Relevant bibliographies by topics / The romantic irony

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'The romantic irony'

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Published: 24 April 2022

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Journal articles on the topic "The romantic irony"

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ETARYAN, Yelena. "Irony As “Ferment Of Philosophical And Aesthetic Speculation” (By Friedrich Schlegel And Thomas Mann)." WISDOM 14, no. 1 (March 6, 2020): 88–97. http://dx.doi.org/10.24234/wisdom.v14i1.309.

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The focus of our scientific contribution is German Romanticism with its early romantic concept of self-referentiality or romantic irony. In the article, according to Safransky (Safranski, 2007, p. 12), romanticism is considered not only as a literary era, but also as a ”mental attitude“ that can be imprinted in any era. Using the work of Thomas Mann as an example, we illustrate it by looking at the epoch of modernity. In the Romantic period irony became a philosophy of life and art. It is also a central concept for Thomas Mann. The goal of this scientific article is to demonstrate the consequent realization of the concept of (early) romantic irony of a self-reflective narrative in the work by Thomas Mann. In the article, as a conclusion, the thesis is put forward that Thomas Mann seeks to synthesize the spheres of knowledge and aesthetics, but this “synthesis” has a slightly different meaning than that of the early romantics. . The common ground of their concept of irony is mediating between opposites, but at the same time, these opposite sides are to be preserved in their specificity and can only be unified selectively. Another similarity that needs to be identified is the functionalization of art as criticism, in other words, of “literary criticism”.
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Haase, Donald P., and Lilian R. Furst. "Fictions of Romantic Irony." German Quarterly 59, no. 1 (1986): 138. http://dx.doi.org/10.2307/406231.

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Simpson, David, and Lilian R. Furst. "Fictions of Romantic Irony." Studies in Romanticism 26, no. 1 (1987): 169. http://dx.doi.org/10.2307/25600640.

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Eastham, Andrew. "Beckett's Sublime Ironies: The , , and the Remainders of Romanticism." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 1, 2007): 117–29. http://dx.doi.org/10.1163/18757405-018001009.

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This essay theorizes the status of Romantic irony in Beckett's work according to its relationship with the sublime, which takes three different forms. First, in the "German Letter," irony is conceived of as the way to the sublime. I argue that a diagnostic account of this process emerges in , where Romantic irony is framed as the symptom of a moribund condition. Finally, I suggest that in Beckett works to ironize the rhetoric of Romanticism, whilst the Romantic irony of his narrators is constituted by an aspiration to repeat an irrecoverable sublime encounter.
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Khalilollahi, Shahla, and Maryam Mousavi. "Study of Socratic Irony and Romantic Irony in Khayyam, Abol-ala and Schopenhauer’s Quatrains." International Journal of Applied Linguistics and English Literature 8, no. 5 (September 30, 2019): 72. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.72.

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In this article we are determined to review Socratic irony, romantic and ironic structures of Khayyam's quatrains and the ones attributed to him and explain the place of Khayyam as an ironist among other thinkers of the world, according to the meaning of romantic irony and Socratic irony in his quatrains. Irony is the recognition of the fact that the world itself is sick and only an ambivalent attitude can understand its paradoxical totality. Ashleh Goal believes that irony in this sense, according to its nature, is not moderating, but it means that it is endless and self-looking like Socratic wisdom. Irony is related to an aspect of speech in which the meaning of the word is placed in contrast to the literal meaning of the word. In fact, an individual mentions something which is not what he or she actually meant, or is not all of what he or she meant. Examples of these meanings can be seen in Socrates' dialogues, which one type of irony is called Socratic irony and the other type is romantic irony. This term was used in a more complicated meaning, which was our purpose in this article, by the German romantic theorists in the late eighteenth century A.D. In romantic irony, the offended artist of the events of life portrays an excerpt from reality, from the perspective of his knowledge as Khayyam created a school and after him a number of Iran's poets continued it. He constantly reminds the human suffering by offering images of the world inversion.
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Gupto, Arun. "Schlegel, Romantic Irony, and Poststructuralism." Journal of Philosophy: A Cross-Disciplinary Inquiry 1, no. 2 (2005): 2–3. http://dx.doi.org/10.5840/jphilnepal2005126.

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Slinn, E. Warwick. "Romantic Irony and Victorian Literature." Victorian Literature and Culture 19 (March 1991): 329. http://dx.doi.org/10.1017/s1060150300003752.

