To see the other types of publications on this topic, follow the link: Romanticism in literature, French.
Dissertations / Theses on the topic 'Romanticism in literature, French'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Romanticism in literature, French.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Flood, Christopher Martin. "Chateaubriand's René as a Philosophical Reaction to the Enlightenment and Early Romantic Sentiment." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/961.
Full textAbstract:
For over 200 years “René&rqduo; Chateaubriand's short fictional interlude in his grand argument for the restoration of Christianity after the French Revolution, has been read as the founding text of the French Romantic movement. While this text did in fact serve to define many of the characteristics of French Romantic literature, simply labeling it as such is anachronistic and obscures the more profound philosophical and theological claims Chateaubriand was actually attempting to illustrate. After an examination of the discrepancy between the author's intentions and the general perception, this study will briefly consider some of the traditional readings of “René” specifically in an effort to expose the inadequacies that have led to misinterpretation. At this point, an analysis of evolving philosophical and aesthetic ideals in the European tradition, particularly focusing on how Chateaubriand incorporated them into his Christian model, will reveal “René” as the author intended. While Chateaubriand has rightly been considered an anti-Enlightenment thinker, this assessment exposes a generally unnoticed and decidedly anti-Romantic tendency in his writings. Once restored to these original literary and philosophical contexts “René” coincides quite clearly with Chateaubriand's efforts to reinstate an eclectic, modernized, and aesthetically grounded form of traditional Christianity. Furthermore, it can finally be understood as an anticipatory effort aimed at disparaging rather than encouraging the burgeoning Romantic sentiment.
2
Carter, Elizabeth Lee. "Taming the Gypsy: How French Romantics Recaptured a Past." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064929.
Full textAbstract:
In this dissertation, I examine the evolution of the Gypsy trope in Romantic French literature at a time when nostalgia became a powerful aesthetic and political tool used by varying sides of an ideological war. Long considered a transient outsider who did not view time or privilege the past in the same way Europeans did, the Gypsy, I argue, became a useful way for France's writers to contain and tame the transience they felt interrupted nostalgia's attempt to recapture a lost past.
My work specifically looks at the development of this trope within a thirty-year period that begins in 1823, just before Charles X became France's last Bourbon king, and ends just after Louis-Napoleon declared himself Emperor of France in 1852. Beginning with Quentin Durward (1823), Walter Scott's first historical novel about France, and the French novel that looked to it for inspiration, Victor Hugo's Notre-Dame de Paris (1831), I show how the Gypsy became a character that communicated a fear that France was recklessly forgetting and destroying the monuments and narratives that had long preserved its pre-revolutionary past. While these novels became models in how nostalgia could be deployed to seduce France back into a relationship with a particular past, I also look at how the Gypsy trope is transformed some fifteen years later when nostalgia for Napoleon nearly leads France into two international conflicts and eventually traps the French into what George Sand called a dangerous "bail avec le passé." In new readings of Prosper Mérimée's Carmen (1845) and George Sand's La Filleule (1853), I argue that both authors personify the dangers of recapturing the past, albeit in two very different ways. While Mérimée makes nostalgia and the Gypsy accomplices, George Sand gives France an admirable Gypsy heroine, a young woman who offers readers a way out of nostalgia's viscous circle. I conclude by arguing that nostalgia and this Romantic trope found their way back into France at the dawn of a new millennium, and the Gypsy has once again been typecast in art and politics as deviant for refusing to dwell in or on the past.Romance Languages and Literatures
3
Fernandez, Emmeline. "“Every Family Might Also Be Called a State”: Incest and Politics in the Romantic Era." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587656293042995.
Full text
4
Gosetti, Valentina. "Tradition and poetic experimentation in Gaspard de la Nuit : Aloysius Bertrand and cultural exchange in French romanticism." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:5ecd95e8-9c06-4880-9943-5fe37a10bc6f.
