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Journal articles on the topic 'Romanticisim'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Gorokhov, Aleksandr Aleksandrovich. "Philosophical and historical-cultural context of establishment of the doctrine of creativity as the fundamentals of understanding the Early German Romanticism in philosophy." Философская мысль, no. 2 (February 2021): 33–44. http://dx.doi.org/10.25136/2409-8728.2021.2.32843.

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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.

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Ní Riordáin, Jeanna. "‘Victor Hugo, the Irish ‘Misérables, and Fenian women in the nineteenth-century’." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 131–35. http://dx.doi.org/10.33178/boolean.2015.27.

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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 ...

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Sowell, Debra H. "A Plurality of Romanticisms: Italian Ballet and the Repertory of Antonio Cortesi and Giovanni Casati." Dance Research Journal 37, no. 1 (2005): 37–55. http://dx.doi.org/10.1017/s0149767700008342.

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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.

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Gupta, Ankita. "East-West Romanticisms: Understanding Indian Romanticism through Chhayavad - A Study in Comparative Indian Literature." Journal of Advanced Research in English & Education 03, no. 02 (August 1, 2018): 1–5. http://dx.doi.org/10.24321/2456.4370.201804.

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Villacañas, José Luis. "El animal soberano: "María Estuardo" de Schiller." Análisis. Revista de investigación filosófica 2, no. 2 (December 18, 2015): 335. http://dx.doi.org/10.26754/ojs_arif/a.rif.201521210.

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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.

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Balfour, Ian. "Romanticisms, Discriminations: On Lovejoy and The Meaning of Romanticism." European Romantic Review 31, no. 3 (May 3, 2020): 285–94. http://dx.doi.org/10.1080/10509585.2020.1747686.

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O'Brien, Michael. "The Lineaments of Antebellum Southern Romanticism." Journal of American Studies 20, no. 2 (August 1986): 165–88. http://dx.doi.org/10.1017/s0021875800015012.

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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.

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Gorokhov, Aleksandr Aleksandrovich. "Personality as a subject of creation in the concepts of Novalis and F. Schlegel." Философия и культура, no. 5 (May 2020): 35–45. http://dx.doi.org/10.7256/2454-0757.2020.5.32536.

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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.

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Warren, Richard. "Caspar David Friedrich, Ancient Rome and the Freiheitskrieg." Open Cultural Studies 1, no. 1 (January 26, 2017): 66–74. http://dx.doi.org/10.1515/culture-2017-0007.

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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.

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Pavlović, Cvijeta. "Translation as a Poetics Constituent." Przekłady Literatur Słowiańskich 10, no. 1 (June 29, 2020): 173–89. http://dx.doi.org/10.31261/pls.2020.10.01.01.

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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.

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Martino, Luis Marcelo. "Clásicos, «clasiquistas» y «clasicones». Reacciones anti-clásicas en el Río de la Plata del siglo XIX." Cuadernos de Estudios del Siglo XVIII, no. 23 (October 20, 2013): 12–150. http://dx.doi.org/10.17811/cesxviii.23.2013.12-150.

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La llamada generación romántica argentina está constituida por un heterogéneo grupo de intelectuales, que, en su mayoría, se vieron forzados a exiliarse por motivos políticos a distintos países latinoamericanos. Esteban Echeverría, Juan Bautista Alberdi, Juan María Gutiérrez, Miguel Cané y Luis L. Domínguez, entre otros, comparten en mayor o menor medida las ideas y postulados del romanticismo y, por consiguiente, una actitud de rechazo ante la estética neoclásica. El presente trabajo se propone estudiar dicha postura anticlásica y determinar los eventuales desvíos de la misma. El corpus de nuestra investigación se compone fundamentalmente de cartas, escritos sobre literatura y artículos aparecidos en distintas publicaciones periódicas argentinas y uruguayas: La Moda (1837-1838), El Iniciador (1838-1839), El Corsario y El Correo (1840).PALABRAS CLAVEClasicismo, Romanticismo, Generación del 37. The so called Argentine romantic generation is a heterogeneous group of intellectuals, the majority of them were forced to migrate to different countries of Latin America for political reasons. Esteban Echeverría, Juan Bautista Alberdi, Juan María Gutiérrez, Miguel Cané y Luis L. Domínguez, among others, share to a greater or lesser extent the ideas and postulates of Romanticism and therefore the rejection of classicist aesthetic. The purpose of our work is to analyze this anti-classical attitude and to determinate the eventual deviations. The corpus of our research is composed of letters, essays on literature and articles published in magazines and papers of Argentine and Uruguay: La Moda (1837-1838), El Iniciador (1838-1839), El Corsario and El Correo (1840).KEY WORDSClassicism, Romanticism, Generation of 1837.

