Literatura académica sobre el tema "Romanticism – Europe"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Romanticism – Europe".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Romanticism – Europe"
1
Vephkhvadze, Tamar. "European Discourse in the “Transitional Period” of the Georgian Literature". Balkanistic Forum 31, n.º 2 (30 de mayo de 2022): 268–80. http://dx.doi.org/10.37708/bf.swu.v31i2.18.
Texto completoResumen
The “Transitional period” occupies a special place in the history of old Georgian Literature. It is at this time, at the turn of the XVIII - XIX centuries, when the great changes in the political or spiritual life of the Georgian nation are marked, which have radically changed the public life of the Georgians and, to some extent, the consciousness as well. These changes were followed by the greatest literary event of the XIX century, Georgian Romanticism, the chronologically preceding period of which the socalled “Transitional period” coincides with the existence of a directly preced-ing literary phenomenon of Romanticism in Europe, known as “Preromanticism”. Therefore, this period is a kind of “preparatory” stage for Romanticism and, quite logically, is considered as “Preromanticism”. Representatives of Georgian “Preromanticism” and later Georgian Romanticists of the XIX century translated and in-troduced to the public the works of Voltaire, Rousseau, Cornell, Racine, Lafontaine, Hugo, Mickiewicz, Heine, Derzhavin, Pushkin, Lermontov and others.
2
Mochamad Fauzie. "Raden Saleh's Resistance to Colonialism in the Painting "Between Life and Death" (1848)". IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (14 de abril de 2020): 219–32. http://dx.doi.org/10.33153/iicacs.v3i1.43.
Texto completoResumen
Romanticism became a new cultural orientation in Europe in the 19th century. Through the exploration of tradition and history, romanticism gradually aroused nationalism, giving rise to a paradoxical situation: on the one hand, it fueled colonial expansion, on the other hand, aroused the spirit of resistance of colonized society. Raden Saleh was in Europe in this situation and became famous as a Romantic painter. This research departs from the assumption that Romanticism encouraged Raden Saleh to develop resistance to colonialism in painting. This study aims to prove the existence of signs of resistance to Colonialism in Raden Saleh's painting, entitled "Between Life and Death" (1848). This goal was achieved by analyzing the painting with CW Morris Semiotics, with the approach of Psychoanalysis Theory and Postcolonial Theory. Research shows that there are signs of resistance to Colonialism in the painting.
3
K, RaviKanth y Chandrasekhar K. "The Theme of Romanticism in Medieval British Literature". Technoarete Transactions on Language and Linguistics 1, n.º 1 (31 de enero de 2022): 19–21. http://dx.doi.org/10.36647/ttll/01.01.a005.
Texto completoResumen
Romanticism is the term based on the love and affection for nature by the writers. The concept of romanticism was introduced in the middle age of European evolution after industrialization. The term medieval refers to the middle revolution age of Europe. Writers assumed nature as their teacher and ultimate beauty,therefore romanticism was based on the writer's love towards nature rather than human love. Personification is the term that was widely used by the poets at that time to address nature as a person
4
Bhattacharya, Swagata. "The Influence of Indian Philosophy on French Romanticism". International Journal of English and Comparative Literary Studies 2, n.º 4 (20 de julio de 2021): 14–24. http://dx.doi.org/10.47631/ijecls.v2i4.246.
Texto completoResumen
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.
5
Bykova, Anna. "The Continuation of the Romantic Thought in the Scholarship of Alexander Veselovsky and Mykhailo Drahomanov". Tekstualia 1, n.º 68 (30 de junio de 2022): 113–24. http://dx.doi.org/10.5604/01.3001.0015.9077.
Texto completoResumen
Although comparative literary studies has its roots in the Enlightenment, Romanticism is considered to be its cradle. In Eastern Europe this fi eld began to develop only in the era of positivism, but it was infl uenced by the work of scholars who, on the one hand, continued their romantic interest in comparative studies, and, on the other, embraced the emerging positivist theories. The article discusses the infl uence of Romanticism on the scholarship of Alexander Veselovsky and Mykhailo Drahomanov, pioneers of comparative literary research in Eastern Europe. It argues that, despite their rootedness in positivism, the work of both Veselovsky and Drahomanov draws a lot from romantic inspirations.