Full textAbstract:
In mainstream literary histories, Aloysius Bertrand (1807-1841) is still remembered as the canonical inventor of the prose poem in France. The established classification of Gaspard de la Nuit (1842) within the realm of the prose poem inevitably involves a retrospective appreciation of Bertrand’s work in light of the better-known authors that succeeded him in the history of this genre, such as Baudelaire and Mallarmé. The result is that Bertrand is often viewed as the inventor and/or the precursor of this genre; an important but, ultimately, minor contributor to its development. This hindsight brings with it a risk of critical anachronism against which Bertrand's contribution is often downplayed, especially because his thematic choices are seen to be outmoded, when compared to works by poets writing decades later. This thesis is a re-examination of Bertrand's Gaspard de la Nuit, incorporating an analysis of the cultural context that contributed to its production. The central argument is that in order to fairly assess Bertrand’s work, it is crucial to consider the poet’s contribution to, as well as his position in, the wider cultural exchange typical of his time. Using this contextual and historical approach, this thesis examines and challenges some of the main traditional considerations of Bertrand, such as his being a petit romantique, his provincialism, his unoriginality, and his role as the precursor and/or inventor of the prose poem. The overall aim is to assess fairly Bertrand’s unique synthesis of contemporary cultural and literary material with his own original work. By emphasising the crucial role of cultural exchange at the time of Gaspard de la Nuit’s production, we are thus able to begin to understand Bertrand in his own terms, rather than those of his successors, ourselves included, challenging commonly-held views and opening up new avenues for research.
5
Paixao, Grace Alves da. "Natureza e artificialidade nas mulheres das poesias de Victor Hugo e Charles Baudelaire." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-12112010-161229/.
Full textAbstract:
O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias.The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.
6
Baril, Joselle. "Quatre poètes au jardin des Oliviers." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79822.
Full textAbstract:
In the course of the romantic movement, the vision of the poetic ministry has been expressed by several poets through the figure of Jesus at the Mount of Olives. While Lamartine appropriates the suffering of Christ in order to proclaim himself to be a poet-prophet, Vigny refuses the silence of God. He, thus, accomplishes his poetic mission against God. Whereas Hugo does not take into consideration the meaning of Jesus' agony in order to make the Gethsemane a place of glory, Nerval rejects the notion of a Christlike mission. Hence, by putting into words the death of God, he foretells what Hugo Friedrich will later call an "empty transcendence", which is the very sign of modern poetics. Romanticism carried within itself the signs of the end of transcendence of poetics. Therefore, we will analyse the transition of romanticism to modernity in these four poems1 through the representation of Jesus Christ at Gethsemane.1"Gethsemani ou la mort de Julia" d'Alphonse de Lamartine, "Le Mont des Oliviers" d'Alfred de Vigny, un extrait (strophes VI, VII et VIII du Chapitre intitule Jesus-Christ) de La Fin de Satan de Victor Hugo et "Le Jardin des Oliviers" de Gerard de Nerval.
7
Fairbank, Rebecca Bennett. "Devastating Diva: Pauline Viardot and Rewriting the Image of Women in Nineteenth-Century French Opera Culture." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3788.