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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 (February 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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Rubio Caballero, José Antonio. "Entre Ranke y Merlín. El bretonismo político y su historiografía romántico-positivista”/“Between Ranke and Merlin. The Bretonist Mouvement and its Romantic-Positivist Historiography." Historiografías, no. 5 (December 31, 2017): 71. http://dx.doi.org/10.26754/ojs_historiografias/hrht.201352460.

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This article examines the so-called Bretonism, a cultural and political movement fuelled by Romanticism, Positivism and Proto-Nationalism. Emerged in the second half of the nineteenth century, Bretonism took the shape of an historical school devoted to justifying, through of the study of the past, the main elements of its own devotees’ political opinions, namely ideological conservatism, distrust of the liberal-democratic system, and, above all, a national narrative over Brittany, which are to be represented as an ethnic community culturally different from the rest.Key WordsNationalism, regionalism, Britanny, positivism.ResumenEste artículo examina el llamado “Bretonismo”, un movimiento político y cultural alimentado por el Romanticismo, el positivismo y el protonacionalismo. Surgido en la segunda mitad del siglo XIX, el Bretonismo tomó la forma de una escuela historiográfica consagrada a justificar, mediante el estudio del pasado, los principales elementos políticos de sus cultivadores, es decir, conservadurismo ideológico, recelos hacia el sistema liberaldemocrático, y por encima de todo, un relato “nacional” sobre Bretaña, que pasará a ser presentada como una comunidad étnica culturalmente diferenciada de todas las demás.Palabras claveNacionalismo, Bretaña, positivismo, romanticismo.

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14

Dominenko, Natal'ya Viktorovna, and Yuliya Yur'evna Kravinskaya. "Points of intersection of space-time planes of the “foreign world” in epistolary prose of the English romanticists." Litera, no. 7 (July 2021): 64–79. http://dx.doi.org/10.25136/2409-8698.2021.7.35780.

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The subject of this research is the points of intersection of space-time relations of the “foreign world” in such form of authorial self-expression as correspondence of the English romanticists. The goal is to examine the key elements of the chronotope of “foreign world”, and determine the peculiarities of their functionality in the romantic epistolary prose. The object of this research is the 50 letters of W. Wordsworth, 224 letters of G. G. Byron, 67 letters of P. B. Shelley, 51 letters of J. Keats, and 200 letters of R. Southey. The article employs a set of general scientific and special literary criticism methods, such as descriptive, biographical, historical-genetic, historical-functional, structural-semantic, and comparative-typological. It is established that the “foreign world” in the correspondence of English romanticists is represented by the following points of intersection of space-time planes: chronotope of the road / road meetup / traffic accident; contact / meetup / date; cities / countries / villages, with the dominant motifs of the road and contact. Leaning on the analysis of space-time plane of the “foreign world” in the correspondence of English romanticists, the conclusion is made that the chronotope of “foreign world” is a certain access code to the world pattern of English romanticists, the key category that resembles the worldview of a particular epoch, namely romanticism. The scientific novelty lies in the fact that this work is first to analyze space-time relations of “foreign world” in the correspondence of English romanticists. The future research should focus on the types and peculiarities of functionality of the chronotope of “native world” in the correspondence of English romanticists, as well as the interaction of space and time in the correspondence of English realist writers, determining and comparing the integral and variable traits characteristic to epistolary prose as a whole.

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Novyk, O. P. "THE POETICS OF ROMANTICISM OF MYKHAILO MINCHAKEVYCH’S WORKS IN THE SON OF RUS." Rusin, no. 60 (2020): 154–66. http://dx.doi.org/10.17223/18572685/60/9.

