Journal articles: 'Romanticism in literature, French'

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Boutin, A. "Shakespeare, Women, and French Romanticism." Modern Language Quarterly 65, no. 4 (December 1, 2004): 505–29. http://dx.doi.org/10.1215/00267929-65-4-505.

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Charlton, D. G., and James S. Patty. "Perspectives on French Romanticism." Modern Language Review 85, no. 1 (January 1990): 192. http://dx.doi.org/10.2307/3732852.

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Bhattacharya, Swagata. "The Influence of Indian Philosophy on French Romanticism." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 14–24. http://dx.doi.org/10.47631/ijecls.v2i4.246.

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France’s connection to India dates back to the seventeenth century when the French came to establish trading relations with India and neighboring countries. Even in the heydays of Enlightenment, France, the champion and cradle of Reason and Rationality in Europe, was looking for an alternative and philosophers like Rousseau, Diderot and Voltaire looked towards India as a source of inspiration. That tradition was continued by the French Romantics who were even more influenced and inspired by Indian philosophy and wanted to change the course of French literature with the help of it. This paper aims to explore literary transactions between India and France culminating in the movement called Romanticism in French literature. The paper shall trace the trajectory of how Indian philosophy and thought traveled to Europe in the form of texts and influenced the works of the French from Voltaire in the eighteenth century to Jules Bois in the twentieth. The central argument of this diachronic study, based on the theory of influence, is to prove how significant the role of India and her literary/religious texts have been in the context of the Romantic Movement in French literature in the nineteenth century.

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Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.

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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.

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Junkiert, Maciej. "Ancient Revolutions in the Literature of Polish Romanticism." Comparative Critical Studies 15, no. 2 (June 2018): 207–26. http://dx.doi.org/10.3366/ccs.2018.0289.

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This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.

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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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Zielonka, Anthony, and Frank Paul Bowman. "French Romanticism: Intertextual and Interdisciplinary Readings." Modern Language Review 87, no. 2 (April 1992): 485. http://dx.doi.org/10.2307/3730732.

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Nodier, Charles, Elizabeth Berkebile McManus, and Daniela Ginsburg. "The Fantastic in Literature." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 540–54. http://dx.doi.org/10.1632/pmla.2019.134.3.540.

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Charles Nodier (1780–1844) holds the dismal distinction of being the most important French Romantic you have never heard of. A child prodigy, Nodier was reading Montaigne and Plutarch, and writing fluently in French and Latin, by the age of ten. By twenty-five he had vandalized a guillotine, founded the ironically Freemasonesque antiJacobin society called the Philadelphes, published one of the irst French works of scholarship on Shakespeare, and served a month in prison for criticizing Napoleon in the poem “La Napoléone.” It was only then that he got serious, and in 1806 Les tristes was published, a collection of short stories, poems, dialogues, and essays that marked him as a disciple of the Romanticism of Goethe and Schiller and hinted at his future affinity for the visionary, fantastic mode of E.T.A. Hoffmann.

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Whittaker, J. R. "TRANSLATION AND FRENCH ROMANTICISM: PERIPHERY OR CORE?" French Studies Bulletin 31, no. 117 (November 15, 2010): 79–81. http://dx.doi.org/10.1093/frebul/ktq028.

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Malița, Ramona. "Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 39–56. http://dx.doi.org/10.24193/subbdrama.2020.2.02.

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"Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre. Keywords: Madame de Staël, Coppet, Geneva, experimental theatre, French Romanticism, aesthetic and literary canons, 19th century literature, romantic theatre."

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CROSSLEY, C. "Review. Perspectives on French Romanticism. Patty, James S." French Studies 44, no. 2 (April 1, 1990): 223. http://dx.doi.org/10.1093/fs/44.2.223.

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

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

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Carpenter, Scott. "French Romanticism: Intertextual and Interdisciplinary Readings. Frank Paul Bowman." Modern Philology 90, no. 2 (November 1992): 274–76. http://dx.doi.org/10.1086/392067.

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Halchuk, Oksana. "Tragic fool of French literature as a topos of identity (from Victor Hugo and Paul Verlaine artistic experience)." Synopsis: Text Context Media 26, no. 3 (2020): 73–83. http://dx.doi.org/10.28925/311-259x.2020.3.1.