6
Ossewaarde, Marinus. "The Dialectic between Romanticism and Classicism in Europe". European Journal of Social Theory 10, n.º 4 (noviembre de 2007): 523–42. http://dx.doi.org/10.1177/1368431007084369.
Texto completo
7
Haikal, Yusuf. "Al-Khalīlayn dalam Romantisme Sastra Arab". Al-Irfan : Journal of Arabic Literature and Islamic Studies 4, n.º 1 (18 de marzo de 2021): 50–68. http://dx.doi.org/10.36835/al-irfan.v4i1.4305.
Texto completoResumen
This article aims to provide an overview of romanticism in Arabic literature, in particular through two important figures in this school. important in the foundation and development of romanticism in Arabic literature. The method used in this article is descriptive qualitative and literature study. This study also uses the technique of observing and taking notes in data collection. From the discussion it can be concluded that the flow of romanticism is one of the popular streams that first appeared in the 18th century in Europe and entered the Arab region at the beginning of the 20th century. The entry of romanticism into the Arab world was pioneered by Khalīl Muthran. Apart from Khalīl Muthran, there is another Arabic literary figure who popularized this romanticism, namely Khalīl Gibran. These two Khalīls were important figures in the emergence and development of romanticism in Arabic literature. This can be seen from the life history of both of them who both studied literature in western countries. In addition, the works produced by these two figures show a strong romantic style, which strengthens the character of the two in Arabic literary romanticism
8
Serdechnaia, Vera V. "LITERARY ROMANTICISM AS A THEORETICAL ISSUE". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 9 (2020): 19–27. http://dx.doi.org/10.28995/2686-7249-2020-9-19-27.
Texto completoResumen
The article is devoted to the analysis of the concept of literary romanticism. The research aims at a refinement of the “romanticism” concept in relation to the history of the literary process. The main research methods include conceptual analysis, textual analysis, comparative historical research. The author analyzes the semantic genesis of the term “romanticism”, various interpretations of the concept, compares the definitions of different periods and cultures. The main results of the study are as follows. The history of the term “romanticism” shows a change in a number of definitions for the same concept in relation to the same literary phenomena. By the end of the 20th century, realizing the existence of significant contradictions in the content of the term “romanticism”, researchers often come to abandon it. At the same time, the steady use of the term “romanticism” testifies to the subject-conceptual component that exists in it, which does not lose its relevance, but just needs a theoretical refinement. Conclusion: one have to revise an approach to romanticism as a theoretical concept, based on the change in the concept of an individual in Europe at the end of the 18th century. It is the newly discovered freedom of an individual predetermines the rethinking for the image of the author as a creator and determines the artistic features of literary romanticism.
9
Arianto, Tomi. "NATIONAL ROMANTICISM IN WALT WHITMAN POEMS". Lire Journal (Journal of Linguistics and Literature) 2, n.º 1 (25 de agosto de 2018): 14–20. http://dx.doi.org/10.33019/lire.v2i1.18.
Texto completoResumen
Romanticism is often misunderstood as something genuine love and merely about romance. In fact, romanticism is an understanding of great ideas that also be delivered great ideas. The development of Romanticism delivered a new orientation that called National Romanticism by maintaining the freedom of individual, sovereignty, and independent of human rights. This study took data from three Walt Whitman poems; Patriotic, War Democracy, and Poem of America. Researcher was using the concept of interpretation to explore the meaning of poetry and the influence of romanticism in Whitman poetry. Researchers use Isaiah's theory in his book “the root of romanticism” to explore the influence of the romanticism idea on Whitman's poems. From the three samples of poetry, it is found that romanticism is very influential in Whitman poetry, especially the idea of romantic nationalism. Patriotic themes, nationalities and egalitarian concepts are reflected in Whitman's collection of "Leaves of grass" poems. Patriotic themes and nationalities are seen from the struggle for the right of individual freedom in opposing slavery and aristocratic government. The egalitarian concept is seen from the struggle to promote equality, as well as the democracy system that promotes people's sovereignty. The role of the idea of romanticism has evolved in American territory because it shares the same pattern and state of affairs as revolutions against noble, social, and political norms and rationalization of nature. Thus, the representation of romantic ideas originating from Western Europe of the 18th century has penetrated into the 19th century America which is reflected in the works that carried Whitman.