Full textAbstract:
Historically vilified, the vocalizing woman developed a stereotyped image with the emergence of the prima donna in eighteenth-century opera. By the nineteenth century, the prima donna became the focal point for socio-cultural polemics: women sought financial and social independence through a career on the operatic stage while society attempted to maintain through various means the socio-cultural stability now threatened by women's mobility. The prima donna represented both a positive ideal for women as well as a great threat to western patriarchy. A discourse emerged in which the symbol of female independence and success ”the prima donna" became the site of tactical control and containment. The prima donna stereotype, opera plot and music, and literature all presented the vilified image as a warning of the disaster awaiting women who overstepped the social boundaries established in the patriarchal image of ideal womanhood. Pauline Viardot confronted this attempt at containment by fulfilling society's expectations of her as a woman and simultaneously confounding its presentation of women opera stars. Viardot performed the role of social woman: she married young, she raised a family, she held a salon, and she engaged in other approved social activities. Madame Viardot's acceptance and fulfillment of the roles established for her by her contemporary society provided her a unique freedom within society in which she could maintain a career on the operatic stage without succumbing to the traditional detritus of the popular press, literature or social ostracizing. She crafted her own image rather than allow society to stigmatize or vilify her. Her success was chronicled in contemporary literature written by women who viewed prima donnas as spokespersons for the female plight. Much of this literature explores women's hopelessness and despair in the face of highly restrictive social codes. Prima donnas engaged in a very public career through which they established financial independence, professional success, and an identity literally shaped by their own voices. George Sand briefly explored the artist-woman's search for freedom and independence in her 1833 Lélia, but it was not until Sand met Pauline Viardot that she was able to create a heroine who could gain a respected position in society, enjoy lasting personal happiness, maintain social and financial independence, and who lived to enjoy the fruits of her labor. Consuelo stands as a permanent record of Viardot's impact on her contemporary society. Pauline Viardot successfully revised the image of the prima donna and that of women in the process. Viardot navigated the centuries-old tradition which demonized publicly vocalizing women and created a new image of the woman-artist. An accomplished actress among other things, Viardot successfully performed the roles of social woman, inspiration of a literary heroine, and prima donna. It is her successful negotiation of these roles which allowed her to carve out a unique position in her contemporary society, a position that allowed her to teach at the Paris Conservatory, support the careers of budding male musicians, garner the respect of royalty, publish and perform her own musical compositions, and live a long, fulfilling life. Letters addressed to Viardot, contemporary accounts by male musicians, and her immortalization in Sand's Consuelo all record the new image Viardot created: that of a respected member of society and operatic performer of great artistic and musical genius.
8
Canvat, Raphaël. "On Mad Geniuses & Dreams In the Age of Reason in French Récits Fantastiques." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343124370.
Full text
9
Hofmann, Anne. "Parnassische Theoriebildung und romantische Tradition : Mimesis im Fokus der ästhetischen Diskussion und die "Konkurrenz" der Paradigmen in der zweiten Hälfte des 19. Jahrhunderts : ein Beitrag zur Bestimmung des Parnasse-Begriffs aus dem Selbstverständnis der Epoche /." Stuttgart : F.Steiner Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb38809002q.
Full text
10
Dargo, Franklin Joseph. "The Dynamics of Loss: Representations of Sororal, Maternal, and Feminine Loss in the Works of Nerval, Chateaubriand, and Baudelaire." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595356727134133.
Full text
11
Stones, G. P. "Parody and romanticism." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240606.
Full text
12
Rieben, Pierre-André. "Délires romantiques Musset, Nodier, Gautier, Hugo /." Paris : J. Corti, 1989. http://catalogue.bnf.fr/ark:/12148/cb35019449w.
Full text
13
Lee, Debbie Jean 1960. "Slavery and English Romanticism." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288753.
Full textAbstract:
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.
14
Königkrämer, Lobke. "Frankenstein: a monstrous romanticism." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/9036.
Full textAbstract:
Includes bibliographical references.The purpose of this thesis is to examine the relationship between Mary Shelley's first novel Frankenstein and her own understanding of Romanticism. The overarching theme is to illustrate how Mary Shelley navigates her criticism of Romanticism through the medium of Victor Frankenstein as a character. With the inspection of Victor Frankenstein some autobiographical similarities are drawn between the protagonist and Percy Bysshe Shelley. Another aim and extension of this autobiographical project is to examine how Percy Shelley's editing of the original manuscript of Frankenstein added or detracted from the plot. Finally, the genre implications of Frankenstein are examined in this thesis. In the first chapter, Romanticism is examined in relation to how the Romantics themselves envisioned their ideology so as to ascertain which aspects Mary Shelley draws particular attention to. The Romantic theorists used in this section specifically, Abercrombie and Schueller, are used to highlight the fact that Romanticism can be defined as a unified system of belief. Certain tenets of this ideology are then shown to be the main points that Mary Shelley criticises. In the second chapter, the autobiographical element of Mary Shelley's relationship with Percy Shelley is examined. The parallels between Victor Frankenstein and Percy Shelley are made apparent through the use of biographers Hoobler and Seymour. From that, the precise changes that Percy Shelley made to the original manuscript of Frankenstein are scrutinised with Mellor's insightful explication of the original that exists in the Bodleian Library. The conclusion of this chapter solidifies the argument of the first chapter, and as close attention is paid throughout both chapters to the novel as a primary source of confirmation, the complex navigations and articulations of Romanticism throughout Frankenstein are made apparent. In the third chapter, attention is given specifically to the genre implications of Frankenstein, and the relationship and consistent oscillation between Romanticism and the Gothic is traced. The theorists used in this part of the thesis vary widely and include Botting, Golinski and Alwes. It is argued that in her destabilisation of Romanticism, Mary Shelley invariably incorporates the Gothic into her text. It is this complex weaving of genres which is particularly interesting in relation to how Mary Shelley's disillusionment with Romanticism produces a text that has such a vast array of genre possibilities. Finally, this thesis looks at the negative interpretation of Romanticism specifically in relation to Mary Shelley's critical expressions of its ideology in Frankenstein. As a cautionary tale, the consequences of Romantic principles unchecked by a societal conscience, Mary Shelley seems to have used Frankenstein as a way of expressing her disillusionment. The repercussions of what ultimately is an original story of a scientist who unleashes his creation without concern for its welfare are still present in the common consciousness of modern society.