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The article analyses Mykhailo Minchakevych’s poems “Satire”, “Rozsvit”, “Roksolana”, “Separation”, dumka “Cross stone near Lyubchych”, love elegy “Dumka” from the manuscript collection The Son of Rus (1995), with the focus on the poetics of romanticism and imagery. The author compares the themes and motives in Mykhailo Minchakevych’s poetry with those of other Romanticists (Markiyan Shashkevich, Mykola Petrenko). The poetics of Minchakevych’s works was incluenced by the writing of Markiyan Shashkevych and other Galician authors; however, it demonstrates the similarities with East Ukrainian literature of the first half of the 19th century as well as European Romanticism. Mykhailo Minchakevych uses the so-called “word complexes” (D. Chyzhevsky), inherent to Ukrainian Romanticism. His desire to demonstrate the Rusinian great history is manifested in his reminiscences of the time of Kievan Rus and allusions to famous historical figures of the past. Similarly, the poet tries to show the influence of the Rusins on European history by mentioning the ties of blood between the Russian princes and European rulers. The poems “Satire”, “Rozsvit”, “Roksolana” convey the moods of “Russian Trinity” both through motives and imagery, thus revealing the influence of Markiyan Shashkevych. Mykhailo Minchakevych’s poems are also close to folklore, which becomes evident in their motives, composition, and the use of repetitions and onomatopoeia. Minchakevych’s poetry as a component of the “Russian Trinity” phenomenon reflects the processes that took place in the Ukrainian culture in the first half of the 19th century.

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Prole, Dragan. "Three faces of the classical." Zbornik Matice srpske za drustvene nauke, no. 168 (2018): 755–68. http://dx.doi.org/10.2298/zmsdn1868755p.

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The article examines three crucial implications of the term ?classical?. The first meaning is defined as epochal, and it is primarily presented in view of the brief history of the concept of classicus, but also considering the Baudelaire?s idea of ?universal beauty?. The characteristics of the classical art are confronted with Friedrich Schlegel?s criticism of the romanticism, which reminds that the idea of a time-resistant art form is nothing realistic, but rather a mere fantasy or a chimera of abstraction. For a romanticist, being out of touch with the present no longer had a particular merit, but rather was a symptom of the absence of awareness what the crucial sense of the works of art really is. If the classical divulged the cosmic harmony, the integrity of the natural order, the romanticism prefers to be the art of mediation, the dynamic transition, the unstoppable process. In the second part of the article, the author analyzes the motives of anti-classical tendencies in the European art, demonstrating that onslaught on the classical could have primarily been expected in the environment where it was neither too strong nor too weak.

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Schmid, Ulrich. "Romantik und Politik." osteuropa 70, no. 3-4 (2020): 179. http://dx.doi.org/10.35998/oe-2020-0024.

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Van der Linde, Carlos-Germán. "Sab, el romanticismo de la desilusión y su hálito eufórico." La Manzana de la Discordia 3, no. 2 (March 15, 2016): 59. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v3i2.1463.

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Resumen: El ideal romántico de amor influye en lasmentalidades femeninas más ilustradas del siglo XIX;tal es el caso de Carlota, la protagonista de la novelaabolicionista Sab (1841), novela de la autora cubanaGertrudis Gómez de Avellaneda (1814-1873). Carlota,una mujer que se duele de la condición de esclavitud enque están subyugados los negros en la isla de Cuba, hasido educada por su padre, un hombre tambiénromántico que no dirige su vida por el «positivismo». Esprecisamente esa mujer que hemos denominado ilustradapor inspirar su conciencia política bajo los principiosrepublicanos de la igualdad, la libertad, y la fraternidad,la que vive, en gran parte de la novela, una ilusiónromántica. Hasta que al final, el romanticismo se enfrentacon la realidad masculina, positivista e impositiva de suesposo y sociedad general. Es en este punto donde tomaconciencia del sofisma vivido y asume la desilusión comouna postura de vida, desilusión que está reforzadasimbólicamente por el retiro al claustro de su amigaTeresa.Palabras clave: novela, romanticismo, Cuba, género,esclavitud, Gertrudis Gómez de Avellaneda.Abstract: The Romantic ideal of love influences themost illustrated feminine minds of the nineteenth century;such is the case of Carlota, the protagonist of theabolitionist novel Sab (1841), by Cuban author,Gertrudis Gómez de Avellaneda (1814-1873). Carlota,a woman who is pained by the condition of slavery ofblack people in Cuba, has been educated by her father,an also pro-Romantic man who does not lead his lifeaccording to «positivism.» It is precisely this woman wehave called illustrated due to her political conscience,inspired in the republican principles of liberty, equality,and fraternity, who lives throughout most of the novel, aromantic illusion. Finally her Romanticism confrontsmasculine reality, positivistic and overbearing,exemplified by her husband and society in general. It isat this point that she becomes aware of her mistake, andaccepts disappointment in her life, disillusionment whichis symbolically reinforced by her friend Teresa’swithdrawing to the cloister.Key words: novel, romanticism, Cuba, gender, slavery,Gertrudis Gómez de Avellaneda.