10
Potter, Dorothy-Bundy. "Europe after Napoleon: Revolution, Reaction and Romanticism, 1814–1848". History: Reviews of New Books 25, n.º 3 (abril de 1997): 125. http://dx.doi.org/10.1080/03612759.1997.9952819.
Texto completoTesis sobre el tema "Romanticism – Europe"
1
Besson, Grégoire. "Le temps du voyage : rythmes et perception du temps dans les pratiques du voyages en Europe entre Lumières et romantisme (1750-1850)". Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAH026.
Texto completoResumen
L’objectif de cette thèse est d’analyser l’articulation entre temps et mobilités dans le contexte des évolutions plus ou moins brutales que subit l’Europe entre le milieu du XVIIIe et celui du XIXe siècle. L’étude se base sur l’analyse de voyages, plus précisément sur l’examen d’émotions et de perceptions ressenties par une centaine de voyageurs de nationalités différentes et de conditions sociales variées à travers l’Europe. Dans le contexte de l’industrialisation du vieux monde qui entraîne une modification profonde des sociétés et notamment des temps sociaux, nous proposons une archéologie des temporalités modernes du voyage. Après avoir déjoué les pièges de l’écriture de soi dans le récit de voyage pour appréhender au plus près les émotions vécues par les voyageurs, il sera question d’étudier l’évolution des cadres du voyage, c’est-à-dire les transports. De la voiture hippomobile à la révolution de la vapeur à partir des années 1830, la vitesse des déplacements augmente considérablement en quelques dizaines d’années. Conjointement à l’évolution des conceptions esthétiques et philosophiques, à l’image du passage des Lumières au romantisme, la perception de l’environnement et des paysages procure des émotions nouvelles aux voyageurs. Le recours aux guides de voyage étant quasi systématique, l’étude de ces ouvrages met en lumière les modèles temporels viatiques et leurs mutations, parallèlement aux pratiques de voyage qui tendent vers le tourisme moderne. Toutes ces évolutions politiques, techniques, culturelles et sociales aboutissent à une modernisation de l’Europe entre le milieu du XVIIIe et le milieu du XIXe siècle. Cette modernisation se caractérise notamment par une évolution des temporalités sociales, dont les temporalités plus spécifiques du voyage, vers plus de précision, de rationalisation et une conscience du temps accrueThe purpose of this thesis is to analyse the articulation between time and mobility in the context of the more or less brutal evolutions that Europe underwent between the middle of the 18th and the 19th centuries. The study is based on the analysis of travels, more precisely on the examination of emotions and perceptions felt by a hundred travellers of different nationalities and social conditions across Europe. In the context of the industrialisation of the old world, which is leading to a profound change in societies and in particular in social times, we propose an archaeology of the modern temporalities of travel. After having overcome the obstacles of self-writing in the travel narrative to understand as closely as possible the emotions experienced by travellers, it will be necessary to study the evolution of travel frameworks : the transport. From the horse-drawn carriage to the steam revolution from the 1830s onwards, the speed of travel increased considerably in a few decades. In conjunction with the evolution of aesthetic and philosophical conceptions, such as the transition from the Enlightenment to Romanticism, the perception of the environment and landscapes brings new emotions to travellers. As the use of travel guides is almost systematic, the study of these books highlights viatical temporal models and their mutations, in parallel with travel practices that tend towards modern tourism. All these political, technical, cultural and social developments led to a modernisation of Europe between the mid-18th and mid-19th centuries. This modernization is characterized in particular by an evolution of social temporalities, including the more specific temporalities of travel, towards more precision, rationalization and an increased awareness of time
2
Lebarbier, Amandine. "“Cette jolie muse chrétienne” : la figure de sainte Cécile dans la littérature et les arts en Europe au XIXe siècle". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100147.