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Fung, Paul. "Dostoevsky, Consciousness and Romantic Irony." Dostoevsky Journal 18, no. 1 (January 3, 2017): 73–94. http://dx.doi.org/10.1163/23752122-01801005.

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This article reconsiders Dostoevsky in relation to Schlegel’s idea of irony, which is based on the premise that the human subject is self-dividing. The romantic imagines to achieve a stable and united self, but that wish is continually shown futile in an infinite process of self-reflection. Romantic irony therefore is a mode of existence marked by a desire for an organic whole and the realization that such desire is impossible. The Dostoevsky’s hero is thrown to such ironic situation, where human subjectivity is continually confirmed and disconfirmed. The article first discusses references to Russian romanticism in Dostoevsky’s writings. It then moves on to a rereading of Notes from Underground and The Brothers Karamazov. Schlegel’s critical fragments are used throughout to illuminates the ironic quality of Dostoevsky’s writings. The article ends with a comparison between Dostoevsky and Schlegel’s views on irony.
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Beus, Yifen Tsau. "Alfred de Musset's Romantic Irony." Nineteenth Century French Studies 31, no. 3 (2003): 197–209. http://dx.doi.org/10.1353/ncf.2003.0006.

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Грибкова, Ю. "THE ROMANTIC IRONY OF MYKOLA GOGOL." Doxa, no. 1(33) (September 15, 2020): 108–17. http://dx.doi.org/10.18524/2410-2601.2020.1(33).211978.

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Dissertations / Theses on the topic "The romantic irony"

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Treadwell, James. "Transcendence and irony in prose autobiographical writing 1817-1834." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240280.

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Brott, Jonathan. "The Point of Play : Resuscitating Romantic Irony in Metamodern Poetics." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157375.

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This essay investigates the prospect of Romantic Irony’s potential resurgence in contemporary poetics and discusses its relevance and likeness with metamodernism. The internet has by now not only seeped into, but fully permeated, the process of literary production and distribution. The effect of this has been the birth of a new kind of poetic discourse which can broadly be called metamodernism, The New Sincerity or Alt-lit. This movement is characterized by its self-reflexive metacommentary, fragmentary nature and an oscillation between of irony and sincerity. Vermeulen and Akker, among others, have hinted at metamodernism’s relation to Romanticism, but research into the specifics of its tendency towards Romantic Irony is scarce. By viewing the writings of Steve Roggenbuck (a central figure in the new poetic movement), alongside the philosophy of Friedrich Schlegel, I propose a comparative framework for discussion of sincerity, irony and the instrumentalization of contemporary metamodernist writing. I demonstrate that Roggenbuck’s writing displays narratological, tropological and thematic tendencies commonly associated with both Romantic Irony and metamodernism. Apart from broader structural comparison, I attempt a comparative analysis between Roggenbuck’s poetry (2010-2015) and Thomas Carlyle’s novel “Sartor Resartus” (1833-1834) in order to provide a visualisation of the rhetorical and narratological strategies of Romantic Irony. I aim to frame Romantic Irony as a sensibility, or mode of discourse - rather than a strict system of thought - which may still be at work today. In extension, the sensibilities of Romantic Irony may shed further light into the philosophical potential of the seemingly incomprehensible and contradictory tendencies of metamodernism. By ironicizing its poetic form, literary ambition and desire for sincerity in a post-postmodern era, Roggenbuck’s poetry celebrates ambiguity and literary failure, ultimately framing irony as a constructive and potentially democratic operation.
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Bose, Siddhartha. "Back and forth : the grotesque in the play of romantic irony." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/401.