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The symbol, as an archetype with inexhaustible meanings, remains a relevant object of scientific research. Especially when it comes to symbols used by different national cultures. One of such symbols, an image of the tragic fool, is quite favoured by the writers of romanticism and the turn of the twentieth century. A general interest in their artistic and aesthetic systems, the multiplicity of interpretations of archsymbols, and the specifics of their authorial and national manifestations in literature determine the relevance of this study. The subject of the study is the specifics of the image of the tragic fool in the works the French writers iconic for romanticism (Victor Hugo) and symbolism (Paul Verlaine). Historical and literary, comparative and typological, archetypal scientific methods are used in the work. Their potential made it possible to consider the functioning peculiarities of the image of a tragic fool through the prism of identity. The broad context of this problem made it possible to solve several objectives: to outline the origins of the image; determine the factors of its actualization in the romanticism and modernism works; and analyze the authors’ versions of interpretation. Herein is the novelty of the study. The results of the study are as follows: in French literature of romanticism and symbolism — given such a common ideological and artistic basis for their aesthetics as individualism — in Hugo’s romance the tragic fool is a grotesque mark of the era, a symbol of unresolved complex social problems. In contrast, the symbolist Verlaine perceives the tragic fool an alter ego of the contemporary artist in particular and a man of the era in general, giving preference to aesthetic and philosophical priorities over social. The high potential of the autobiographical content of the image of the tragic fool is a peculiar feature of the modernist interpretation. He functions both as a lyrical hero and a mask of an autolyrical character. In literary mystifications, it is a character under a double mask. In the artist’s chosen strategy of realization of the life scenario, this symbol is expressed in the form of feigned asociality, épater le bourgeois, primitivism as an imitation of creativity, self-parody. Further studies are promising; the image of the tragic fool in various national literatures is a common tool for writers to mockingly demonstrate the “interior” of the social and world order. At the same time, the tragic accent of this image lies in the tradition to perceive one’s work as a manifesto of “hateful love” for one’s time, homeland, and the world.

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Smith, Orianne. "Refugee Nuns, the French Revolution, and British Literature and Culture / Spain in British Romanticism." European Romantic Review 30, no. 1 (January 2, 2019): 76–81. http://dx.doi.org/10.1080/10509585.2018.1560045.

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Gosetti, V. "LE PROVINCIAL OF DIJON: FRENCH ROMANTICISM AND PROVINCIAL CULTURAL AWAKENING." French Studies Bulletin 34, no. 128 (September 1, 2013): 53–57. http://dx.doi.org/10.1093/frebul/ktt015.

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Silva, Lucélia Magda Oliveira da, and Naiara Sales Araújo. "GETTING INEBRIATED IN THE TAVERN: REMINISCENCES OF POE IN ÁLVARES DE AZEVEDO." REVISTA DE LETRAS - JUÇARA 3, no. 1 (August 15, 2019): 37–50. http://dx.doi.org/10.18817/rlj.v3i1.1869.

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Romanticism, initiated in eighteenth-century Europe, had, among other characteristics, the overestimation of emotions and the elaboration of a social critique based on pre-defined customs and values. In America, Romanticism established itself, primarily, in the United States, where Edgar Allan Poe was one of its main figures, whose pessimist and macabre works were translated by Baudelaire; and, afterwards, in Brazil, the need to build a literature that had its own nationality, even if still under the influence of the French molds. Therefore, the translations of Poe’s tales made by Baudelaire came to Brazil and served as inspiration for many established authors. By observing concomitant aspects in the prose of both Poe and Álvares de Azevedo, whose work Noite na Taverna (1997) is regarded as one of the first pieces of fantastic literature in Brazil, our article aims to verify the possible influence of the American author on the work of Azevedo, using the studies held by Alfredo Bosi, Antônio Candido, Todorov and Roas, as well as consolidated literary reviews on Edgar A. Poe. Keywords: Edgar Allan Poe. Álvares de Azevedo. Romanticism. Noite na Taverna.

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Glencross, Michael, and Ceri Crossley. "French Historians and Romanticism: Thierry, Guizot, the Saint-Simonians, Quinet, Michelet." Modern Language Review 90, no. 3 (July 1995): 763. http://dx.doi.org/10.2307/3734367.