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Валова, О. М. "OSCAR WILDE’S VIEWS ON ROMANTICISM." Вестник Рязанского государственного университета имени С.А. Есенина, no. 1(66) (June 8, 2020): 98–106. http://dx.doi.org/10.37724/rsu.2020.66.1.012.

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Романтизм — направление, оказавшее существенное влияние на мировоззрение О. Уайльда, которому было близко устремление к ирреальному, воображаемому, фантастике. Писатель считал, что романтизм — это творчество поэтов с особым складом души, предтечами романтизма он считал Христа, Данте, Дюрера, Китса, соотносил с этим направлением многих предшественников и современников. В своих произведениях Уайльд симпатизирует героям, которые не имеют «практической» цели в жизни, временные и пространственные границы в его произведениях часто достаточно условны, поскольку писателю важнее представить сущность явления. Уайльда привлекала фигура Д. Китса, его отношение к искусству, творчеству. Оба поэта считали красоту истинной сущностью действительности, черпали вдохновение не в жизни, а в творчестве современников и предшественников. Уайльд разделял точку зрения П. Б. Шелли на драматургию; взгляды Шелли и сюжет его драмы «Ченчи» отчасти нашли отражение в уайльдовской трагедии «Герцогиня Падуанская». Очевиден интерес Уайльда к творчеству Г. Гейне, что прослеживается в отказе от изображения повседневности, отторжении мещанского, в увлечении странным, таинственным. Как и романтики, Уайльд проявлял интерес к переходным, неустойчивым, двойственным состояниям, большое значение придавая художественной форме. Oscar Wilde, an artist infatuated with surreal, imaginary, fantastic, and bizarre, is greatly influenced by the literary movement of romanticism. According to Wilde, adherents of romanticism are poets capable of uniquely transmuting the commonly perceived world. Wilde believes that Christ, Dante, Durer, and Keats are true forerunners of romanticism. He believes that many of his contemporaries adhere to romanticism, too. In his works, Oscar Wilde sympathizes with his characters that have no utilitarian goal. The temporal and spatial dimensions of his works are often vague and tentative, for Wilde is more interested in the essence of phenomena. Oscar Wilde admires D. Keats for the latter’s artistic perception and creativity. Both poets believe that beauty is the true essence of all beings. Both poets seek inspiration in their contemporaries’ and predecessors’ works rather than in the surrounding world. Oscar Wilde shares P. B. Shelley’s views on drama. P. B. Shelley’s views and the plot of his verse drama “The Cenci” are discernible in Wilde’s play “The Duchess of Padua”. Wilde is obviously interested in H. Heine’s works, hence, Wilde’s infatuation with everything mysterious and bizarre and his neglect of everyday routine. Like other romanticists, Wilde is interested in transient and ambivalent states and values artistic presentation above all.

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Beiser, Frederick C. "La paradoja de la metafísica romántica." Análisis. Revista de investigación filosófica 2, no. 2 (December 18, 2015): 255. http://dx.doi.org/10.26754/ojs_arif/a.rif.201521208.

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Resumen Se presenta, en primer lugar, la metafísica romántica como un intento de fusionar el idealismo fichteano con el realismo spinozista. Se muestran, en segundo lugar, las dificultades encontradas por este intento a la hora de reconciliar las principales afirmaciones de ambas concepciones filosóficas: la creencia de Fichte en la primacía del yo y la fe de Spinoza en la prioridad de la naturaleza. Palabras clave: Romanticismo, Fichte, Spinoza, idealismo, realismo, naturalismo, auto-determinación Abstract Romantic Metaphysics is presented as an attempt to fuse Fichtean idealism and Spinozist realism. It is argued that the problem with this attempt is that it not always achieved to reconciliate the main tenents of both idealism and realism: that for the first the self is everything and that for the second it is the world which is everything. Keywords: Romanticism, Fichte, Spinoza, idealism, realism, naturalism, self-determination.

