Academic literature on the topic 'Romanticisim'

The subject of this article is the prerequisites for the establishment of the doctrine of creativity in the philosophy of Early German Romanticism. The source of the romantic concept on creativity is the I. Kant’s “Theory of Genius”, the meaning of which the Romanticists spread onto the entire human nature. The article highlights and analyzes the two groups of prerequisites for the establishment of the Romanticist doctrine of creativity as the fundamentals of understanding. The first group includes the elements of historical approach, which gained widespread in the German culture of the late XVIII century, while the second group includes the concepts of nature and emergence of the language that manifested during this period. The research leans on the principles of historicism and dialectics, method of historical and philosophical reconstruction, as well as elements of hermeneutical and comparative methods. The author considered not only philosophical works dedicated to Romanticism, but also literary, religious, and culturological works on Romanticism. An opinion is substantiated that the philosophical and historical-cultural context of establishment of the concept of creativity in philosophy of the Early German Romanticism indicates both, rational and non-rational components, which is especially evident in the Romanticist Theory of Language. In this field, the methods of scientific study of language and culture naturally align with the idea of “poetic” origin of the language, which has religious-mythological grounds.

When W.B. Yeats first met Maud Gonne, he told her of his ambition to be an ‘Irish Victor Hugo.’ Indeed the influence of France’s greatest national poet on Yeats appears to have been profound and lasting. In his youth Yeats claims to have read Hugo’s entire works, he quotes frequently form Hugo, and he spoke of Hugo at his meeting with the French poet Paul Verlaine in Paris. While the leader of French Romanticisim no doubt very pleasingly appealed to Yeats’ literary sensibilities, his political humanism, and his somewhat outlandish spiritual beliefs, the links between France’s greatest national icon and Ireland are in fact far greater than has ever been acknowledged. This article seeks to explore Hugo’s little-acknowledged, though decisive role as a spokesperson for the Irish ‘Misérables’ during the nineteenth-century. As well as examining Hugo’s much-overlooked support for the plight of the irish, this article will move on to ...

In Romanticism and Post-Modernism, Edward Larrissy states, “It has long been recognized that Romanticism is a dubious essence” (1999, 2). Observing that the current tendency is to acknowledge a plurality of “Romanticisms,” he cites Arthur O. Lovejoy's article, “On the discrimination of Romanticisms,” originally published in 1924, in which Lovejoy argued that the term had taken on such a multiplicity of meanings that “we should learn to use the word ‘Romanticism’ in the plural” (1948, 235). Acknowledging multiple schools of Romanticism constitutes more than a “post-modern piece of de-essentialising,” according to Larrissy; it recognizes that the literary and artistic creations of the Romantic era were too varied to submit to “a unified Romantic discourse” (1999, 2). Lovejoy's thesis, so widely accepted in literary circles, holds promise for dance scholars working with repertory from the Romantic era that lies outside the mainstream of “dance history” as traditionally viewed from the perspective of the Paris Opéra. Embracing the possibility of multiple forms of “Romanticism” in the nineteenth-century ballet allows us to attach meaning to the balletic repertory of that era as it varied according to national setting and individual choreographer.

Resumen: Este trabajo ofrece una reflexión sobre el drama de Schiller María Estuardo desde la perspectiva de las Consideraciones políticas sobre los golpes de Estado de Gabriel Naudé. Palabras clave: Romanticismo, política, soberanía. Abstract: This paper offers a reflection on Schiller’s drama Mary Stuart from the point of view of Gabriel Naudé’s Political Considerations on Coups d’Êtat. Keywords: Romanticism, Politics, Sovereignty.