Texto completoResumen
Cette thèse s’attache à montrer le rôle important qu’a joué la figure de sainte Cécile au XIXe siècle dans l’imaginaire musical européen. La première partie de ce travail est consacrée à l’historiographie de sainte Cécile, du Ve siècle au XIXe siècle, et à l’inscription de la figure dans l’espace culturel européen. Différents media ont contribué à faire de la patricienne romaine légendaire une sainte patronne reconnue et célèbre dont, au premier chef, le tableau de Raphaël, L’Extase de sainte Cécile. Cette œuvre du patrimoine artistique européen fait l’objet d’une véritable fascination auprès des écrivains, des musiciens et des peintres de la première moitié du XIXe siècle et ce travail tente d’en comprendre les raisons. Dans un deuxième temps, cette thèse montre que la figure de sainte Cécile est une figure trope, une allégorie vive, utilisée par de nombreux écrivains pour construire un discours sur la musique, sur l’art et sur le rapport entre les arts. Il y a véritablement des moments sainte Cécile au XIXe siècle qui conduisent à recharger la figure d’un souffle vivant ; elle s’impose alors, non plus comme une figure de rémanence, mais bien comme la possibilité de penser une transcendance et de construire un discours esthétique. Le troisième axe de cette recherche s’inscrit dans une perspective d’études de genres. Héritière de plusieurs types de traditions de représentations féminines, sainte Cécile apparaît comme un outil analogique riche de présupposés idéologiques sur la représentation de la femme et en particulier de la femme musicienne. Représentantes d’un Éternel féminin fantasmé, les femmes musiciennes comparées à sainte Cécile sont les garantes d’une mémoire idéologique qui enferme la femme musicienne dans un champ très restreint de la pratique musicaleThis thesis aims to show the important role played by the figure of Saint Cecilia in the European musical psyche in the 19th century. The first part of this work is devoted to the historiography of Saint Cecilia, from the fifth century to the 19th century, and to the inclusion of the figure in the European cultural space. Various media have contributed to make this legendary Roman patrician a celebrated and famous patron saint but, first and foremost, is the picture of Raphael, The Ecstasy of St. Cecilia. During the first half of the 19th century this artistic European heritage artwork is the subject of a true fascination for the writers, musicians and painters. This thesis tries to understand the reasons why. In the second phase, this thesis shows that the figure of Saint Cecilia is a trope figure, a vivid allegory, used by many writers to construct a discourse on music, art and the relationship between the arts. During the 19th century there were several strong phases of focus on Saint Cecilia, each leading to recharge the figure with a vivid breath. She then imposes herself, no longer as a figure of persistence only, but rather as the possibility of thinking about transcendence and of constructing an aesthetic discourse. The third axis of this research focuses on gender studies. Heiress to several types of feminine representations, Saint Cecilia appears as an analogical tool, rich in ideological presuppositions on the representation of women and women musicians. Representation of an eternal feminine fantasy, the female musicians associated to Saint Cecilia are the guarantors of an ideological memory which encloses the female musician in a very restricted area of the musical practice
3
Boutan, Jean. "La guerre des filles en Bohême dans les littératures tchèque et germanophone, entre romantisme et Biedermeier : féminité et construction nationale dans la réécriture des mythes fondateurs". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL060.