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Frank, Mitchell B. "New Romanticisms in Wilhelmine Germany." Romantik: Journal for the Study of Romanticisms 3, no. 1 (March 4, 2016): 9. http://dx.doi.org/10.7146/rom.v3i1.23251.

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This essay examines and connects two related issues in the literature on the history of art of the Wilhelmine Period: the canonical shift in German romantic painting from the Nazarenes to Phillip Otto Runge and Caspar David Friedrich; and the attempt to position the work of contemporary German artists (often called new idealists) as a new romanticism. At this time, art historians like Richard Muther and Cornelius Gurlitt take on a romantic sensibility in their attempts to position contemporary German art on the international scene. With the development of new idealism in German artwriting, two new romanticisms were thus founded. Modern German art (the work of Anselm Feuerbach, Hans von Marées, Arnold Böcklin, Max Klinger, and others) was claimed within a romantic tradition. And romantic painting was conceptualized anew with the focus increasingly on Friedrich and Runge, and less on the Nazarenes.

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Winkelmann, Anna. "The World Should Be Romanticised. Monographs on German Romanticism; Manfred Frank, Frederick Beiser, Dalia Nassar." Philosophy. Journal of the Higher School of Economics II, no. 4 (December 30, 2018): 233–43. http://dx.doi.org/10.17323/2587-8719-2018-ii-4-233-243.

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Tilby, M. "Romanticism and Post-Romanticism." French Studies 62, no. 4 (October 1, 2008): 486–87. http://dx.doi.org/10.1093/fs/knn122.

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Hernàndez Caballer, Raül. "L’amor antiromàntic: exemples valencians de paròdies del Tenorio." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 3, no. 3 (June 28, 2014): 239. http://dx.doi.org/10.7203/scripta.3.3834.

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Resum: Resum: L’article comenta dos exemples valencians en català de les nombroses paròdies de Don Juan Tenorio de José Zorrilla que es van redactar durant el segle XIX. Especialment, se centra en les relacions que L’agüelo Pollastre, de Josep Bernat i Baldoví, i Don Juan Treneta¸ de Vicent Peydró, mantenen amb la literatura popular i amb les idees romàntiques sobre l’amor i la condició femenina contingudes a l’obra mestra de Zorrilla.Paraules clau: Romanticisme, literatura popular, paròdia, literatura valenciana, Bernat i BaldovíAbstract: This article is a brief commentary on two Valencian examples –both written in Catalan- of the many parodies composed on José Zorilla’s Don Juan Tenorio during the 19th century in Spain. It specially focuses on the relationship between Josep Bernat i Baldovi’s L’agüelo Pollastre and Vicent Peydró’s Don Juan Treneta and the Romantic notions of Love and Womanhood included in Zorrilla’s masterpiece.Keywords: Romanticism, popular literature, parody, Valencian literature, Bernat i Baldoví.

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Grenier, Yvon. "The Romantic Liberalism of Octavio Paz." Mexican Studies/Estudios Mexicanos 17, no. 1 (2001): 171–91. http://dx.doi.org/10.1525/msem.2001.17.1.171.

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My aim in this article is to contribute to a better appreciation of Octavio Paz's political thought, and to highlight how Paz's work is useful to improve our understanding of some of the fundamental dilemmas of contemporary Western societies. Ido this by examining Paz's unorthodox and syncretic use of two largely opposing intellectual traditions, liberalism and romanticism. I conclude with some remarks on how art can inspire fresh thinking about politics. En el presente artíículo me propongo contribuir a un major entendimiento del pensamiento políítico de Octavio Paz y demostrar cóómo su obra sirve para comprender algunos de los dilemmas fundamentals que enfrentan las sociedades occidentals contemporááneas.Miplanteamiento tiene como punto de partidaeluso no ortodoxo y sincréético que hace Paz de dos tradiciones intelectuales diametralmente opuestas, el liberalismo y el romanticismo. Concluyo con unos comentarios sobre el mundo de el arte y cóómo puede inspirarnos a renovar nuestra manera de pensar lo politico.