It is a curiosity of modern scholarship that the only general work on antebellum Southern Romanticism is Rollin G. Osterweis'Romanticism and Nationalism in the Old South, which has been in print since 1949, is still read, and still –if only for want of a competitor –used. Yet much has changed in understanding of the social and intellectual history of the Old South, and even more of the phenomenon of Romanticism. These changes, natural enough over the span of two intellectual generations, have made many of that book's presumptions questionable; so a second look at the problem seems worthwhile, to clear the ground and to indicate fresh directions. For Osterweis wrote within the assumptions of the 1940s about the nature and shortcomings of Romanticism. He was guided by Irving Babbitt, who scorned Romanticism as a puling and exaggerated passion instigated by Rousseau, a disaster for rational men: at best silly, as with the jousts of antebellum Virginia; at worst dangerous, as with the secession convention of South Carolina. But Osterweis was Babbitt with a difference. While Babbitt and, more weightily, Ernst Cassirer had thought that Romanticism had led the world astray and it was still astray, with Hitler the avatar of Hegel as chilling evidence, Osterweis cheerily regarded Romanticism as a movement that had expired with the nineteenth century, a fossil safe to mock. To this perspective, largely adopted from Jacques Barzun'sRomanticism and the Modern Ego(1943), Osterweis added the view of Arthur Lovejoy, who had insisted that Romanticism, while possessing a core notion of diversity and flux, should most safely be regarded as multiple: there were Romanticisms, not a Romanticism.

The subject of this research is the doctrine of personality in philosophy of the early German romanticism. As the main source of establishment of the romantic concept of personality, the author examines I. Kant’s doctrine of the genius nature of creation. Detailed analysis is conducted on the artistic-philosophical fragments of Novalis and F. Schlegel, in which the concept of personality as a subject of creation is described most vividly. The article substantiates the fundamental significance of the concept of personality of all elements of the philosophy of romanticism, namely for the romanticists’ theory of understanding. The author analyzes not only the philosophical research on romanticism, but also literary, culturological, and religious publications on the topic. The article systematically substantiates the position, according to which creation in the philosophy of romanticism manifests as a universal substance of human spirit, which finds individual reflection in each person, and becomes the foundation for his growth and knowledge. The peculiarity of semantic theory of creative personality consists in the fact that in cannot be exhaustively cognized by the rational means; only artistic-aesthetic and religious consciousness allows approximating to comprehension of the nature of creation.

Abstract This article considers four paintings by Caspar David Friedrich of a national romanticist nature. It examines the role of Rome and Germania’s ancient conflict in these, and briefly considers what may have influenced the artist’s national take on ancient history, including his personal experience of the Napoleonic invasions of his homeland. Friedrich’s transformations of the ancient in his national paintings are an important example of the reception of classical literature in German romanticism.

August Šenoa belongs to a transitional period of Croatian literature, falling between Romanticism and Realism. The paper analyses the relations between Šenoa’s numerous translations and the poetics of his texts focusing on his proclivity towards the aesthetics of Realism, as opposed to the dominant perception of his poetics as Romanticist. This paper researches the source and target cultures, cultural links, contacts and exchanges, but also possible twists in the perception of cultural periphery, as well as the influence of economy on cultural politics.