15
Howard, Darren Phillip. "Imperial animals romanticism and the politicized animal /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495946181&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
16
Johnston, Richard Rutherford. "Romanticism and Mortal Consciousness." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11043.
Full textAbstract:
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.
17
Rieley, Honor. "Writing emigration : Canada in Scottish romanticism, 1802-1840." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:cbeac4b3-cb79-4c22-a308-03be120d2c26.
Full textAbstract:
This thesis is a study of the representation of emigration to Canada in Scottish Romantic periodicals and fiction, and of the relationship between these genres and the little-studied genre of the emigrant's guide. Chapter One tracks the Edinburgh Review and Quarterly Review's reviews of books on Canadian topics and demonstrates how the rival quarterlies respond to, and intervene in, the evolving public debate about emigration. Chapter Two examines depictions of Canada in Blackwood's Magazine and Fraser's Magazine, and reveals connections between these magazines' engagement with Canadian affairs and the concurrent reception of Scottish Romanticism in early Canadian literary magazines. Chapter Three argues for an understanding of the emigrant's guide as a porous form that acts as a bridge between nonfictional and fictional representations of emigration. Chapter Four reads novels with emigration plots in relation to the pressures of American, Canadian and transatlantic canon formation, arguing that these novels trouble the stark division between the American and Canadian emigrant experiences which was insisted upon by contemporary commentators and which continues to underpin criticism of transatlantic literary works. Chapter Five considers the relationship between Scottish Romanticism and nineteenth-century Canadian literature, a relationship which has often been framed in terms of the portability of a 'Scottish model' of fiction associated most strongly with Walter Scott. Overall, this thesis contends that foregrounding the literature of emigration allows for greater understanding of the synchronicity of Scottish Romanticism and the escalation of transatlantic emigration, offering an alternative to conceptions of Canada's colonial and transatlantic belatedness.
18
Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.
Full text
19
Young, William H. "The long way home: Studies in twentieth century romanticism." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279778.
Full textAbstract:
These studies trace the development of a mid-twentieth century romanticism, a Neo-Romanticism distinct from both an earlier High Romanticism and a later Postmodernism. The focus is on six twentieth century writers, all but one American: D. H. Lawrence (English), Paul Bowles, Robert Lowell, John Ashbery, William Stafford, and Tim O'Brien. Neoromantics seek to relandscape the derealized self by venturing outward; venturing outward they both empty and refurbish the self. By pursuing a new self or taking an extreme course--that is, the long way home--they come to an unexpected conclusion: they discover the illusion of liberty, of democracy, of self-agency, and thus the great truth of old orders, deeper than tradition.
20
Kollias, Hector. "Exposing romanticism : philosophy, literature, and the incomplete absolute." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/57579/.