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Guzmán Guzmán, María Aránzazu. "La literatura francesa decadentista, con textos inéditos de un ciclo de conferencias de Emilia Pardo Bazán." Epos : Revista de filología, no. 29 (January 1, 2013): 165. http://dx.doi.org/10.5944/epos.29.2013.15188.

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Emilia Pardo Bazán impartió, entre los meses de marzo y abril de 1918, un ciclo de conferencias sobre literatura francesa decadentista en el Ateneo de Madrid. La escritora, que ya había publicado tres volúmenes sobre literatura francesa, acerca del Romanticismo, la Transición y el Naturalismo, proyectaba publicar un cuarto estudio sobre el Decadentismo con parte de la documentación de estas conferencias, pero dicho proyecto nunca vio la luz. En este artículo analizo las seis conferencias inéditas que componían el ciclo, y edito aquellas parcialmente conservadas en el Archivo de la Real Academia Galega.Emilia Pardo Bazán gave, between March and April, 1918, a cycle of lectures on French decadent literature at the Ateneo of Madrid. The writer, who had already published three volumes on French literature, concerning Romanticism, the Transition and Naturalism, was planning to publish a fourth study on the Decadent Movement with part of the documentation of these lectures, but the above mentioned project never appeared. In this article I analyze six unpublished lectures which comprise the cycle, and those partially preserved in the Real Academia Galega Archive are edited.

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Anderson, Robert, and Arnold Whittall. "Romanticism." Musical Times 128, no. 1735 (September 1987): 495. http://dx.doi.org/10.2307/964849.

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Oroskhan, Mohammed Hussein, and Esmaeil Zohdi. "Negative Romanticism: An Exploration of a Sense of Isolation in Yushij's Afsaneh." International Letters of Social and Humanistic Sciences 70 (June 2016): 30–36. http://dx.doi.org/10.18052/www.scipress.com/ilshs.70.30.

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From its beginning in the academic studies during the later nineteenth century, Romanticism has provoked ongoing debates over the nature of its definition. Nonetheless Morse Peckham has satisfactorily settled this matter by indicating that romanticism has dramatically altered the way of thinking therefore it should be distinctively met. For this purpose, he proposed that dealing with the concept of romanticism necessitate dividing it into two concepts of negative and positive romanticism in which a transition is occurred from negative romanticism to positive romanticism however in some cases this transition may not become completed and is lead to the obscure origin of the sense of isolation among various romantic poets. To clearly illustrate Peckham's notion of negative romanticism, it is tried to explore Nima Yushij's Afsaneh who is known to be the most romantic poet of Persian literature. Based upon Peckham's notion of negative romanticism, Nima's sense of despair and isolation in Afsaneh is fully justified and it is highly suggested that Peckham's new perspective toward romanticism can eventually settle the conflicting views on the subject of Romanticism.

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Dilworth, David A. "Santayana’s Anti-Romanticism versus Stevens’s New Romanticism." Overheard in Seville: Bulletin of the Santayana Society 35, no. 35 (2017): 32–49. http://dx.doi.org/10.5840/santayana201735358.

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Vandewalle, G. "Romanticism and Neo-Romanticism in Political Economy." History of Political Economy 18, no. 1 (March 1, 1986): 33–47. http://dx.doi.org/10.1215/00182702-18-1-33.

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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (December 4, 2015): 215–30. http://dx.doi.org/10.4312/ah.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.

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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (December 4, 2015): 215–30. http://dx.doi.org/10.4312/ars.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.

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Vallianos, Pericles S. "Romanticism and Politics: from Heinrich Heine to Carl Schmitt – and Back Again." Historical Review/La Revue Historique 10 (December 13, 2013): 189. http://dx.doi.org/10.12681/hr.311.