En la teoria i la història de la literatura a Espanya no existia fins ara el concepte ni la consciència del poema digressiu com a forma literària pròpia. La dissertació és una monografia de dita forma literària i afirma rotundament la pertinença a ella de quatre obres seleccionades. Beniowski serveix de referent paradigmàtic. Un corpus consistent en quatre textos permet estendre l’anàlisi simètricament a l’àmbit polonès i espanyol, i equilibrar les seves conclusions. S’aprofiten les constatacions dels investigadors polonesos i es transposen al terreny espanyol, per tal de provar l’analogia que justifica el trasllat del concepte. Al 1840, any al voltant del qual es composen les obres, el romanticisme espanyol no pot anomenar-se tardà. No obstant, Espronceda, a El diablo mundo, accelera la maduració del subjecte romàntic. Contràriament a la consideració de nombrosos crítics, no es tracta de quelcom accidental en el camí del romanticisme espanyol, sinó de la seva enèrgica afirmació en el camp del subjecte i de l’expressió poètica. Al no encarar l’obra com a poema digressiu, la crítica no va valorar el que la dissertació entén com a major fita esproncediana: un subjecte irònic veritablement romàntic, transcendent del subjecte-tipus de la seva creació anterior. A més, El diablo mundo uneix el subjecte al llenguatge, assolint una visió existencial i epistemològica plena. La dissertació defineix i comenta la forma poètica en qüestió, així com altres formes i conceptes (ironia, fragmentarisme, digressió….), necessaris per tal de comprendre el seu caràcter policèntric, el seu estil, la posició del narrador i el constant repte al lector i a la convenció. El paper de la digressió és altament paradoxal, al convertir la ruptura en fonament de la construcció del text. La tesi dedica un ampli espai a les instàncies textuals del subjecte, el narrador i el lector, i a l’eix metaliterari del poema. El poema digressiu representa els aspectes vitals del romanticisme, a l’abastar la totalitat de l’evolució del subjecte romàntic, així com la de la lírica i l’èpica romàntiques. El poema i el seu narrador constitueixen un catàleg i un emblema de la transformació romàntica en els camps mencionats. La personalitat irònica no és gens menys característica que el tòpic del poeta-vat, el rebel, l’amant, etc. El significat del poema en el mapa literari excedeix el d’una forma d’escriptura. Consisteix en una unió extraordinària de la capacitat creadora i crítica. Gràcies a això, representa la dinàmica de la creació literària, la dialèctica del pensament i el concepte existencial romàntic. Per la seva doble trajectòria creadora-crítica, instaura solucions atrevides i les anul·la, sense mai minvar la posició dominant del narrador. El poema digressiu és la forma més radical de l’escriptura romàntica, sent el seu context i el seu punt de partida la maduresa del romanticisme. També és portador del postulat de l’autenticitat de la literatura, avançat pels primers romàntics. A saber, la tradició literària no es basa en reprendre elements o conceptes del passat, sinó en reprendre el seu significat en el seu propi temps. Aquest enteniment de la tradició fomenta el concepte de la modernitat de la literatura en totes les èpoques. Allò original sempre està vinculat a allò autèntic; i un art autèntic sempre és modern, sempre és testimoni del seu propi temps. Aquesta és la gran lliçó dels romàntics: una idea que van pressentir i verbalitzar des de les primeres albors de l’època i que, en la maduresa de la mateixa, es va articular en el poema digressiu. Per altra banda, el romanticisme mostra clarament que el moment culminant és el crític. El potencial creatiu excepcional del romanticisme es fonamenta en un pensament lúcid i això es trasllada al discurs irònic. El poema digressiu, emblema de la ironia romàntica, constitueix així mateix un compendi poètic de l’època.
En la teoría y la historia de la literatura en España no existía hasta ahora el concepto ni la conciencia del poema digresivo como forma literaria aparte. La disertación es una monografía de dicha forma literaria y afirma rotundamente la pertenencia a ella de cuatro obras seleccionadas. Beniowski sirve de referente paradigmático. Un corpus consistente de cuatro textos permite extender el análisis simétricamente al ámbito polaco y español, y equilibrar sus conclusiones. Se aprovechan las constataciones de los investigadores polacos y se transponen al terreno español, para probar la analogía que justifica el traslado del concepto. En 1840, año alrededor del cual se componen las obras, el romanticismo español no puede llamarse tardío. No obstante, Espronceda, en El diablo mundo, acelera la maduración del sujeto romántico. Contrariamente a la consideración de numerosos críticos, no se trata de un accidente en el camino del romanticismo español, sino de su enérgica afirmación en el campo del sujeto y de la expresión poética. Al no abordar la obra como poema digresivo, la crítica no valoró lo que la disertación entiende como el mayor logro esproncediano: un sujeto irónico verdaderamente romántico, trascendente del sujeto-tipo de su creación anterior. Además, El diablo mundo une al sujeto al lenguaje, logrando una visión existencial y epistemológica plena. La disertación define y comenta la forma poética en cuestión, así como otras formas y conceptos (ironía, fragmentarismo, digresión...), necesarios para comprender su carácter policéntrico, su estilo, la posición del narrador y el constante reto al lector y a la convención. El papel de la digresión es altamente paradójico, al convertir la ruptura en fundamento de la construcción del texto. La tesis dedica mucho espacio a las instancias textuales del sujeto, el narrador y el lector, y al eje metaliterario del poema. El poema digresivo representa los aspectos vitales del romanticismo, al abarcar la totalidad de la evolución del sujeto romántico, así como la de la lírica y la épica románticas. El poema y su narrador constituyen un catálogo y un emblema de la transformación romántica en dichos campos. La personalidad irónica es nada menos característica que el tópico del poeta-vate, el rebelde, el amante etc. El significado del poema en el mapa literario excede el de una forma de escritura. Consiste en una unión extraordinaria de la capacidad creadora y crítica. Gracias a ello, representa la dinámica de la creación literaria, la dialéctica del pensamiento y el concepto existencial romántico. Por su doble trayectoria creadora-crítica, instaura soluciones atrevidas y las anula, sin mermar nunca la posición dominante del narrador. El poema digresivo es la forma más radical de la escritura romántica, siendo su contexto y su punto de partida la madurez del romanticismo. También es portador del postulado de la autenticidad de la literatura, adelantado por los primeros románticos. A saber, la tradición literaria no se basa en retomar elementos o conceptos del pasado, sino en retomar su significado en sus tiempos. Tal entendimiento de la tradición fomenta el concepto de la modernidad de la literatura en todas las épocas. Lo original siempre está vinculado a lo auténtico; y un arte auténtico siempre es moderno, siempre es testigo de sus tiempos. Esta es la gran lección de los románticos: una idea que presintieron y verbalizaron desde los albores de la época y que, en la madurez de la misma, se articuló en el poema digresivo. Por otra parte, el romanticismo muestra claramente que el momento culminante es el crítico. El potencial creativo excepcional del romanticismo se fundamenta en un pensamiento lúcido y ello se traslada al discurso irónico. El poema digresivo, emblema de la ironía romántica, constituye asimismo un compendio poético de la época.
One of the major aims of this project has been to propose the term poema digresivo for Spanish Romantic poetry. Poema digresivo, based on the Polish poemat dygresyjny, seems more accurate than the English ironic poem, since it indicates one of the most important features, digression. This dissertation focusses on this form, and it concludes that the selected Spanish texts exemplify it. Beniowski serves as a paradigmatic point of departure. The choice of the four texts enables symmetry and balanced conclusions as regards Polish and Spanish literature. The thesis draws on the achievements of Polish researchers and transfers them to the Spanish domain, demonstrating the analogy that legitimates the transfer of the term poema digresivo. Spanish romanticism of around 1840, when all four poems were written, cannot be called late, but Espronceda accelerates the maturing of the Romantic subject. El diablo mundo, though, is not an accident in the history of Spanish romanticism, as many critics have considered, but its energetic affirmation, through which the subject and the revolution of poetical expression are confirmed. Given that the text was not considered a digressive poem, many critics disregarded what the dissertation indicates as Espronceda’s major achievement: the representation of the genuine Romantic ironic subject. Besides, El diablo mundo binds the subject to the language; by operating on these two planes, it reaches a full existential and epistemological vision. This dissertation defines concepts (irony, fragmentarism, digression) necessary to understand such aspects of the digressive poem as its polycentric character, its style, the position of the narrator and the permanent challenge to the reader. The role of the digression proves paradoxical, making rupture a fundamental element of the text’s construction. The poem’s dialectic shows the richness of contradiction in this literary form. Considerable space is devoted to the textual instances of the subject, the narrator and the reader, and to the metaliterary aspects of the poem. The digressive poem shows perfectly the vital aspects of romanticism, illustrating all the transformations of the Romantic subject and the evolution of Romantic lyrical and epic poetry. The poem and its narrator constitute the catalogue and the emblem of Romantic mutations of the aforementioned components. The ironic personality turns out to be as specifically Romantic as the topos of the bard, rebel or lover. The significance of the digressive poem for Romantic literature goes beyond the importance of a single literary form, being a brilliant union of creative and critical skills. In this way, it reproduces the dynamics of Romantic literary creation, the dialectics of thinking and the Romantic concept of human existence. Thanks to the double creative–critical trajectory, the ironic poem creates bold solutions and questions them, without reducing the narrator’s dominating position. The ironic poem is the most radical form of Romantic writing, contextualized in the mature phase of romanticism. It also articulates the postulate of the authenticity of literature advanced by the first Romantics, for whom literary tradition was not about taking motifs or ideas from the past, but about reconstructing and reintroducing the meaning those elements had in their time. Such an understanding of tradition allows the literature of all periods to be perceived as modern. The great lesson of the Romantics is that originality is always linked to authenticity and authentic art is always contemporary; it is always a participant and a testimony of its time. Also, romanticism clearly shows that the moment of climax is one of crisis. Its exceptional creative potential is based on lucid thought; these aspects are translated within the ironic discourse. Thus the digressive poem, the emblem of Romantic irony, constitutes a poetic compendium of romanticism.