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KNÖDLER, STEFAN. "Initialzündung der europäischen Romantik. : Zur frühesten Rezeption von August Wilhelm Schlegels Vorlesungen ,,Ueber dramatische Kunst und Litteratur“ im Kreis von Coppet sowie bei Stendhal und Charles Nodier." Zeitschrift für Germanistik 29, no. 2 (January 1, 2019): 249–64. http://dx.doi.org/10.3726/92165_249.

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Abstract Die Übersetzung von August Wilhelm Schlegels Vorlesungen Ueber dramatische Kunst und Litteratur machte das französische Publikum 1814 erstmals mit den Ideen der deutschen Romantik bekannt. In den Äußerungen der Übersetzer und ersten Leser im Kreis von Coppet um Germaine de Staël sowie der ersten Rezensenten Stendhal und Charles Nodier werden die Schwierigkeiten der französischen Leser sowohl mit Schlegels heftiger Kritik am klassischen Theater des Landes wie auch mit dem Begriff des ,Romantischen‘ deutlich. Die Argumente der Befürworter wie Gegner sollen auch die Debatte der folgenden 20 Jahre prägen.The translation of August Wilhelm Schlegel’s lectures Ueber dramatische Kunst und Litteratur in 1814 distributed the ideas of German Romanticism in France. The reactions of the translators and first readers in Germaine de Staël’s Circle of Coppet as well as the first critics by Stendhal and Charles Nodier show the difficulties of the French readers with Schlegel’s fierce criticism of French classical drama and with the idea of ,Romanticism‘ itself. The arguments of the proponents and the opponents will form the discussion of the following 20 years.

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Mankovskaya, N. B. "Early Romantic Aesthetic Theory and Artistic Practice of Benjamin Constant." Art & Culture Studies, no. 1 (2021): 8–47. http://dx.doi.org/10.51678/2226-0072-2021-1-8-47.

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The article reconstructs the aesthetics of B. Constant, one of the key figures of the early stage of the formation of French romanticism, the author of one of its first manifestos. The author reveals his aesthetic credo associated with liberalism in his views on society and art, the idea of the self-value of art, its artistic perfection, an increased interest in the national and historical origins of artistic creativity, the local uniqueness, and the character of a romantic hero — sen- sitive, sincere, and at the same time egocentric. It is shown that the vector of Constant’s aesthetic search as one of the creators and theorists of the romantic genres of drama, novel, and novella is directed to the future. He was at the origin of a new direction of French literature — psychological confessional prose. Constant, with his emphasis on the disharmony of the inner world of individuals, deep contrasts between enthusiasm and melancholy, on the one hand, and the sharpened attention to the influence of society on all aspects of human life, including artistic creativity, on the other, not only influenced the next generation of French romantics, but also received a response in Russia in relation to the phenomenon of the “extra person”. His aesthetic theory and artistic practice largely anticipated the tendencies of critical realism in nineteenth-century art and aesthetics.

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HEYMANN, BRIGITTE. "Victor Hugo. : Geopoesis der europäischen Literatur." Zeitschrift für Germanistik 29, no. 2 (January 1, 2019): 343–60. http://dx.doi.org/10.3726/92165_343.

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Abstract Der Aufsatz untersucht Victor Hugos geopoetische Modellierung der europäischen Literatur, ihre metaphorische Territorialisierung und Kanonisierung im Horizont deutsch-französischer kultureller Kommunikation. Die Lektüre von Hugos Texten vollzieht einen doppelten Perspektivwechsel der Interpretation von der Romantik zum Orientalismus, von der Ästhetik zur Ideologie des laïzistischen Republikanismus. In diesen Zusammenhängen wird Hugos Konzeptualisierung eines geeinten Europas in Bezug auf die von ihm propagierten Ein- und Ausschlusskriterien kritisch reflektiert.This paper aims to investigate Victor Hugo’s geopoetic approach of european literature. In the horizon of german-french cultural communication it focuses on the metaphorical process of territorialisation and canonisation of european literature. By the twofold interpretational turn from romanticism to orientalism, from aethetics to ideology, it examines Hugo’s textual strategies of in- and exclusion of cultures, literatures and authors from the european project.

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Tilby, M. "From Paris to Pompeii: French Romanticism and the Cultural Politics of Archaeology." French Studies 63, no. 4 (October 1, 2009): 475–76. http://dx.doi.org/10.1093/fs/knp179.