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<p>After a reference to the debate concerning the concept of Romanticism (Lovejoy vs Wellek), the article briefly evokes certain key stances of English and French literary<br />Romanticism. It then points to the distinguishing features of German Romanticism, namely the enlargement of the doctrine into an integral metaphysics with the concept of the “organic state” at its core (A. Müller). The critique of political Romanticism by two revolutionary democrats (H. Heine and A. Ruge) is then presented. The article closes with a critique of C. Schmitt’s interpretation of political Romanticism.</p>

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David, Zdeněk V. "Johann Gottfried Herder and the Czech National Awakening: A Reassessment." Carl Beck Papers in Russian and East European Studies, no. 1807 (January 1, 2007): 57. http://dx.doi.org/10.5195/cbp.2007.136.

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The Czech national awakening is habitually linked with Herder’s influence as a Romantic and anti-Enlightenment happening. This study argues the opposite. It contradicts, at least in the Czech case, the idea, originally articulated by Hans Kohn, that European nationalism, particularly in the center and the east of the continent, was an expression of a particularist self-assertion, verging on (or passing into) xenophobia, and defying the rationalistic and cosmopolitan outlook of the Enlightenment. The objective of this study is, fi rst, to show that the pace-setters of the Czech national awakening functioned within the realistic rationalist Enlightenment, rather than within the emotional self-centeredness, growing out of the Romanticist ethos. They drew on other than the Herderian sources, primarily on the Josephist Enlightenment, and the subsequent liberal Catholicism, epitomized by Karl H. Seibt and Bernard Bolzano. The assumptions to the contrary were based on (1) the allegedly anti-national character of the Enlightenment; (2) a distaste for liberal Catholicism by both the offi cial Rome and the secularists; (3) an assumption of the obvious superiority of German culture; and (4) a confusion with the Slovak national romanticism.

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Regan, Pamela C., and Carlos Anguiano. "Romanticism as a Function of Age, Sex, and Ethnicity." Psychological Reports 107, no. 3 (December 2010): 972–76. http://dx.doi.org/10.2466/07.09.21.pr0.107.6.972-976.

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This study examined the association between romanticism (operationalized as mean score on the Romantic Beliefs Scale) and age, sex, and ethnicity in a large community sample ( N = 436). Age was negatively correlated with romanticism scores; as age increased, romanticism scores decreased. No sex differences were found; men and women had similar, moderate scores. Although ethnicity largely was unrelated to romanticism, Asian/Pacific Islander participants were significantly more romantic than were African-American participants.

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Arianto, Tomi. "NATIONAL ROMANTICISM IN WALT WHITMAN POEMS." Lire Journal (Journal of Linguistics and Literature) 2, no. 1 (August 25, 2018): 14–20. http://dx.doi.org/10.33019/lire.v2i1.18.

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Romanticism is often misunderstood as something genuine love and merely about romance. In fact, romanticism is an understanding of great ideas that also be delivered great ideas. The development of Romanticism delivered a new orientation that called National Romanticism by maintaining the freedom of individual, sovereignty, and independent of human rights. This study took data from three Walt Whitman poems; Patriotic, War Democracy, and Poem of America. Researcher was using the concept of interpretation to explore the meaning of poetry and the influence of romanticism in Whitman poetry. Researchers use Isaiah's theory in his book “the root of romanticism” to explore the influence of the romanticism idea on Whitman's poems. From the three samples of poetry, it is found that romanticism is very influential in Whitman poetry, especially the idea of romantic nationalism. Patriotic themes, nationalities and egalitarian concepts are reflected in Whitman's collection of "Leaves of grass" poems. Patriotic themes and nationalities are seen from the struggle for the right of individual freedom in opposing slavery and aristocratic government. The egalitarian concept is seen from the struggle to promote equality, as well as the democracy system that promotes people's sovereignty. The role of the idea of romanticism has evolved in American territory because it shares the same pattern and state of affairs as revolutions against noble, social, and political norms and rationalization of nature. Thus, the representation of romantic ideas originating from Western Europe of the 18th century has penetrated into the 19th century America which is reflected in the works that carried Whitman.

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Serdechnaia, Vera V. "LITERARY ROMANTICISM AS A THEORETICAL ISSUE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 19–27. http://dx.doi.org/10.28995/2686-7249-2020-9-19-27.

