un proyecto sobre construcción de identidades femeninas. La investigación propone una metodología original, que combina métodos cuantitativos y cualitativos (socio-semiótica) para afrontar el estudio de 709 personajes femeninos. La investigación revela la convivencia de estereotipos ligados a las representaciones tradicionales de los empleos de las mujeres (trabajos relacionados con la atención al público y el cuidado de las personas) con otras profesiones altamente cualificadas. Sin embargo, el empoderamiento de las mujeres con cargos de responsabilidad se asocia frecuentemente con una caracterización negativa del personaje, al tiempo que los problemas de conciliación de los roles familiares y profesionales se eluden sistemáticamente.
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Kira, Tymofeieva. "INTERPRETATION PECULIARITIES OF THE CAPRICE GENRE IN F. MENDELSSOHN’S PIANO CREATIVITY." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 96–110. http://dx.doi.org/10.34064/khnum1-60.05.

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Statement of the problem. The centuries-old development of the genre of piano caprice (capriccio), which led to its flourishing in the work of romantic composers, is considered as an integral part of the genre system in Western European piano music. Insufficient study of Mendelssohn’s piano works, in particular caprices, determines the relevance of the research. The purpose of the article is to generalize stylistic qualities of the composer’s piano caprices in the context of genre evolution and their performance features. Analysis of research and publications. The genre of caprice is studied in the historical research of T. Livanova (1983), who equates the form of fantasy and capriccio-ricercare. V. Protopopov (1979) reveals the connection between fantasycapriccio and fugue in the early 17th century. K. Agisheva (2007) examines the historical aspects of the study of the capriccio genre. Modern Western European researchers, analyzing the genre of piano caprice, emphasize that its musical texture is filled with elements of vocal lyrics and mood swings (Lewandowski, 2017; Keym, 2009). At the same time, the issues of performance features remain unclear. Methods. Complex methodological approach applied in the article (historical, genre, structural-functional, performаnce research methods) allows us to trace the development of caprice from the Baroque era to Romanticism and conduct an intonational-dramatic analysis of Mendelssohn’s works in accordance with the following criteria: musical form (dramaturgy), textural presentation, thematic development, tempo-rhythmic characteristics, nature of thematism. Analysis of recent research and publications. Baroque caprice is a work of polyphonic composition and improvisational construction (J. S.Bach, G.F. Handel, I. Sweelink, J. Frescobaldi). In the era of Viennese Classicism, caprice was not very popular due to its improvisational, bizarre nature, contradicting to the aesthetic ideals of the time. The genre of piano caprice became widespread in the era of Romanticism in the works of F. Mendelssohn, whose distinguished style is marked by virtuosity, melody, grace, sentimentality, clarity of presentation. Among the works of F. Mendelssohn there are seven caprices for solo piano and with orchestra. The intonational-dramatic analysis of Mendelssohn’s piano caprices makes it possible to trace the main stylistic qualities of the genre and to reveal its performance features. Conclusions. The work outlines the stylistic traits of Mendelssohn’s piano caprices ассording to such parameters: – compositional structure of his piano caprices is a one-movement composition or a cyclic one, composed of two or three movements; – texture of the music is determined by polyphonic orchestral elements and broad cantilena themes; – thematic development is based on repetition, variability or variation; – tempo-rhythm is characterized by three-beat pulsation, syncopation of rhythm, sharp accentuation; – thematicism is determined by synthesis of lyrical and decisively acting images inherent in the style of Mendelssohn. Hence, the main task for the performer is clarity, expressive intonation of the melody in combination with a “pearl” light touch and energetic dynamic tempo rhythm.
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47