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Voß, Torsten. "Ästhetisch konstruierte Traditionen?" Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 2 (November 8, 2019): 442–70. http://dx.doi.org/10.1515/iasl-2019-0022.

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Abstract Throughout various literary and artistic periods, artists have referred to or even converted to Catholicism as a means of conjuring a certain perception of a European tradition. In doing this, they seek to create an aesthetic of romanticism and/or an idea and concept of beauty, the artist, artwork etc. After giving a brief overview of this discursive practice in modern avant-garde movements, this article focuses on early forms of literary Catholic movements, such as the French Renouveau catholique and François-René de Chateaubriand’s Le Génie du Christianisme (The Genius of Christianity), as well as Novalis’ ‘invention’ of German romanticism in his essay Die Christenheit oder Europa (Christianity or Europe). It shows that there are a variety of parallels to be identified across these periods and places, namely, in programs, performances, rhetoric-building and group-building processes, and in cultivating an anti-bourgeois distinction, both in the texts themselves and in the positioning of the artists within the literary field. Despite accusations of being reactionary, writers and artists who elaborate a Catholic concept of art and literature aim to develop a traditionalist and anti-modern stance within (aesthetical and social) modernity.

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Chrostowska, S. D. "Progress." Common Knowledge 27, no. 2 (May 1, 2021): 262–79. http://dx.doi.org/10.1215/0961754x-8906159.

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Abstract This article begins from the assumption that what was once an integral dimension of progress—the development of literature and of art more generally—now lies outside its scope. The essay falls into three parts that juxtapose French with German intellectual history. The first part examines the notion of literary progress developed by Charles Perrault and Fontenelle, as well as the opposition to it by Boileau and other antiquarians, during the querelle des Anciens et des Modernes in the later seventeenth century. The second part treats the reception of those arguments during the eighteenth century by J. C. Gottsched, J. J. Bodmer, and J. J. Breitinger. Special attention is given to the paradox that Gottsched, the leader of the German antiquarians, and Bodmer, the leader of the German progressives, were equally devoted to the Leibnizian-Wolffian philosophical system and thus that German Romanticism, heavily indebted to Bodmer's poetics, had roots in rationalist philosophy. The essay's third part discusses ideas of literary progress in the writings of the early Romantics J. G. Herder and Friedrich Schlegel. As these discussions show, the conception of general progress was formed in a field that has since dissociated itself from progress's march.

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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.

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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.

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Moore, Fabienne. "“Revolution” or “deplorable school”?: Chateaubriand's analysis of French and British romanticism in themémoires d'outre‐tombe." European Romantic Review 10, no. 1-4 (January 1999): 231–41. http://dx.doi.org/10.1080/10509589908570079.

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Komorowski, Jaroslaw. "Shakespeare and the Birth of Polish Romanticism: Vilna 1786–1846." Theatre Research International 21, no. 2 (1996): 141–46. http://dx.doi.org/10.1017/s0307883300014723.

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The first phase of a long and complex process of the Polish reception of William Shakespeare's oeuvre ended in the middle of the nineteenth century with the popularization of new translations and the gradual elimination of French and German classicist adaptations. Vilna, vital centre of Polish culture, science and art, was the birthplace of Polish Romanticism and a hotbed of theatrical innovation. Vilna was also, at the turn of the eighteenth century, the capital of the Grand Duchy of Lithuania, and one of the major cities of the Polish-Lithuanian Commonwealth. The school stage of Vilna Academy, established by Stefan Batory in 1578, had been active since 1582. In 1639, English actors belonging to Robert Archer's company may have visited the town; though the performances planned by King Wladyslaw IV did not take place. A permanent professional theatre was opened in 1785, when Wojciech Boguslawski, the greatest personality of the theatre of the Polish Enlightenment, came up from Warsaw with his troupe.

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Juden, Brian, and D. G. Charlton. "The French Romantics." Modern Language Review 82, no. 3 (July 1987): 741. http://dx.doi.org/10.2307/3730471.

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Brand, C. P., and Michael Pitwood. "Dante and the French Romantics." Comparative Literature 40, no. 3 (1988): 296. http://dx.doi.org/10.2307/1771028.

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Tupan, Maria-Ana. "Romantic Healers in Old and in New Worlds." Volume-1: Issue-9 (November, 2019) 1, no. 9 (December 7, 2019): 1–12. http://dx.doi.org/10.36099/ajahss.1.9.1.