Texto completoResumen
La légende de la fondation de Prague par la prophétesse Libuše et, à sa mort, de la rébellion des femmes de Bohême contre l’autorité masculine au cours d’une sanglante « guerre des filles » a subi dans la première moitié du XIXe siècle, au moment de la redécouverte des mythes fondateurs dans les pays d’Europe centrale, un processus de réécritures en langues tchèque et allemande, visant à assigner à ces personnages féminins leur place dans l’œuvre de construction nationale. La réception différenciée des légendes de la fondatrice et des amazones dans les littératures du romantisme et du Biedermeier définit ainsi la configuration des rapports entre les problématiques du genre et celles de l’émancipation nationale dans la période qui s’étend des guerres napoléoniennes au printemps des peuples de 1848. La circulation de ces motifs entre plusieurs traditions littéraires détermine différents types de féminité selon la culture nationale de l’écrivain et selon l’usage interne ou externe qui en est fait dans la construction des nations européennes : à travers le romantisme, le personnage de l’amazone devient emblématique de la Bohême à l’étranger, tandis que Libuše s’impose comme un symbole national dans la société tchèque évoluant sous le régime de Metternich d’après le Congrès de Vienne. A son tour, cette typologie de la féminité qui naît de la détermination politique de la représentation littéraire permet de saisir les enjeux particuliers de l’émancipation des femmes dans le contexte d’une redéfinition générale des formes étatiques et des appartenances linguistiques et ethniquesThe legend of the Founding of Prague by prophetess Libuše and, at her death, of the rebellion of Bohemian women against masculine authority in a bloody „Maidens‘ War“, underwent in the first half of the 19th century, when the founding myths of Central European countries were being rediscovered, a process of rewriting in the Czech and German languages, the aim of which was to grant these feminine characters their own place in the act of nation-building. The differentiated reception of the legends concerning the Foundress and the Bohemian amazons in the literatures of the Romantic and the Biedermeier periods thus defines how the issues of gender and national emancipation are being shaped in the era that stretches from the Napoleonic Wars to the 1848 Springtime of the Peoples. The circulation of these motifs in distinct literary traditions determines different types of femininity, depending on the writer’s national culture and on the use of that culture, either internal or external, that is being made in the building of European nations; with Romanticism, the character of the amazon becomes an emblem of Bohemia abroad, while Libuše establishes herself as a national symbol in the Czech society of the post-Congress of Vienna Metternichian regime. This typology of femininity, born from the political determination of literary representations, enables us in its turn to grasp the specific issues of women’s emancipation in the context of a general redefinition of state structures and linguistic, as well as ethnic, affiliations
4
Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Texto completoResumen
Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
5
Chiancone, Claudio. "La scuola di Melchiorre Cesarotti nel quadro del primo romanticismo europeo". Phd thesis, Grenoble, 2010. http://www.theses.fr/2010GRENL031.
Texto completoResumen
Les nombreux essais concernant Melchiorre Cesarotti (1730-1808), parus au vingtième siècle, ont bien montré le rôle primaire que l'écrivain joua dans les relations entre la culture italienne et la pensée européenne entre la fin du dix- huitième siècle et le début du dix-neuvième, mais ils ont oublié l'aide dont il put bénéficier dans les milieux qui l'entouraient. En effet, le travail personnel de Cesarotti ne fut que le premier engrenage d'une machine de création littéraire, qui intéressa un large groupe d'hommes et de femmes de lettres, C'est le phénomène culturel qu'on a choisi d'appeler l' "école de Cesarotti". La reconstruction intégrale de la correspondance inédite de Cesarotti a permis de découvrir que l'école de Cesarotti n'était pas une "école" dans le sens traditionnel du terme. C'est plutôt l'histoire d'un cercle qui au fil du temps avait créé ses propres rituels, et ou chaque élève partageait souvent son temps avec les autres élèves dans un esprit de fraternité. Un groupe, ou plutôt une famille, qui cependant devint au fil du temps trop renfermée en elle-même, dominé par un "patriarche" affectionne mais finalement trop fier de son propre magistère et incapable ainsi de produire une littérature adaptée au nouveau siècle. Ce fut la base de la critique de Ugo Foscolo. Le poète gréco-vénitien fit ses premières preuves littéraires dans le milieu césarottien, mais en ayant bientôt cerné les défauts et refusé les contraintes, en sortit peu après et fonda finalement une nouvelle école, basée sur une plus forte conscience de la mission historique et civique de l’homme de lettresThe numerous twentieth century essays concerning Melchiorre Cesarotti (l730-1808) have thoroughly demonstrated the prominent role that the Italian author played in the relationship between Italian and European cultures at the turn of the nineteenth century, but they have never been mindful of the assistance that he received from his circle, In fact, Cesarotti's personal work was only the first gear of a well-oiled literary machine sustained by a large group of male and female literary enthusiasts: the school of Cesarotti. The full reconstruction of Cesarotti's unpublished correspondence reveals that this school was not typical. Rather, it was a company that developed its own traditions and "liturgy" over many years, each pupil of which sharing his or her time and cultural activities with the teacher and other comrades in a spirit of brotherhood. The prideful professor-patriarch, who sincerely loved his pupils, dominated the group, or family, which ultimately became too concave to produce literature or poetry adapted to the looming, new century. This is the basis on which Ugo Foscolo (1778-1827) built his critique of the school. The Greco-Venetian poet made his debut in the school of Cesarotti, but soon conscious of its unbearable faults, limits, and constrictions, he left and finally founded a new school, based on a stronger awareness of the historical and civic mission of the man of literature
6
Chiancone, Claudio. "La scuola di Melchiorre Cesarotti nel quadro del primo romanticismo europeo". Phd thesis, Grenoble, 2010. http://tel.archives-ouvertes.fr/tel-00957220.