Hyland, Paul, R. C. Richardson, Ivan Roots, et al. "Reviews: The Study of History: A Bibliographical Guide, the English Idea of History from Coleridge to Collingwood, the Changing Face of English Local History, Arthur and the English: The Arthurian Legend in Medieval English Life and Literature, Enacting Gender on the English Renaissance Stage, Shakespeare's Feminine Endings, Writing the English Republic: Poetry, Rhetoric and Politics 1627–1660, New Stories for Old: Biblical Patterns in the Novel, Catholicism and Anti-Catholicism in Early Modern English Texts, Primogeniture and Entail in England: A Survey of Their History and Representation in Literature, the English Civil War Through the Restoration in Fiction: An Annotated Bibliography, Diana, Self-Interest, and British National Identity, Dryden and the Traces of Classical Rome, between the Ancients and the Moderns: Baroque Culture in Restoration England, Bacchus in Romantic England: Writers and Drink, 1780–1830, Misogynous Economies: The Business of Literature in Eighteenth-Century Britain, the House of Forgery in Eighteenth-Century Britain, the Clothes That Wear Us, An Oxford Companion to the Romantic Age: British Culture, 1776–1832, Domestic Space: Reading the Nineteenth-Century Interior, Victorians in Theory: From Derrida to Browning, the Age of Virtue: British Culture from the Restoration to Romanticism, Woeful Afflictions: Disability and Sentimentality in Victorian America, Women Writers of the First World War: An Annotated Bibliography, the Pub in Literature, British Industrial Fictions, the Insatiability of Human Wants: Economics and Aesthetics in Market SocietyRichardsonR. C., The Study of History: A Bibliographical Guide , 2nd ed., Manchester University Press, 2000, pp. xiv + 140, £40.00.ParkerChristopher, The English Idea of History from Coleridge to Collingwood , Ashgate Publishing, 2000, pp. vii + 244, £45.RichardsonR. C. (ed.), The Changing Face of English Local History , Ashgate, 2000, pp. viii + 218, £45.00.BarronW. R. J. (ed.), Arthur and the English: The Arthurian Legend in Medieval English Life and Literature , University of Wales Press, 1999, pp. 398, £35.00.ComensoliViviana and RussellAnne (eds), Enacting Gender on the English Renaissance Stage , University of Illinois Press, 1999, pp. 270, £18.95; SaundersEve Rachel, Gender and Literacy on Stage in Early Modern England , Cambridge University Press, 1999, pp. 260, £35.BerryPhilippa, Shakespeare's Feminine Endings , Routledge, 1999, pp. 197, £15.99 pb.; BellIlona, Elizabethan Women and the Poetry of Courtship , Cambridge University Press, 1998, pp. 262, £35.00.NorbrookDavid, Writing the English Republic: Poetry, Rhetoric and Politics 1627–1660 , Cambridge University Press, 1999, pp. xiii + 509, £40.FischHarold, New Stories for Old: Biblical Patterns in the Novel , Macmillan, 1998, pp. x + 236, £42.50; FischHarold, The Biblical Presence in Shakespeare, Milton and Blake , Clarendon Press, 1999, pp. xi + 330, £45.MarottiArthur F. (ed.), Catholicism and Anti-Catholicism in Early Modern English Texts , Macmillan, 1999, pp. xvii + 266, £47.50; ShellAlison, Catholicism, Controversy and the English Literary Imagination, 1558–1660 , Cambridge University Press, 1999, pp. xi + 309, £37.50.JamoussiZouheir, Primogeniture and Entail in England: A Survey of their History and Representation in Literature , Centre de Publication Universitaire, Tunis, 1999, pp. 293, 8 DT.MurphRoxane C., The English Civil War through the Restoration in Fiction: An Annotated Bibliography , Greenwood Press, Westport, CT., 2000, pp. viii + 349, £63.95.HammondPaul, Dryden and the Traces of Classical Rome , Clarendon Press, Oxford, 1999, pp. 305, £45.00.LevineJoseph M., Between the Ancients and the Moderns: Baroque Culture in Restoration England , Yale University Press, 1999, pp. xiv + 279, £27.50.TaylorAnya, Bacchus in Romantic England: Writers and Drink, 1780–1830 , Macmillan, 1999, pp. xi + 264, £47.50.MandellLaura, Misogynous Economies: The Business of Literature in Eighteenth-century Britain , University of Kentucky, 1999, pp. x + 228, $42.00.BainesPaul, The House of Forgery in Eighteenth-century Britain , Ashgate, 1999, pp. viii + 195, £47.50.MunnsJessica and RichardsPenny (eds), The Clothes that Wear Us , Newark, University of Delaware Press, 1999, pp. 362, £37.McCalmanIain (ed.), An Oxford Companion to the Romantic Age: British Culture, 1776–1832 , Oxford University Press, 1999, p. xii + 780, £85.BrydenInga and FloydJanet (eds), Domestic Space: Reading the Nineteenth-century Interior , Manchester University Press, 1999, pp. xii + 219, £40.00; KiddAlan and NichollsDavid (eds), Gender, Civic Culture and Consumerism: Middle-class Identity in Britain 1800–1940 , Manchester University Press, 1999, pp. xiv + 223, £46.00, pb. £14.99.SchadJohn Victorians in Theory: From Derrida to Browning , Manchester University Press, 1999, pp. x + 180, £40.MorseDavid, The Age of Virtue: British Culture from the Restoration to Romanticism , Macmillan, 2000, pp. viii + 330, £45.KlagesMary, Woeful Afflictions: Disability and Sentimentality in Victorian America , University of Pennsylvania Press, 1999, pp. 211, $36.50.OudittSharon, Women Writers of the First World War: An Annotated Bibliography , Routledge, 2000, pp. 230, £75; TyleeClaire with TurnerElaine and CardinalAgnes (eds), War Plays by Women: An International Anthology , Routledge, 2000, pp. 225, £16.99 pb.TaylorJohn A., Diana, Self-Interest, and British National Identity , Praeger, 2000, pp. 169, £44.95.EarnshawSteven, The Pub in Literature , Manchester University Press, 2000, pp. x + 294, £45 and £15.99 pb.KlausH. Gustav and KnightS. (eds), British Industrial Fictions , University of Wales Press, 2000, pp. viii + 212, £14.99 pb.; BalchJack S., Lamps at High Noon , University of Illinois Press, 2000, pp. xl + 404, $19.45 pb.; ConroyJack, A World to Win , University of Illinois Press, 2000, pp. xxxv + 348, $17.95 pb.GagnierRegenia, The Insatiability of Human Wants: Economics and Aesthetics in Market Society , University of Chicago Press, 2000, pp. 352, £10.50 pb." Literature & History 10, no. 2 (2001): 84–119. http://dx.doi.org/10.7227/lh.10.2.6.