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The revision of Romanticism in the last two or three decades went deeper than any other revolution in the canonization of western literature. Tom Wein (British Identities, Heroic Nationalisms and the Gothic Novel.1764-1824), Gary Kelly (English Fiction of the Romantic Period), Virgil Nemoianu (Taming Romanticism), or Michael Löwy and Robert Sayre (Romanticism Against the Tide of Modernity) demystified the uncritical association of this literary trend with the revolutionary political ethos in 1789 France, casting light on the conservative, pastoriented yearnings of the major representatives. Such considerations, however, do not apply to the American scene, where politics and poetics, unaffected, or at least not directly affected by the Reign of Terror and the Napoleonic wars remained faithful to the ideas of the French Revolution. Whereas Europe turned conservative, with the Great Powers forming suprastatal networks of influence (The Holy Alliance at the Congress of Vienna in 1815 bonding the Kingdom of Prussia, the Austrian and Russian empires, joined a few years later by France and the United Kingdom), America built a political system grounded in the rights of the individual and pursued ” dreams” of personal and national assertiveness (the ”city on the hill,” “from rags to riches”) in opposition to the European ”concert of nations” model. Our paper is pointing to a necessary dissociation of meliorist plots and narratives of healing in the romantic canon on either part of the Atlantic instead of subsuming them under a common poetics/politics heading.

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GILDEA, R. N. "Review. French Historians and Romanticism: Thierry, Guizot, the Saint-Simionians, Quinet, Michelet. Crossley, Ceri." French Studies 49, no. 1 (January 1, 1995): 83. http://dx.doi.org/10.1093/fs/49.1.83.

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KNIGHT, D. "Review. Feminisim, Socialism, and French Romanticism. Moses, Claire Goldberg and Leslie Wahl Rabine (eds)." French Studies 49, no. 4 (October 1, 1995): 461. http://dx.doi.org/10.1093/fs/49.4.461.

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KELLEY, THERESA M. "Romantic Histories." Nineteenth-Century Literature 59, no. 3 (December 1, 2004): 281–314. http://dx.doi.org/10.1525/ncl.2004.59.3.281.

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In this essay I argue that Charlotte Smith's Beachy Head (1807) dramatizes a crucial impasse in Romantic historiography insofar as the poem rocks between two models of historical narrative: the large, supervisory project often characterized as the grand march of history, exempli�ed by Edward Gibbon's Decline and Fall of the Roman Empire (1776-88), and a narrative of locality, speci�city, and individuals that includes the several kinds of human and natural history that Smith practices in her poem. This second model is roughly akin to the Annales project of modern French historiography. Smith's poem in this sense registers the formal and conceptual unease that Romantic historiography is unable to put aside, an unease that G.W.F. Hegel's philosophy of history and aesthetics challenges but does not put to rest. Considered in these terms, Beachy Head speci�es the incommensurability of historical kinds to which Romanticism so often and so productively returns.

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Wren, Keith, and Michael Pitwood. "Dante and the French Romantics." Modern Language Review 82, no. 4 (October 1987): 964. http://dx.doi.org/10.2307/3729099.

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Huebner, Steven. "Classical Wagnerism." Journal of Musicology 34, no. 1 (January 1, 2017): 115–47. http://dx.doi.org/10.1525/jm.2017.34.01.115.

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The works of Richard Wagner have been celebrated for their impact on progressive elements in European culture, as a bridge from romanticism to modernism. In France the influence of Wagner on symbolist writers and artists, and musicians sympathetic to them, has emerged as particularly significant. But there was also a conservative response to Wagner that has received much less attention in the scholarly literature. This filiation is exemplified in the figure of Albéric Magnard and his opera Bérénice (1911), which he claimed was influenced by a “classical” Wagner. This article considers the classicism of Bérénice and its composer from several perspectives: portrayals of temperament that demonstrate consonance with classical precepts, political readings that emphasize classical values, the legacy of the French theater of the seventeenth century, and strategies of tonal organization and motivic development related to the German symphony extending back to Beethoven.

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Lokke, Kari. "“Children of Liberty”: Idealist Historiography in Staël, Shelley, and Sand." PMLA/Publications of the Modern Language Association of America 118, no. 3 (May 2003): 502–20. http://dx.doi.org/10.1632/003081203x47796.