La presente tesis consta de seis capítulos, cuyo contenido se estructura del siguiente modo. En el primer capítulo se realiza un breve repaso del origen de la palabra “romanticismo” y de los inicios del citado movimiento. Tras analizar brevemente lo que supuso el Romanticismo en países como Alemania, Inglaterra, Francia o Italia, se establecen cuáles fueron las fuentes inspiradoras del mismo en nuestro país. En el segundo capítulo se somete a un contraste temático el Romanticismo español con respecto a otros, como el anglo-germano o el francés, por lo que éste supuso de puente para el español. Dado que el objeto de estudio de esta tesis es el de la proyección romántica en la poesía de fuera de su espacio cronólogico, en el tercer capítulo se hace un recorrido (pasando por el Simbolismo francés, los Paranasianos, los Modernistas y, ya en España, la Generación del 98) por las figuras más significativas que asimilaron y evolucionaron los temas del Romanticismo original. Destaca Baudelaire, y ciertos poetas modernistas como Lugones o López Velarde. También se consideran como importantes las obras de Campoamor, los hermanos Machado, Moreno Villa o Unamuno. Finaliza el capítulo destacando la relación entre Baudelaire y Luis Cernuda. Precisamente el cuarto capítulo se adentra en profundidad sobre la obra de Cernuda, que puede considerarse la más alta expresión romántica de la poesía española; aunque pueda parecer rezagado, su afán por repescar aquello que en su tiempo no pudo darse y la recuperación de los grandes románticos, como Hölderlin, Goethe o Wordsworth es un fenómeno destacable. En el capítulo quinto, tras repasar la “Generación del 36” o la poesía social –sin que en ninguna de las dos aparezca ningún poeta que destaque por su enfoque romántico–, llegamos a la Generación del 50, donde destacan tres creadores: Brines, Biedma y Valente. Si el primero conecta temporalmente con Cernuda, de modo que revitaliza y encarna una parte de los más grandes presupuestos románticos, el caso de Biedma es distinto: admira la obra de Cernuda pero al mismo tiempo asimila la teoría y la poesía de Eliot y su más o menos discutible antirromanticismo. Por último, Valente es importante por su desmarque con respecto a los restantes poetas de su generación. El último capítulo incluye un repaso a las obras de Colinas y Leopoldo María Panero, ambos dentro del movimiento de los “Novísimos”, pero en los cuales pueden presentirse trazas de la influencia romántica. Con ello se concluye que el Romanticismo seguirá apareciendo, de una u otra manera, a lo largo de futuras generaciones, aunque no sea ya dentro de la línea de reivindicación ética.