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48

Cavadenti, Fabien. "Jeux de l’amour et du hasard dans l’œuvre de Chaplin." K, no. 10 (June 1, 2023). https://doi.org/10.54563/revue-k.593.

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This article shows how romantic idyll and desertion resonate together to highlight the defective being of Charlot. From the saucy seducer of the beginnings, passing through the sentimentalism of the years 1915-1916, Chaplin experiments with the constant shaping of the character of the vagabond until he captures the singular expression of a being who creates his own love score within modern society.
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49

Majewska, Magda. "Making Love Public: The Paradoxes of Intimacy in Henry James’s The Wings of the Dove." American Studies Journal, no. 71 (2021). http://dx.doi.org/10.18422/71-03.

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This article focuses on the paradoxes pertaining to romantic love in Henry James’ The Wings of the Dove. Drawing on love sociology (Luhmann, Illouz) it explores the ways in which James places the love and courtship of his protagonists Merton Densher and Kate Croy in a complex and shifting relation to the private and the public. As sociologists and cultural historians inform us, “romantic love“—a notion that links love and marriage—emerged only in the late 18th century as an ideal advocated by sentimentalism and romanticism and then gained popularity throughout the 19th century. Its emergence was concomitant with the rise of the middle class, the rise of the novel, and the growing separation of the private and the public spheres. Indeed, as Niklas Luhmann argues in his seminal study Love as Passion, the differentiation of the private or intimate sphere—a sphere defined by personal/intimate relations as opposed to impersonal ones—begins with the cultural codification of love. It was only after love and marriage became linked that marriage gained its status as a private affair and the family came to be regarded as the sphere of privacy. This already suggests a paradox built into the idea of romantic love: while love came to be understood as the most intimate relation between two people and as central for the demarcation of the private sphere, it also needed to be made public in order to remain what it was. This paradox is reflected in one of the major ironies of James’ novel: Kate’s decision neither to publicly acknowledge their relationship nor to conduct it in secret, but rather to appear publicly and act privately as if there was nothing to disavow in the first place, leads to the disintegration of their intimate bond. Suggesting that the performative effects of Kate and Merton’s public actions eventually render their intimate bond nonexistent, James exposes the paradox at the heart of romantic love.
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Finch, Annie. "Phillis Wheatley and the Sentimental Tradition." Romanticism on the Net, no. 29-30 (February 20, 2004). http://dx.doi.org/10.7202/007723ar.

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Abstract This essay describes critics’ relations to sentimentality, and then situates Phillis Wheatley’s poetry within it. Carefully distinguishing between Enlightenment poetry of sensibility and nineteenth-century sentimental poetry allows us to recognize Wheatley as among the first innovators of sentimentality, and it is precisely the politics of “race” which promotes such an innovation. Wheatley’s poetry presents us with a manifesto of sentimentality. She discovered the advantages, in the task of overcoming poetical oppression, of constructing a sentimental poetry that is genuinely intersubjective rather than subjective. What this examination of Wheatley’s work shows us is that the Romantic, expressivist aesthetic, allegedly so spontaneous, can be seen as in fact much more manipulative – at least politically – than Wheatley’s innovative, sentimentalist form.
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