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This thesis examines the dramatic implications of the grotesque in Romantic aesthetics, particularly in relation to its poetics of plurality. There have been few studies exploring the drama of the Romantic grotesque, a category that accentuates the multiplicity of the self, while permitting diverse ways of seeing. The post-Kantian philosophy backing Friedrich Schlegel’s Romantic irony provides the most decisive rationalisation of this plurality of identity and aesthetic expression through theatrical play, and forms the theoretical framework for my study. Poetry and philosophy are merged in Schlegel’s attempt to create Romantic modernity out of this self-conscious blurring of inherited perspectives and genres—a mixing and transgressing of past demarcations that simultaneously create the condition of the Romantic grotesque. The other writers examined in this thesis include A. W. Schlegel, Stendhal, Victor Hugo, and Charles Baudelaire. The primary research question that this thesis investigates is: how is the grotesque used to re-evaluate notions of aesthetic beauty? And my answer emerges from a study of those thinkers in Schlegel’s tradition who evolve a modern, ironic regard for conventional literary proprieties. Furthermore, how does the grotesque rewrite ideas of poetic subjectivity and expression? Here, my answer foregrounds the enormous importance of Shakespeare as the literary example supporting the new theories. Shakespearean drama legitimises the grotesque as ontology and literary mode. Consequently, in reviewing unique, critically hybrid texts like the Schlegelian fragments, Stendhal’s Racine et Shakespeare (Racine and Shakespeare), Hugo’s Préface de Cromwell (Preface to Cromwell), and Baudelaire’s De L’Essence du Rire (On the Essence of Laughter), this thesis will use theories of continental Romanticism to reposition the significance of an English aesthetic. Through this, I claim that the Romantic revisioning of the Shakespearean grotesque helps create the ideas of post-Revolutionary modernity that are crucial to the larger projects of European Romanticism, and the ideas of modernity emerging from them.
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Metson, John. "Shelley's idea of nature : a study of the interrelationship of subject and object in the major poems." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/5327/.

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The thesis offers an interpretation of Shelley's poetry which focuses on his treatment of external nature. Its main argument is that a subject-object dialectic lies at the basis of his thought and style. Manifesting itself as a tension and oscillation between dualist and monist tendencies, this dialectic underlies the opposing strains of thought associated with his sceptical idealism; it informs the relationship between various contraries with which he is recurrently concerned, such as reason and feeling, necessity and freedom, language and thought; and it accounts for some major characteristics of his style--for example, its self-reflexiveness, indeterminacy, and restless forward momentum. Nature is found to play a complex dual function in this dialectical process: first, as the circumference to the circle of which mind is the centre, it provides the material of thought and poetry; secondly, through its cyclic processes, it serves as an emblem of the mind's dynamic relationship with that material. In finding the characteristic thought-pattern of his poetry to be constituted of a creative-destructive interplay of contraries, the thesis contends that Shelley is a significant exponent of Romantic irony. Such a reading of his work mediates between an earlier tradition of interpreting him as a Platonising poet of nature and the more recent emphasis that has been given to his philosophical scepticism and political radicalism. Throughout, attention is given to the interacting influences of his direct experience of nature (as recorded mainly in his letters) and the representations of nature he encounters in his reading. The following poems, chosen for their importance in Shelley's canon and as clear illustrations of his treatment of nature, are discussed chronologically in successive chapters: Queen Mab, Master, the 1816 odes, Prometheus Unbound, Adonais, and The Triumph of Life.
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Abu-Jamouse, Khalid. "'Lurid figures' : anxieties of motion, disfiguration and death in romantic biographical writings." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322889.

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Beus, Yfen Tsau. "Towards a paradoxical theatre : Schlegelian irony in German and French romantic drama, 1797-1843 /." New York : Peter Lang, 2003. http://catalogue.bnf.fr/ark:/12148/cb39018321j.

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Kusnetz, Ilyse M. "The return of romantic irony : modes of feminist and post-colonial identity in the work of Angela Carter, Salman Rushdie and Ben Okri." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/28384.

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In Chapter One, I discuss definitions of romantic irony, and the various ways in which romantic irony might be viewed in conjunction with the work of these three authors. In order to approach a working definition of 'the romantic', I briefly frame the relationships between romance, romanticism and romantic irony, and establish a particular set of ideas and themes which I view as central to this concept. In this chapter I also develop a theoretical framework for the rest of the thesis, examining points of convergence and divergence between 'the romantic', feminism, post-colonialism, and postmodernism. In Chapter Two, I examine how Carter ironises the dynamic of the Romantic sublime in her work, and how her work develops from an exploration of abjection in her first novel, to an exploration of the sublime in proceeding novels. I view her work in conjunction with Bakhtin's ideas of the grotesque and Kristeva's ideas of the abject. This chapter also explores the role Romantic love plays in shaping the subjectivity of Carter's fictional characters, and connects this with the sublime, transgressive nature of love as Carter describes it in her fiction and journalism. In Chapter Three, I examine how Rushdie ironises and refigures various ideas within romance and romanticism, such as Romantic imagination, Romantic love, the Romantic artist as a hero and/or prophet, and the Romantic sublime (with regard to the dynamic between artist and (M)other). I discuss how these revisionings of Romantic ideas relate to issues of post-colonial identity such as the fate of nationalism and the construction of hybrid/migrant identities. I also question if Rushdie's reinvention of Romantic ideas doesn't to a certain extent reproduce the difficulties with representations of gender found within, especially, the dynamic of the Romantic sublime.
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Oliveira, Marina Rodrigues de. "Escravidão e resistência: a ironia como recurso estilístico nos contos machadianos." Universidade Federal da Paraí­ba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6165.