Full textAbstract:
The aim of this thesis is to present the fundamental philosophical positions of Early German Romanticism, focusing on the three following writers: J. C. F. Holderlin, Novalis, and F. Schlegel. Chapter 1 begins with an examination of the first-philosophical, or ontological foundations of Romanticism and discusses its appropriation and critique of the work of Fichte, arriving at an elucidation of Romantic ontology as an ontology of differencing and production. The second chapter looks at how epistemology is transformed, in the hands of the Romantics, and due to the attention they paid to language, semiotic theory, and the operations of irony in discourse, into poetology - a theory of knowledge, into a theory of poetic production. In the third chapter a confrontation between the philosophical positions of Romanticism and those of the main currents of German Idealism (Schelling, Hegel) is undertaken; through this confrontation, the essential trait of Romantic thought is arrived at, namely the thought of an incomplete Absolute, as opposed to the absolute as totality in Idealism. The final chapter considers the avenue left open by the notion of the incomplete Absolute, and the Romantics' chief legacy, namely the theory of literature; literature is thus seen as coextensive with philosophy, and analysed under three conceptual categories (the theory of genre, the fragment, criticism) which all betray their provenance from the thought lying at the core of Romanticism: the incomplete Absolute. Finally, in the conclusion a summation of this exposition of romanticism is presented, alongside a brief consideration of the relevance of the Romantic project in contemporary critical/philosophical debates.
21
Law, Wai-han Grace. "Dreams and their significance in romanticism." [Hong Kong : University of Hong Kong], 1989. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12752174.
Full text
22
Hitt, Christopher J. "The natural sublime : romanticism and the aesthetics of wilderness /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018373.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-286). Also available for download via the World Wide Web; free to University of Oregon users.
23
Horton, Patricia. "Romantic intersections : romanticism and contemporary Northern Irish poetry." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337039.
Full text
24
Lu, Jian-de. "F.R. Leavis : his criticism in relation to romanticism." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279589.
Full text
25
Relation, Mark. "Railways and the End of British Romanticism." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104257.
Full textAbstract:
Thesis advisor: Penelope IsmayThis thesis examines how the railways created a new experiential world for ordinary British people by forcing them to confront the new realities of industrialized society. The railways quickly became a part of nearly every person’s daily life and experience, which heralded a fundamental change in the way people interacted with each other and understood themselves in the context of their world. This thesis uses a theory of “cultural language” within society to explore the ramifications of that change as seen in literature. The rise of the railways and the change in experience can be linked to the end of Romanticism in Britain and the rise of Victorian Realism. The new literature was reflective of the new post-railway industrialized world
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: History
26
Frenkel, Ann M. "The influences of French social romanticism of the 1830's on Franz Liszt's essay "De la situation des artistes et de leur condition dans la societe"." Thesis, Boston University, 1989. https://hdl.handle.net/2144/38031.
Full textAbstract:
Thesis (M.A.)--Boston UniversityFranz Liszt's essay, "De la Situation des Artistes et de leur Condition dans la Societe," published in the Gazette musicole de Paris between 5 May and 11 October 1835, is one of the first comprehensive studies by a nineteenth-century French composer on the status of musicians in society. Liszt criticizes contemporary society for exploiting the talents of artists while disregarding their needs, and concerns himself with the creation of a new position for artists in society. The most frequently cited influence of the essay has been Liszt's contact with the Saint-Simonians movement. I wish to show that emphasis on the Saint-Simonians fails to show properly Liszt's debt to French Romantic ideas and philosophies during the 1830's. I define the social romantictsm that infused France and French artists and literary figues such as Victor Hugo, Alfred de Vigny and Alphonse de Lamartine, in the 1830's, and differentiate it from the utopian socialism of the period. I give an overview of the state of music journalism during the 1830's in Paris and discuss various relevant music-related journalists and their influences. specific aims and styles. Finally, I look at the compositional forms promoted and utilized by the Saint-Simonians and examine the compositions of Liszt during this period to see the extent of Liszt's experimentation with Saint-Simonian ideas within his musical compositions, and make conclusions as to the principal musical ideas which the Liszt pursued. Though this critique of the essay, and a discussion of the various influences which led up to it, I suggest an interpretation that clearly recognizes Liszt's place within the French social romantics during the 1830's.