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This essay explores the contributions of a tradition of nineteenth-century Künstlerromane by Germaine de Staël, Mary Shelley, and George Sand to European idealist historiography as exemplified in Kant's writings on perfectibility. Corinne, Valperga, and Consuelo represent the historical agency of the intellectual and artist as communication with a spirit world inhabited by ghosts of the past so that their secrets and wisdom can be transmitted to the future. In canonical Romanticism, contact with these phantasms provokes crippling guilt over the failure of past projects of perfectibility like the French Revolution (doomed by violence and bloodshed), guilt that is figured in the interdependent tropes of the titanic hero and Romantic melancholy. The novels discussed here perform an explicit critique of masculinist individualism in the name of women and humanity as a whole, replacing melancholy with enthusiasm and deploying spirits aesthetically, as sublime signs of future historical potentiality.

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Bowman, Frank Paul. "Henry F. Majewski.Paradigm and Parody: Images of Creativity in French Romanticism—Vigny, Hugo, Balzac, Gautier, Musset. University Press of Virginia, 1989. viii + 178pp. $29.95." Romance Quarterly 38, no. 4 (November 1991): 483–84. http://dx.doi.org/10.1080/08831157.1991.9926917.

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BELAVINA, Ekaterina M. "MOTIFS TRANSFORMATION OF M. DESBORDES-VALMORE LYRICS IN THE WORKS OF MARINA TSVETAEVA." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 128–43. http://dx.doi.org/10.21684/2411-197x-2021-7-1-128-143.

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The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. Strelnikova). However, the relationship of her poetry with the French writer work of the romanticism era, M. Desbordes-Valmore (1786-1859), which is almost forgotten in our days, is analyzed for the first time, which seems relevant in light of the growing interest in the role of women in European culture. The article uses a biographical method, with the involvement of the poetics of the rhythm of H. Meshonnik. The article examines the mentions of M. Desbordes-Valmore in M. Tsvetaeva’s poetry and in correspondence with B. Pasternak, provides a brief comparison of biographies in terms of their influence on the formation of a poetic voice. Their tragic fates have a lot in common: both survived revolutions, as a consequence the ruin of the family nest, extreme poverty, the loss of loved ones. The main similarity between M. Tsvetaeva and M. Desbordes-Valmore lies in the auditory imagination, in intonational rhythmic expressiveness and in vivid metaphor. Both M. Desbordes-Valmore and M. Tsvetaeva left evidence of a moment preceding the moment of writing, “music” preceding verbal expression. They often rely on the song as a precedent text (O. Revzina), a precedent rhythm. The autobiographical nature of the lyrics and the musicality bring together so dissimilar authors at first glance. M. Tsvetaeva read M. Desbordes-Valmore in the original, probably having become acquainted with her work at the summer courses in the history of French literature at the Sorbonne. The analysis of the transformations of M. Desbordes-Valmore’s poems motifs in M. Tsvetaeva’s lyrics clearly show not only a deep knowledge and understanding of the French romantic tradition, but also the innovation of her own poetic language.

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Croteau, Melissa. "Le Songe d’une nuit d’été of Ambroise Thomas: L’éclat at the end of the tunnel." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (July 2019): 66–75. http://dx.doi.org/10.1177/0184767819861890.

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This article argues that Ambroise Thomas’s opera Le Songe d’une nuit d’été functions as a Romantic allegory of the coarse artistic genius elevated and sanctified by royal and spiritual powers in an attempt to glorify and justify Shakespeare. Simultaneously, and more importantly, the opera is an appeal to French artists to move away from their adherence to neoclassical symmetry, restraint, and stasis, which persisted even in the work and opinions of the French Romantics.

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Wiley, Michael. "The British Monarchy and the French Revolution. Marilyn Morris.Rousseau, Robespierre and English Romanticism. Gregory Dart.Crisis in Representation: Thomas Paine, Mary Wollstonecraft, Helen Maria Williams, and the Rewriting of the French Revolution. Steven Blakemore." Wordsworth Circle 30, no. 4 (September 1999): 194–96. http://dx.doi.org/10.1086/twc24044152.