Texto completoResumen
La storia del magistero cesarottiano mostra bene quel fenomeno, tipico della "biologia" letteraria, per cui in un grande autore si ha quasi sempre una fase di ascesa, di gloria, e quindi un declino, ed offre l'esempio lampante di quella classica loro tendenza a diventare sempre più conservatori e di maniera col passare del tempo. Cesarotti si formò ribelle, ma presto, ottenuta la gloria, spaventato dai tempi e dalla propria stessa fama, si moderò e, posto di fronte alla prova degli eventi, non seppe tenersi al passo coi tempi. Il suo cinquantennale magistero, nel giro di pochi anni, perse l'iniziale vigore e combattività, e non sopravvisse alla sua morte. Di esso, fu senza dubbio lodevole il tentativo di avvicinare la propria cultura a quelle straniere, senza pregiudizi e con il gusto della scoperta. Ma dopo gli eventi della Rivoluzione, questo nobile cosmopolitismo non fu più sufficiente. Fu notevole anche la sua capacità di restare sempre a contatto con l'ultima generazione e di coadiuvarla, e nobile la sua ambizione di fare, di quei giovani, l'élite da crescere e guidare all'amore del Bello e della Virtù. Di farne l'illuminata classe dirigente dell'avvenire. Credette fermamente e sinceramente a questa missione, ma non seppe applicarla nel modo migliore. Creò una squadra, ma non seppe renderla autonoma. Non riuscì a fare in modo che essa potesse proseguire da sola e riformarsi dall'interno, ed in tal modo sopravvivergli. Cesarotti cadde nel difetto di affezionarsi troppo al proprio ruolo pedagogico in sé, senza pensare alle conseguenze per gli allievi, e perdendo man mano contatto con la Storia. Anziché formare gli allievi, volle replicare se stesso in loro, imponendogli il proprio modello letterario ed affettivo perché a loro volta lo ripetessero uguale. Padre troppo affettuoso, viziò i "figli" e dimenticò il ruolo fondamentale dell'educazione, ossia non quello di creare un individuo ma di aiutarlo a trovare autonomamente la propria strada. Tradì in tal modo il suo stesso insegnamento letterario: predicò dalla cattedra e dai libri di non idolatrare nessuno, ma al momento della gloria accettò di divenire oggetto di culto. Dimenticò, o forse mai comprese davvero la natura storica della letteratura, come di un continuo, un progresso, uno sviluppo di idee necessariamente destinate ad evolversi col mutare dei tempi, da insegnare parallelamente al corso degli eventi e, se possibile, di partecipare a modificarli. Non comprese che persino il cesarottismo necessitava di una riforma interna, senza la quale non sarebbe sopravvissuto alla selezione della Storia. Cesarotti ebbe grandi intuizioni, ma gli mancò il tempo di metterle in pratica, e fu circondato da una squadra di allievi non in grado di farlo al suo posto, perché mai formata a tale compito. Previde i nuovi tempi ma non volle riconoscerne l'arrivo, e ne rimase deluso e travolto. Vide il nuovo secolo, quel secolo che egli stesso aveva preconizzato ma, una volta giunto, non seppe accettarlo: gli eventi procedettero troppo veloci e superarono le sue capacità di comprensione. Volle riforme, e si ritrovò addosso una rivoluzione. In mezzo a un mare di lodi e di glorificazione, un solo allievo sembrò accorgersi per tempo di questi limiti. La critica del Foscolo è stata esemplare nel mostrare con tempismo e lucidità i limiti della scuola