27
Lambertson, John Paul. "The genesis of French romanticism : P.-N. Guerin's studio and the public sphere /." Ann Arbor (Mich.) : UMI dissertation services, 1994. http://catalogue.bnf.fr/ark:/12148/cb39126811h.
Full text
28
Woolner, Victoria Evelyn. "Scottish romanticism and its impact on early Canadian literature." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5071/.
Full textAbstract:
This research considers the impact of Scottish romanticism on the construction of literary identity in the Canadas prior to Confederation (1867). I argue that early Scottish dominance in literary Canada, and similarities faced by both countries in defining a sense of self—including participation in a wider empire (or Union), populations divided by language and religion, and the need for a distinct identity in the face of a dominant neighbour to the south—all contributed to a tendency on the part of Canadians to look to Scotland as a model. Through an examination of early Canadian literature and on-going British constructions of the colony, the thesis considers the manner in which Scottish romantic strategies of literary nationalism are deployed and manipulated in the process of articulating a Canadian identity. Particular attention is paid to the works of John Galt and Major John Richardson, while tropes examined include the construction of landscape and settlement narratives, stadial histories, the historical novel, national tale and the depiction of a national history, and the manipulation of a romanticised Scottish military past in constructing Canadian history.
29
Bovee, Erik S. "Pétrus Borel : background reception and interpretation." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:58dfc887-df51-4cfb-98ef-4ec9fe711ffe.
Full textAbstract:
Petrus Borel was a minor, French Romantic author who was involved with a small group of artists, the 'Petit cenacle', writing and working in early 1830s Paris. They styled themselves on the more famous 'Cenacle', but were more than imitators of the great names of the Romantic movemement. Members of the 'Petit cenacle', which included the young Gautier and Nerval, took their cues from the major figures of the movement, but often pushed the enthusiasm for aesthetic reform, the colorful exoticism and the rebelliousness of Romanticism far beyond what the major figures were willing to attempt. The 'Petit cenacle' became associated in the mind of the public with a small number of groups of political and artistic militants, whose period of greatest activity coincided with the upheaval in the few years following the July Revolution, and with the Romantic battles in the theatre. Borel's group was often confused with the bousingos, [1] a species of young political conspirator, and was at times synonymous with the jeunes-France, young men whose Romantic and medievalist literary pretensions were often nuanced with Utopian socialism or republicanism. The 'Petit cenacle' was well known and documented for its use of provocative political rhetoric, in addition to the group's tendency to express its ideals through raucous behaviour and outlandish costumes. In recent years, these minor Romantics have been considered important for having brought the aesthetic principles of Romanticism into play in everyday life. They were at turns idealistic, violently polemical and republican, or aggressivelyfatalistic as suited their ever-changing desire to shock the middle-class and the reading public. [Continues in thesis] 1There are a number of spellings of the word bousingo: bousingot. and bouzingot are both common variations. I shall discuss the etymology later in the first chapter. Throughout the thesis, I will employ the form that was agreed upon by the members of Borel's literary group, bousingo.
30
Mason, Jon-Kris. "French language, and French manners, in eighteenth-century British literature." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577523.
Full textAbstract:
Eighteenth-century social and political relationships between Britain and France have long enjoyed great scholarly interest, and the linguistic influence of French on English is being defined with increasing precision. Until now, however, there have been only brief stylistic considerations of the literary role played by French in eighteenth-century English prose literature. My thesis seeks to address that deficiency by investigating the literary usage and significance of French language in English literature. As the period is noted for the explosion of interest in language and its cultural ramifications; this study continuously considers the metonymical function of French usage as a signifier of broader social corollaries. This thesis attempts to forge a link between identifiable social attitudes and their incarnation in specific linguistic usage. I initially set out a context of opinion on French language and culture, and attitudes to borrowing and imitation, derived from journal, essay and treatise. Such a context demonstrates that France is unrivalled as the 'other' against which British identities were forged. Rates of lexical borrowing from French reached an historical low in the eighteenth century, and the proliferation of grammars and dictionaries bespoke a desire to define, limit, and control language. Yet the language of the developing novel, I argue, was inflected with French idiom, an idiom that offered a uniquely rich and potent strain of evocation and association. Writers of the novel, from Richardson and Smollett, to Brooke, and Burney, deploy French flexibly but with precision; each author exercises great control in borrowing idiom for purposes ranging from plot development and characterisation, to satire and pathos. My research explores those constructs, and because I found that the question of literary French usage is gendered, much of my thesis is structured along lines of gender. The letters of Lord Chesterfield, Samuel Johnson, and William Shenstone, Fanny Boscawen, Hannah More, and Lady Mary Wortley Montagu, form counterpoints to the novel, and establish areas both of commonality and divergence between French usage in the fictional and familiar prose of men and women. In its final chapter, this study turns explicitly to the wider social concerns underlying preceding discussions, viz. the significance of French usage to English manners and morals in the novels ranging from John Cleland's Fanny Hill to Charlotte Lennox's The Female Quixote. This thesis necessarily incorporates extensive but germane quotation, and embraces historical sociolinguistics, social history, stylistics, literary theory, and practical literary criticism. While this study cannot claim to be comprehensive, it seeks to open out a field of study hitherto neglected.