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Blix, Goran. "Walking and the French Romantics: Rousseau to Sand and Hugo (review)." Nineteenth Century French Studies 34, no. 1 (2005): 159–61. http://dx.doi.org/10.1353/ncf.2005.0045.

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Savina, Anfisa D. "“The riddle that the critic must solve”: V. Bryusov about Villiers de l’Isle-Adam." Literary Fact, no. 19 (2021): 268–85. http://dx.doi.org/10.22455/2541-8297-2021-19-268-285.

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This publication concerned with the problems of Valeriy Bryusov’s critical works and his interest in French culture. The aim of the paper is to introduce into scientific circulation the Bryusov’s text relating to the late French Romanticist Au. Villiers de l'Isle- Adam. Our introductory article gives a brief description of the literary relations between the Russian poet and the French writer. It is noted that for a quarter of a century Brusov turned to the work of Villiers de l'Isle-Adam as an editor, as a translator and as a novelist, attentive to the creative search of his predecessors. The published materials are a draft of Bryusov's article, made after 1910. In this text Bryusov expresses his attitude towards the French writer in detail and turns to the analysis of his short stories. The critic sums up literary fate in Russia of Villiers de L'Isle-Adam and other poètes maudits. In addition, Bryusov gives his vision of the level of the Russian readership and determines the degree of familiarity of the “average reader” with the French literature.

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Moysan, Bruno. "Liszt, lecteur antimoderne de Faust." Studia Musicologica 55, no. 1-2 (June 2014): 65–80. http://dx.doi.org/10.1556/6.2014.55.1-2.5.

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The article offers a definition of the concept of anti-modernity, based at first on Antoine Compagnon’s 2005-volume Les antimodernes, de Joseph de Maistre à Roland Barthes. The role of the mundane sociability of the aristocracy, returned from emigration, and of the aesthetic culture of political legitimism is examined in the acclimatization process of German Romanticism in France during the Empire, the Restoration, and the first years of the July Monarchy. A hypothesis is proposed about the connections between Liszt’s interpretation of the Faust myth as it is exposed in the poems of Goethe and Lenau, on the one hand, and the political, aesthetical, and ideological resistance of French artists from the first half of the 19th century, directed against modernity, liberal individualism, the upheavals of the 1789 Revolution, and the rationalist constructivism of the Enlightenment, on the other. A survey of the aesthetics of negativity and its musical implications in Liszt’s compositions inspired by Faust reveals that the composer distanced himself from the “naive modernism” (Compagnon) of many of his contemporaries and came close to the flamboyant aesthetic of Chateaubriand’s Christian Vanity as well as to the scepticism, related in our post-modernist era with the idea of progress and of the completed work. Thus, Liszt’s relationship to the myth and the character of Faust becomes much more complex and ambiguous than it usually appears in the French literature, where Liszt’s view on the Faustian freedom is associated systematically and rather simplistically with the modern and liberal process of the individual’s emancipation.

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ELLIS, S. "Review. Dante and the French Romantics. Pitwood, Michael." French Studies 40, no. 4 (October 1, 1986): 471. http://dx.doi.org/10.1093/fs/40.4.471.

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Romanova, Alyona N. "Anna Gotovtseva, the interlocutor of poets." Literature at School, no. 2, 2020 (2020): 62–75. http://dx.doi.org/10.31862/0130-3414-2020-2-62-75.

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The article examines the history of the publication of some works by the little-known poetess of the first third of the 19th century Anna Gotovtseva, including her poem addressed to A.S. Pushkin, and poems by A.S. Pushkin and P.A. Vyazemsky, appealed to Gotovtseva. The author reveals some features of the historical and literary process, which influenced the poetic dialogue of writers, published in the “Northern Flowers” almanac, which marked the emergence of female professional poetry in the literature of the first third of the 19th century. A.I. Gotovtseva’s poems are analyzed in the context of the contemporary Russian poetry o that time, and the artistic originality of her works is revealed in comparison with the lyrics of poets of the elegiac romanticism. The author considers the influence of French writers such as Alphonse de Lamartin and Madame Janlis on the development of literary opinions and priorities of the provincial poetess, which predetermined the internal contradiction of the poetic dialogue between Pushkin and his admirer Anna Gotovtseva. The hypothesis about the indirect influence of “Note” by Janlis on the development of the controversy about women writers reflected both in the journalistic statements and in the artistic works by Pushkin and his contemporaries – men of letters – is tested in the article.