Joaquim Rubió i Ors és un poeta molt present a les històries de la literatura catalana però la seva poesia és totalment desconeguda, fora dels cercles acadèmics i erudits, havent gaudit d’una popularitat insòlita que després li ha estat negada, fins a caure quasi la totalitat de la seva obra en l’oblit més absolut, com la immensa majoria de la poesia del vuit-cents fins a Jacint Verdaguer, a causa d’un cúmul de prejudicis estètics que s’han anat creant tot al llarg del segle XX. Aquesta tesi representa el primer estudi biogràfic a fons del poeta i la primera edició completa de la seva poesia en català des de la seva mort. Des del 1902, data d’aparició del quart volum de la tercera edició de Lo Gaiter del Llobregat començada en vida i acabada pòstumament pel fill Antoni Rubió i Lluch, la seva poesia només ha estat publicada en antologies, i sempre la mateixa mitja dotzena de poemes, si exceptuem l’edició que vaig fer jo mateix el 2006 per a Edicions 62 amb els poemes del primer Gaiter. La tesi proposa i justifica un text a partir de l'estudi dels diferents manuscrits i les les diferents edicions fetes en vida del poeta.
Joaquim Rubió i Ors es un poeta muy presente en las historias de la literatura catalana pero su poesía es totalmente desconocida, fuera de los círculos académicos y eruditos, habiendo disfrutado de una popularidad insólita que luego le ha sido negada, hasta caer casi la totalidad de su obra en el olvido más absoluto, como la inmensa mayoría de la poesía del ochocientos hasta Jacint Verdaguer, debido a un cúmulo de prejuicios estéticos que se han ido creando a lo largo del siglo XX. Esta tesis representa el primer estudio biográfico a fondo del poeta y la primera edición completa de su poesía en catalán desde su muerte. Desde el 1902, fecha de aparición del cuarto volumen de la tercera edición de Lo Gaiter del Llobregat comenzada en vida y acabada póstumamente por su hijo Antoni Rubio i Lluch , su poesía solo ha sido publicada en antologías, y siempre la misma media docena de poemas, si exceptuamos la edición que hice yo mismo en 2006 para Edicions 62 con los poemas del primer Gaiter. La tesis propone y justifica un texto a partir del estudio de los diferentes manuscritos y las diferentes ediciones hechas en vida del poeta.
Joaquim Rubió i Ors is a poet very present in the histories of Catalan literature but his poetry is totally unknown, outside the academic and scholarly circles, having enjoyed an unusual popularity that later has been denied to him, until falling almost the totality of his work in the most absolute oblivion, like the vast majority of the poetry of the 19th Century until Jacint Verdaguer, due to an accumulation of aesthetic prejudices that have been created throughout the 20th Century. This thesis represents the first in-depth biographical study of the poet and the first complete edition of his poetry in Catalan since his death. Since 1902, the date of publication of the fourth volume of the third edition of Lo Gaiter del Llobregat, begun in life and finished posthumously by his son Antoni Rubió i Lluch, his poetry has only been published in anthologies, and always the same half a dozen poems, except for the edition I made myself in 2006 for Edicions 62 with the poems of the first Gaiter. The thesis proposes and justifies a text based on the study of the different manuscripts and the different editions made during the poet's lifetime.