31
Law, Wai-han Grace, and 羅慧嫻. "Dreams and their significance in romanticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31949496.
Full text
32
Masfen, Eugenie Alison. ""My words echo thus in your mind" four quartets, T.S. Eliot and romanticism." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161410.
Full text
33
Lloyd, Nicola. "Sensibility, enlightenment and Romanticism : British fiction, 1789-1820." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/61578/.
Full textAbstract:
This thesis is a study of the discourse of sensibility in Romantic-period fiction. It suggests that sensibility was not, as has often been assumed, merely a transient and fashionable mode that peaked in the mid eighteenth-century before its association with radicalism and subsequent demise in the 1790s. Instead, it was redirected and refashioned during the first decades of the nineteenth century, functioning in effect as a metanarrative for the Romantic novel. The discourse of sensibility was both a formative influence on and a central ideological component of literary Romanticism and this thesis reads it as a creative, protean and self-conscious force that is capable of challenging many of our assumptions about the Romantic period. Analysing representative fictions by Ann Radcliffe, Charlotte Dacre, William Godwin, Sydney Owenson and Walter Scott, each chapter traces the complex interactions of eighteenth-century discourses of moral philosophy and perception in the sub-genres of the gothic novel, the Jacobin novel, the national tale and historical fiction. In doing so, the evidence of sensibility’s pervasive influence destabilises any notion of discrete and fixed generic categories by suggesting widespread correlations and overlaps. Likewise, this generic assimilation and mutation that operates under the banner of sensibility proposes a challenge to conventional notions of Romantic aesthetic unity and spontaneity, suggesting instead a self-conscious and experimental engagement with genre. Finally, the novels considered depict a hybrid model of sensibility in which Enlightenment formations of feeling and perception as a means of social coherence coexist with Romantic models of alienated selfhood. As a result, the exploration of the discourse of sensibility in the Romantic novel provides an opportunity to reassess the complex and often contradictory relationship between the aesthetics of Enlightenment and Romanticism.
34
Ingram, Catherine. "Word and Song: The Paradox of Romanticism." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.
Full textAbstract:
Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.
35
McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
Full textAbstract:
This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
36
Chu, Sin-man Alison, and 朱善雯. "Artist (poet) as critic: T.S. Eliot's modernist ambiguities : turning the old upside down." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953013.
Full text
37
Bainbridge, Simon. "The 'master-spirit' of the age Napoleon Bonaparte and English Romanticism." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306246.
Full text
38
Risinger, Jacob Barth. "Confirmed Tranquility: The Stoic Impulse in Transatlantic Romanticism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11489.