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Cantor, Paul A. "The Politics of the Epic: Wordsworth, Byron, and the Romantic Redefinition of Heroism." Review of Politics 69, no. 3 (June 2007): 375–401. http://dx.doi.org/10.1017/s0034670507000733.

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Traditionally, the epic focused on the heroic deeds of great public figures, but the Romantics remade the genre into something more personal, making the poet himself the hero of their epics. The Romantic disillusionment with politics, flowing from the failure of the French Revolution, lies behind their revaluation of heroism. The turn to nature, which the Romantics present as immediate, turns out to be mediated by their political experience. Wordsworth's The Prelude and Byron's Childe Harold's Pilgrimage are good examples of the Romantic transformation of the epic and provide a case study in the relation of politics and literature, specifically the politics of literary form.

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Geneste, Elsa. "Enlightenment and Romanticism in the French defence of black people in the 1920s: TheLigue Universelle de Dfense de la Race Noireagainst the colonial republic." International Journal of Francophone Studies 14, no. 1 (May 1, 2011): 43–56. http://dx.doi.org/10.1386/ijfs.14.1-2.43_1.

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Leporati, Matthew. "New Formalism in the Classroom: Re-Forming Epic Poetry in Wordsworth and Blake." Humanities 8, no. 2 (May 20, 2019): 100. http://dx.doi.org/10.3390/h8020100.

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Recent years have seen a resurgence of interest in “New Formalism,” a close attention to textual language and structure that departs from the outdated and regressive stances of old formalisms (especially “New Criticism”) by interrogating the connections between form, history, and culture. This article surveys the contributions of New Formalism to Romanticism studies and applies its techniques to two canonical texts, suggesting that New Formalism is useful both for literary criticism and teaching literature. Opening with a survey of New Formalist theory and practices, and an overview of the theoretical innovations within New Formalism that have been made by Romantic scholars, the article applies New Formalist techniques to William Wordsworth’s Prelude and William Blake’s Milton: a Poem. Often read as poems seeking to escape the dispiriting failure of the French Revolution, these texts, I argue, engage the formal strategies of epic poetry to enter the discourse of the period, offering competing ways to conceive of the self in relation to history. Written during the Romantic epic revival, when more epics were composed than at any other time in history, these poems’ allusive dialogue with Paradise Lost and with the epic tradition more broadly allows them to think through the self’s relationship to the past, a question energized by the Revolution Controversy. I explore how Wordsworth uses allusion to link himself to Milton and ultimately Virgil, both privileging the past and thereby asserting the value of the present as a means of reiterating and restoring it; Blake, in contrast, alludes to Milton to query the very idea of dependence on the past. These readings are intertwined with my experiences of teaching, as I have employed New Formalism to encourage students to develop as writers in response to texts. An emphasis on form provides students with concrete modes of entry into discussing literature and allows instructors to help students identify and revise the forms and structures of their own writing in response to literature.

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CRUICKSHANK, J. "Review. The French Romantics. Vols I and II. Charlton, D. G. (ed.)." French Studies 39, no. 2 (April 1, 1985): 216–17. http://dx.doi.org/10.1093/fs/39.2.216-a.

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Kølle, Lone. "This Time as Romantic Fiction: Monarchism and Peasant Freedom in the Historical Literature of B. S. Ingemann 1824–1836." Romantik: Journal for the Study of Romanticisms 1, no. 1 (December 1, 2012): 103. http://dx.doi.org/10.7146/rom.v1i1.15852.

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This article examines the relationship between the monarchy and the people as represented by one of the foremost Danish Romantics, the poet B. S. Ingemann (1789–1862), in the historical literature he published in the years when Ingemann wrote his Danish history, the so-called ‘myth of an original peasant’s freedom’, is also inherent in Ingemann’s novels and poems. Drawing on the literature of the Danish historian Peter Frederik Suhm, Ingemann embraces and ‘recycles’ the idea that historically an ancient constitution existen in Denmark to ensure that the peasant was on equal terms with the nobility and the clergy. No decision could be made without the consent of the commonality. The article stresses that this idea had an enormous impact on Danish society, both as a cultural indicator and as an actual political tool, not least in the crucial years following the French Revolution.

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Journal articles on the topic 'Romanticism in literature, French'

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