L’objectiu primordial de la tesi és l’anàlisi de la representació de la música en la obra de l’artista Joan Carandell. S’estudia Carandell i la seva obra com a paradigma contemporani a per establir correspondències entre el món interdisciplinari de les arts i la iconografia de la representació musical. S’investiga i s’estudia la col•lecció “Història de la Música” de Carandell per la seva dimensió musical. La tesi consta de dos volums. Així mateix, el primer volum està dividit en dos capítols, apèndix I i apèndix II. I el segon volum és un annex amb la selecció de la documentació recopilada de catàlegs de les exposicions individuals, conferències, il•lustracions de llibres i revistes, i de la recopilació de premsa escrita sobre Carandell. En l’apèndix I es recopilen i es seleccionen representacions de diversos artistes, per obtenir la informació complementària i per deixar constància de les línies principals de la iconografia musical des del Romanticisme fins a la pintura contemporània. S’observen les constants iconogràfiques i les variades línies estètiques de la representació dels aspectes musicals. A l’apèndix II s’inclou un complement bibliogràfic sobre l’artista. Es parteix de l’estudi de la iconografia i de la representació de la música per establir unes línies formals de representació i es proposa la hipòtesi: Carandell s’aparta, sens dubte, de les línies establertes en la història de la representació musical i la seva “Història de la Música” s’escapa als paràmetres convencionals per la seva extensió i perquè conté un factor didàctic i filosòfic. Primera conclusió, la proposta de Carandell és innovadora perquè té sentit d’unitat pictòrica vers la vibració musical, hi ha una representació coherent de l’evolució de la música des dels grecs fins als compositors contemporanis i és un resum de la història de la música de manera pictòrica. Segona, les obres de l’artista parteixen de la vibració musical que es transforma en les seves personals i innovadores manifestacions pictòriques de línia i color. Tercera, es refereix a la intencionalitat didàctica del seu projecte “Història de la Música” que és progressista i innovador. Quarta, és sobre el suggeriment de Carandell de real però inventat que determina un surrealisme i també una metafísica que convida a imaginar una dimensió pictòrica oberta a l’espectador, a la seva pròpia experiència i sensibilitat i li descobreix expectatives de reflexió filosòfica. La cinquena conclusió refereix l’assoliment de les qüestions proposades a la hipòtesi i amb el resultat d’un treball d’investigació innovador i necessari per a la historiografia de l’art.
The main objective of the thesis is to analyse the representation of music in Joan Carandell’s work which is studied as the contemporary paradigm to establish links between the interdisciplinary world of arts and the iconography of musical representation. Carandell’s History of Music collection is researched and studied for its musical dimension. The thesis includes two volumes, the first is divided into two chapters, appendixes I and II, and the second is an annex. Appendix I gathers and selects representations of various artists to obtain complementary information and to record the main features of musical iconography, from Romanticism to contemporary painting. The iconographic constants and varied aesthetic features of representation of the musical aspects are observed. Appendix II includes a biographical complement about the artist. The starting point is the study of the iconography and musical representation to establish formal representation lines and the proposal of the following hypothesis: Carandell no doubt moves away from the established lines in the history of musical representation, his History of Music slipping away from conventional parameters due to its extension and educational and philosophical factors. First conclusion: Carandell’s proposal is innovative because of its sense of pictural unit towards musical vibration, with a consistent representation of musical evolution from the Greeks to contemporary composers, and being a summary of the history of music in a pictural fashion. Second: the artist’s works are based on the musical vibration which is transformed into his personal and innovative pictural manifestations of line and colour. Third: it refers to the educational intention of his project History of Music which is both progressive and innovative. Fourth: it deals about Carandells’s suggestion of real but invented which determines a surrealism and metaphysics leading to imagine a pictural dimension open to the eye of the beholder, to his own experience and sensitivity, uncovering to him expectations of philosophical reflection. The fifth conclusion refers to the achievement of the issues proposed in the hypothesis, with the result of a research work that is both innovative and necessary for the historiography of art.