Full textAbstract:
Spontaneous feeling has been a cornerstone of Romantic aesthetics since Wordsworth wrote his Preface to Lyrical Ballads. This dissertation unsettles the link between Romantic poetry and the overflow of emotion by arguing that writers from Wordsworth to Emerson persistently turned to Stoicism in reconsidering the role of the passions in both literature and the conduct of life. Drawing on poetry and a broad range of journals, letters, and intellectual prose, I argue that the Romantics were attuned to the way diffuse Stoic attitudes informed the politics and moral psychology of their age. More than a prompt for resignation or acquiescence, Stoicism was a radical and controversial term in a revolutionary age; philosophers like Kant, Spinoza, and Godwin drew on Stoic accounts of the passions in articulating their new ethical systems. In chapters on Wordsworth, Coleridge, Byron, and Emerson, I argue that the period most polemically invested in emotion as the mainspring of art was also captivated by the idea that aesthetic and ethical judgment demanded a transcendence of emotion. In their poetic search for "confirmed tranquillity," the writers in my transatlantic study transformed Stoicism's austerities as they confronted the limitations of sympathy and redefined their own relations to a cosmopolitan and war-torn world.
39
Franson, Craig. "Suspended pangs : figures of agony in the discourse of Romanticism /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421623051&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 222-230). Also available for download via the World Wide Web; free to University of Oregon users.
40
Dineen, Mark David. "Of romance and the real information technology and social function in the evolution of romantic aesthetics /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56226.pdf.
Full text
41
Chan, King. "Organic form and its discontents : the modernist critique of organicism /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18783223.
Full text
42
Campbell, Nick. "Children's Neo-Romanticism : the archaeological imagination in British post-War children's fantasy." Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/Children’s-Neo-Romanticism(d8dd7f80-d6a7-4e02-a103-c627adc0fad1).html.
Full textAbstract:
The focus of this study is a trend in British children’s literature concerning the ancientness of British landscape, with what I argue is a Neo-Romantic sensibility. Neo-Romanticism is marked by highly subjective viewpoints on the countryside, and I argue that it illuminates our understanding of post-war children’s literature, particularly in what is often called its Second Golden Age. Through discussion of four generally overlooked authors, each of importance to this formative publishing era, I aim to explore certain aspects of the Second Golden Age children’s literature establishment. I argue that the trend I critique is characterised by ambiguity, defined by the imaginative practice entailed in the archaeological view.
43
Mackervoy, Susan Denise. "Schiller and French classical tragedy." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357834.
Full text
44
Cox, Fiona Mairi. "Virgil's presence in twentieth century French literature." Thesis, University of Bristol, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296691.
Full text
45
Ties, Bo Michael. "An orchestral approach to the piano works of Gabriel Dupont: remembering and recording a forgotten musician." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6312.
Full textAbstract:
Throughout the history of music there have been numerous composers who were well-known in their lifetimes yet faded from public performance and memory after their deaths. Some were remembered many years later and became the most prominent composers in western music. Others did not receive any such resurgence of interest.
Gabriel Dupont (1878-1914) was a rising star in French music when he passed away at the age of 36. His operas, piano music and songs were widely known during his life, but he was virtually forgotten by the end of the 20th century. Since around 2000, there has been a growing interest into the life and music of this figure. Dupont has become more well-known to French audiences but less so to audiences elsewhere. This project aims to change that and spread awareness of Dupont in the United States. The twenty-four mature piano pieces by Dupont are significant contributions to French piano music and deserve such a recognition.
This thesis is in two parts: 1) a complete studio recording of Dupont's piano music, including the world premiere of two sets of pieces he wrote in his youth, and 2) an accompanying paper exploring the life and music of Dupont.
46
Mukhopadhyay, Indra Narayan. "Imperial Ellipses France, India, and the critical imagination /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679371881&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
47
Lopez, John-David. "The British Romantic reconstruction of Spain." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692097271&sid=19&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph. D.)--University of California, Los Angeles, 2008.Vita. Individual works cited are included for each chapter and are noted in the table of contents. Description based on print version record. Includes bibliographical references.
48
Masland, James Gillinder. "Narratives of romantic masculinity within the long eighteenth century." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679298161&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
49
Stephens, Joanna. "Italo Calvino and French literary culture." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390390.
Full text
50
Grinnell, George C. Clark David L. "On hypochondria: interpreting romantic health and illness (Samuel Taylor Coleridge, Mary Shelley, Thomas de Quincey, Thomas Beddoes, Charles Brockden Brown) /." *McMaster only, 2005.
Find full text