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The article is devoted to the analysis of the concept of literary romanticism. The research aims at a refinement of the “romanticism” concept in relation to the history of the literary process. The main research methods include conceptual analysis, textual analysis, comparative historical research. The author analyzes the semantic genesis of the term “romanticism”, various interpretations of the concept, compares the definitions of different periods and cultures. The main results of the study are as follows. The history of the term “romanticism” shows a change in a number of definitions for the same concept in relation to the same literary phenomena. By the end of the 20th century, realizing the existence of significant contradictions in the content of the term “romanticism”, researchers often come to abandon it. At the same time, the steady use of the term “romanticism” testifies to the subject-conceptual component that exists in it, which does not lose its relevance, but just needs a theoretical refinement. Conclusion: one have to revise an approach to romanticism as a theoretical concept, based on the change in the concept of an individual in Europe at the end of the 18th century. It is the newly discovered freedom of an individual predetermines the rethinking for the image of the author as a creator and determines the artistic features of literary romanticism.

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Haikal, Yusuf. "Al-Khalīlayn dalam Romantisme Sastra Arab." Al-Irfan : Journal of Arabic Literature and Islamic Studies 4, no. 1 (March 18, 2021): 50–68. http://dx.doi.org/10.36835/al-irfan.v4i1.4305.

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This article aims to provide an overview of romanticism in Arabic literature, in particular through two important figures in this school. important in the foundation and development of romanticism in Arabic literature. The method used in this article is descriptive qualitative and literature study. This study also uses the technique of observing and taking notes in data collection. From the discussion it can be concluded that the flow of romanticism is one of the popular streams that first appeared in the 18th century in Europe and entered the Arab region at the beginning of the 20th century. The entry of romanticism into the Arab world was pioneered by Khalīl Muthran. Apart from Khalīl Muthran, there is another Arabic literary figure who popularized this romanticism, namely Khalīl Gibran. These two Khalīls were important figures in the emergence and development of romanticism in Arabic literature. This can be seen from the life history of both of them who both studied literature in western countries. In addition, the works produced by these two figures show a strong romantic style, which strengthens the character of the two in Arabic literary romanticism

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Smith, J. Mark, James Chandler, Stephen Gill, and Tom Paulin. "British Romanticism." Rocky Mountain Review of Language and Literature 53, no. 2 (1999): 81. http://dx.doi.org/10.2307/1348209.

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Mcgann, Jerome. "Rethinking Romanticism." ELH 59, no. 3 (1992): 735. http://dx.doi.org/10.2307/2873450.

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Grosshans, H. "Political Romanticism." Telos 1987, no. 72 (July 1, 1987): 214–17. http://dx.doi.org/10.3817/0687072214.

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Schueller, Herbert. "Romanticism Reconsidered." Essays in Romanticism 1, no. 1 (January 1993): 67–87. http://dx.doi.org/10.3828/eir.1.1.4.

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Harris, P. A., and G. Ellermann. "Speculative Romanticism." SubStance 44, no. 1 (January 1, 2015): 154–74. http://dx.doi.org/10.3368/ss.44.1.154.

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Gleckner, Robert F., and John Beer. "Questioning Romanticism." Studies in Romanticism 37, no. 2 (1998): 292. http://dx.doi.org/10.2307/25601293.

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Condon, Patrick M. "Radical Romanticism." Landscape Journal 10, no. 1 (1991): 3–8. http://dx.doi.org/10.3368/lj.10.1.3.

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Seyhan, Azade, Adrian Daub, Jocelyn Holland, Leif Weatherby, Joseph D. O'Neil, and Nina Amstutz. "Forum: Romanticism." German Quarterly 89, no. 3 (July 2016): 344–60. http://dx.doi.org/10.1111/gequ.12005.

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Cox, Jeffrey N. "Communal Romanticism." European Romantic Review 15, no. 2 (June 2004): 329–34. http://dx.doi.org/10.1080/10509580420001680723.

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Kravitt, Edward F. "Romanticism Today." Musical Quarterly 76, no. 1 (1992): 93–109. http://dx.doi.org/10.1093/mq/76.1.93.

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Schor, Esther. "Universal romanticism." European Romantic Review 20, no. 2 (April 2009): 271–87. http://dx.doi.org/10.1080/10509580902840558.

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Gigante, Denise. "Organizing Romanticism." European Romantic Review 23, no. 3 (June 2012): 399–402. http://dx.doi.org/10.1080/10509585.2012.674274.

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