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Made available in DSpace on 2015-05-14T12:39:28Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1126773 bytes, checksum: 9ded3c2c42e51586abd90b5bcdc405dc (MD5) Previous issue date: 2011-04-15
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This dissertation aims to investigate the value of irony as a stylistic and critical resource in the representation of Machado's vision on the problem of slavery in Brazilian society. For didactic purposes, the following short stories will be studied: Virginius (1864), Mariana (1871), Encher tempo (1876), O caso da vara (1891) and Pai contra mãe (1906). This approach constitutes an attempt to elucidate the "possible" lack of criticism in Machado's work regarding to slavery, as critics have stated for a long time. Therefore, dealing with black slavery in Brazil means to understand it not as a motivating gear of a mere economic-social system that lasted for three centuries from the sixteenth to the nineteenth century but, above all, as a subject represented at the margin, ruthlessly exploited and excluded within a society undergoing modernization. Thus, in this context, the trajectory of the black in Machado‟s short stories should be seen, by the literary perspective, as a very significant aspect in addition to the historical and cultural contexts.
Resumo: Esta dissertação tem, como objetivo, investigar o valor da ironia romântica como recurso estilístico e crítico na representação da visão machadiana sobre o problema da escravidão na sociedade brasileira. Para efeito didático, serão estudados os seguintes contos: Virginius (1864), Mariana (1871), Encher tempo (1876), O caso da vara (1891) e Pai contra mãe (1906). A referida abordagem constitui-se como uma tentativa em elucidar a possível falta de criticidade da obra machadiana, no tocante ao problema da escravidão, conforme foi afirmado, durante muito tempo, pela Crítica Literária. Portanto, tratar a respeito do negro na escravidão brasileira compreende entendê-lo não como uma engrenagem motivadora de um mero sistema econômico-social que perdurou por três séculos do XVI ao XIX mas, antes de tudo, como um sujeito representado à margem, explorado desumanamente e excluído em uma sociedade em vias de modernização. Assim, a trajetória do negro, nos contos machadianos, nesse contexto, deve ser vista a partir da perspectiva literária, como um aspecto bastante significativo, além dos contextos histórico e cultural.
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Båth, Katarina. "Ironins skiftningar — jagets förvandlingar : Om romantisk ironi och subjektets paradox i texter av P. D. A. Atterbom." Doctoral thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-319276.

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This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann. The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself. To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.
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Revol, Laurence. "L'ironie dans la poétique du roman L'Homme qui rit de Victor Hugo." Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL002.