During the Romantic period, England, which then led the world in slave exports, abolished both the African slave trade and West Indian slavery, setting a trend that the Portuguese, Danish, French, Germans, and Americans would follow. Abolition, a powerful moral engine, barreled through England on the tracks of pamphlets, poetry, engravings, speeches and sermons. Abolition was clearly the moral (as well as economic and social) issue of the age. My dissertation investigates the ways in which Romantic writing emerged from and responded to the issues brought on by the slavery question. Through primary and archival research, I reconstruct not only the voices of abolition, but also of various contributing discourses such as medicine, travel, cartography, labor, and iconography. This range of sources provides the basis from which I read major Romantic poems, advancing interpretations that make clear seemingly discordant relationships, like that between Keats, slavery and voodoo; between cartography, slavery and sonnets; and between Wordsworth, slavery, and abortion. The way Romanticism is haunted by the slavery question, I argue, needs to be recovered within literary history as much as within Romantic poetry itself. My dissertation thus combines three kinds of projects: a contribution to historical reconstructions based on primary research; a contribution to knowledge of specific literary works; and a contribution to ongoing arguments about critical method.

The Romantic period coincides with a fundamental shift in Western attitudes toward death and dying. This dissertation examines how Romantic poets engage this shift. It argues that "Romantic mortal consciousness" - a form of mortal reflection characteristic of English Romantic poetry - is fundamentally social and political in its outlook and strikingly similar to what one might now call a liberal social consciousness. During the Romantic period, mortally conscious individuals, less able or willing to depend on old spiritual consolations, began to regard Death not as the Great Leveler of society but rather as a force that sealed social inequality into the records of history. Intimations of mortality forced one to look beyond the self and, to quote Keats, "think of the Earth." This dissertation considersthe development of Romantic mortal consciousness. Death’s transformation from the Great Leveler of social inequality into its crystallizing agent is evident in the Romantic response to Graveyard School poetry. This is the subject of my first chapter, which focuses on Gray’s "Elegy" and Wordsworth’s "The Ruined Cottage." Chapter Two examines Lord Byron’s Cain, where mortal consciousness transforms Cain’s personal lament about mortality into a protest on behalf of a doomed race. Cain anticipates death studies by dramatizing the shift from what Ariès calls the "death of the self" to the "death of the other" and by recognizing that mortality is essentially a cultural construct. However, the other idea of mortality as a solitary reckoning with death does not disappear entirely. Poems by Hemans and Keats, the subjects of my third and fourth chapters, show how the "death of the self" flourishes as the other side of Romantic mortal consciousness. Romantic mortal consciousness has centripetal and centrifugal aspects. It exhorts the ruminative soul to engage sympathetically with the suffering of others. At the same time, it turns the soul inwards, bringing the fate of the self into focus. One aim of this dissertation is to unify these aspects through an analysis of the sublime. In Chapter Five, which focuses on Byron and Smith, I illustrate the connection between mortal consciousnesses, social or political consciousness, and aesthetic awareness.

Thesis (MFineArt)--University of Melbourne, Victorian College of the Arts, [2003]., VCA Art, Faculty of the Victorian College of the Arts and Music, 2009.
Typescript. Includes bibliographical references (leaves 34-36)