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Cette thèse se propose d'étudier les différentes manifestations de l'ironie dans la poétique romanesque de L'Homme qui rit de Victor Hugo selon trois axes d'étude. Le premier s'organise autour d'une analyse de l'énonciation polyphonique dans le roman. Qui prend en charge le récit et avec quelles intentions? Les propos des personnages sont souvent empreints d'ironie, et sont commentés par le narrateur ou l'auteur. Nous observons surtout la fonction de ses paroles dans l’énoncé : comment leur insertion influence-elle le déroulement du récit? Pourquoi favorisent-elles les manifestations de l’ironie? Puis, le deuxième axe de notre réflexion s'interroge sur le mélange des genres qui favorise également l’émergence de la parole ironique. L'utilisation de l’ironie permet à Victor Hugo de porter un regard critique sur son travail d'écrivain en reconsidérant ses pratiques d’écriture. Dans son roman L'Homme qui rit,il se veut, d’abord, poète en proposant une écriture proche de celle du texte poétique où l’image figure les idées et favorise aussi le registre ironique. L’auteur endosse aussi le rôle de dramaturge en mettant en scène la parole pour la rendre plus ironique et, en même temps, le travail de sape permanent de l’ironie ne fait qu’amplifier les visées politiques et littéraires de l’auteur. Victor Hugo dénonce certaines pratiques politiques afin de remettre en question aussi sa propre expérience d’homme politique. Enfin, le dernier axe de cette étude se propose d'observer la dimension métaphysique de l’ironie au cœur de la poétique en soulignant les différentes influences des mouvements de pensées philosophiques. Dans L’Homme qui rit, on peut distinguer deux choses : l’ironie classique, définie et utilisée au cours de l’Antiquité, et l’ironie moderne, apparaissant à la fin du 18ème siècle, qui correspond à l’émergence de l’ironie romantique. Dans le roman, l’ironie verbale s’inspire des procédés rhétoriques employés par les philosophes de l’Antiquité mais aussi de l’antiphrase, arme favorite des philosophes des Lumières pour qui la littérature ne se présente plus seulement comme un témoignage ou la critique d’une époque, mais elle devient aussi un intermédiaire entre l’écrivain et son lectorat afin que ce dernier s’interroge davantage sur sa condition et sur tout ce qui l’entoure. Dans L'Homme qui rit, l’utilisation de l’ironie n'a pas seulement pour vocation de railler, elle permet au lecteur d’étendre et d’approfondir sa réflexion sur sa propre condition
This thesis suggests studying the various appearances of irony in the romantic poetics of The Man who laughs by Victor Hugo according to three axes of study. The first one gets organized around an analysis of the polyphonic statement in the novel. Who takes care of the narrative and what are the intentions? The comments of the characters are often tinged with irony, and are commented upon by the narrator or the author. We observe especially the function of his words in the statement: how does their insertion influence the unfolding of the narrative? Why do they favor the demonstrations of irony? Then, the second axis of our reflection leads us to wonder about the mixture of the genres which also favors the emergence of the ironic word. The use of irony allows Victor Hugo to take a critical look at his work of writer by reconsidering his practices of writing. In his novel The Man who laughs, he is meant to be, at first, a poet by proposing a writing close to that of the poetic text where the image represents the ideas and also favors the ironic register. The author also assumes the role of playwright by staging the word to make it more ironic and, at the same time, the permanent undermining of irony is only amplifying the political and literary aims of the author. Victor Hugo denounces some political practices to question also his own experience as a politician
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Books on the topic "The romantic irony"

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Garber, Frederick, ed. Romantic Irony. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.

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Allen, Richard. Hitchcock's romantic irony. New York: Columbia University Press, 2007.

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Allen, Richard. Hitchcock and romantic irony. New York: Columbia University Press, 2007.

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The comedy of romantic irony. Lanham, MD: University Press of America, 2002.

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Thompson, Gary Richard. Poe's fiction: Romantic irony in the Gothic tales. Madison, Wis: University of Wisconsin Press, 1988.

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Greenleaf, Monika. Pushkin and romantic fashion: Fragment, elegy, Orient, irony. Stanford, Calif: Stanford University Press, 1994.

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Pushkin and romantic fashion: Fragment, elegy, Orient, irony. Stanford, Calif: Stanford University Press, 1994.

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The never-resting mind: Wallace Stevens' romantic irony. Ann Arbor: University of Michigan Press, 1996.

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Self, text, and romantic irony: The example of Byron. Princeton, N.J: Princeton University Press, 1988.

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Romantic irony in French literature from Diderot to Beckett. Nashville, Tenn: Vanderbilt University Press, 1989.

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Book chapters on the topic "The romantic irony"

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Kolb, Jocelyne. "Romantic Irony." In A Companion to European Romanticism, 376–92. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch23.

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Mirzakhan, Karolin. "Romantic Irony." In Palgrave Handbooks in German Idealism, 255–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53567-4_12.

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Muecke, D. C. "Romantic Irony." In The Compass of Irony, 159–215. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003129905-9.

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Nelson Jr., Lowry. "Romantic Irony and Cervantes." In Comparative History of Literatures in European Languages, 15. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.04nel.

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McNiece, Gerald. "Romantic Irony in England." In The Knowledge that Endures, 128–37. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21823-3_11.

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Bisztray, George. "Romantic Irony in Scandinavinan Literature." In Comparative History of Literatures in European Languages, 178. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.13bis.

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Frust, Lilian. "Romantic Irony and Narrative Stance." In Comparative History of Literatures in European Languages, 293. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.21fru.

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Barricelli, Jean-Pierre. "Musical Forms of Romantic Irony." In Comparative History of Literatures in European Languages, 310. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.22bar.

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Gillespie, Gerald. "Romantic Irony and the Grotesque." In Comparative History of Literatures in European Languages, 322. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.23gil.

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McNiece, Gerald. "Friedrich Schlegel and Romantic Irony." In The Knowledge that Endures, 109–19. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21823-3_9.

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Conference papers on the topic "The romantic irony"

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Twardoch, Ewelina. "Somewhere between tragic and romantic irony." In The 4th Global Virtual Conference. Publishing Society, 2016. http://dx.doi.org/10.18638/gv.2016.4.1.723.

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Iftode, Simona. "LEVELS OF MANGANESE AND IRON IN SOIL AROUND THE MANAILA MINING AREA, NE OF ROMANIA." In 15th International Multidisciplinary Scientific GeoConference SGEM2015. Stef92 Technology, 2011. http://dx.doi.org/10.5593/sgem2015/b32/s13.029.

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Anton-P&acaron;duraru, Dana-Teodora, Ana Simona Drochioi, Angelica Cristina Marin, Oana Teslariu, Maria Liliana Iliescu, and Laura Florescu. "P362 Iron status in children with phenylketonuria from a regional centre from north-eastern of romania." In 8th Europaediatrics Congress jointly held with, The 13th National Congress of Romanian Pediatrics Society, 7–10 June 2017, Palace of Parliament, Romania, Paediatrics building bridges across Europe. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2017. http://dx.doi.org/10.1136/archdischild-2017-313273.450.

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Vulpasu, Elena, Gabriel Racoviteanu, Eduard Dinet, and Ioana Stanescu. "Influence of Iron and Manganese regarding the Water Corrosivity - A Case Study in Buzau town, Romania." In 2021 10th International Conference on ENERGY and ENVIRONMENT (CIEM). IEEE, 2021. http://dx.doi.org/10.1109/ciem52821.2021.9614775.

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Anghelina, Liliana, Ligia Stanescu, and Cristian Gheonea. "P226 Etiological and promoting factors in iron deficiency anaemia in infants." In 8th Europaediatrics Congress jointly held with, The 13th National Congress of Romanian Pediatrics Society, 7–10 June 2017, Palace of Parliament, Romania, Paediatrics building bridges across Europe. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2017. http://dx.doi.org/10.1136/archdischild-2017-313273.314.

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Florea, G. A., M. Oltean, Smart S. A. Bucharest, and I. Rodean. "Live-line procedures to be applied for the painting of the 400/220 kV Iron Gates (Romania) s/s structures painting." In ESMO 2011 - 2011 IEEE 12th International Conference on Transmission and Distribution Construction, Operation and Live- Line Maintenance. IEEE, 2011. http://dx.doi.org/10.1109/tdcllm.2011.6041628.

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Radulescu, Victorita. "New Solution With Syntheses Inhibitors for the Chemical Cleaning of Organic Pollutants From the Water Supply System Of Generators." In ASME 2021 Power Conference. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/power2021-64314.

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Abstract:
Abstract In thermal power plants, during the boilers functioning, heterogeneous deposits of substances must often be removed in order to prolong their operation and avoid their deterioration. The nature, type and quantity of deposits depend on the characteristics of the water supply systems and the chemical operating regime. For boilers with high deposits of copper and iron, the utilization of mineral acids for chemical cleaning is not quite effective, because their surfaces may be covered with a metal copper film. Organic impurities in the water supply affect the operation of steam generators, increasing electrical conductivity and lowering the pH. The heterogeneous composition of the deposits is unevenly distributed in the combustion system, making its cleaning a complex problem. For efficient chemical cleaning, the agents must have a minimal corrosive action on the metal surfaces, ensuring only the dissolution of the compounds on the surface of the boilers. To prevent corrosion of metals, inhibitors are introduced to diminish the reactions on the metal surface or at least to delay the kinetics of the reaction. This paper analyzes the implications of organic pollutants in the corrosion phenomena and chemical processes where they are involved. As an example, the power plant Borzesti affiliated to the Petrochemical Platform, Bacau County, Romania is presented. The adopted solution uses as an inhibitor, a synthesis between amino alcohol and a thiazole, in the presence of water. This inhibitor has been tested in the laboratory on different steels used in energy pipes, in different areas of the thermal circuits in the boiler, as pure steel or with different alloys. The methods used to reduce the effects of corrosion are briefly presented. Four classes of organic substances with properties of corrosion inhibitors in the organic acid environment were analyzed. The experimental results obtained, associated with a comparative analysis of corrosion rates, for different concentrations of inhibitors for a time interval of 4 hours are mentioned. In the second stage, the inhibitor behavior was analyzed for 6h and 8h. Corrosion rates are estimated by measuring the weight loss of the tested probes. Finally, the most suitable types of inhibitors, adapted at different metal compositions are presented, with a result in the cleaning of more than 98% of the surface of the boilers.
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