cesarottiana. Fu l'allievo ribelle a capire che ciò che davvero mancava in quel gruppo era qualcuno che da quel magistero, da quella teoria di apertura e di rinnovamento, ricavasse concretamente nuova poesia, la poesia dei nuovi tempi e del nuovo secolo. A capire che il gruppo cesarottiano era un'eccellente fase di rodaggio, che sapeva preparare le macchine ma che non avviava un processo di trasformazione. I fatti gli diedero ragione. Giunto il nuovo secolo, la scuola cesarottiana mostrò tutta la propria crisi. I "figli" ed allievi, una volta diventati professori, non "salirono di fama", come appunto aveva notato Foscolo, e - aggiungiamo noi - non riuscirono a fondare un magistero altrettanto incisivo ed innovatore: ebbero allievi illustri, ma nulla di anche solo vagamente simile a quello che il Cesarotti era stato capace di assemblare. Mario Pieri, ottenuta la cattedra padovana, fu freddo e impacciato in classe, e distante dagli studenti: l'eloquente racconto, da lui stesso lasciatoci, dei fischi ricevuti ad una lezione dice tutto.1179 Non ebbe a sua volta né "figli" né allievi prediletti, né seppe metter su una squadra; non divenne il mentore di nessuno, e dopo appena sette anni riuscì - bontà sua - a farsi giubilare ed a ritirarsi a vita privata, letteraria sì ma fieramente solitaria. Giuseppe Barbieri, pur titolare di un insegnamento più duraturo, mostrò gli stessi limiti. Proseguì la lezione del "padre" in analoga solitudine, anch'egli bersagliato dal suo studente più celebre e promettente. Nel complesso, ottenne molto più sèguito come predicatore quaresimale.1180 Giuseppe Greatti ottenne la direzione di un collegio ma non si ha notizia di suoi continuatori. Angelo Zendrini visse lo stesso distacco, chiuso nei propri studi. Rarissimi i contatti di questi allievi con personalità europee: i loro carteggi sono pressoché limitati alla sola Italia, con larga preferenza per il Triveneto: nulla, assolutamente nulla di paragonabile alla rete epistolare a suo tempo intessuta dal Cesarotti, intellettuale rinomato ed aperto che aveva insomma creato una generazione di piccoli ingegni "locali", isolati, oggi per lo più dimenticati o ricordati unicamente come allievi di tanto maestro. Ma era Cesarotti stesso, in fondo, il principale responsabile di questo fallimento. Era lui a non aver saputo riconoscere il proprio continuatore. Molto più che nel docile Barbieri, era proprio nel giovane, irruento Foscolo che egli aveva avuto il migliore allievo. Non poté né volle accettarlo tra i suoi "figli": quel giovane e promettente poeta si muoveva troppo autonomamente, ne ebbe paura. In lui, Foscolo non aveva mosso solo sentimenti di paternità, ma anche di gelosia e d'impazienza. Cesarotti provò a moderarlo e a riassorbirne l'ingegno nel sicuro recinto della propria scuola, ma non riuscì ad irregimentarlo in quel tipo di educazione, in quella pedagogia letteraria da lui organizzata e affinata in cinque decenni di magistero ma che, alla fin fine, altro non lasciò in eredità al mondo poetico italiano che una breve generazione di epigoni ossianisti. Una generazione già individuata dal Foscolo, e definitivamente affossata da Luigi Carrer, lui sì degno erede, veneto e in Veneto, del magistero cesarottiano e foscoliano, come mostra il suo illuminante articolo Gli ossianeschi (1837), fine analisi della "crisi" del cesarottismo che concludeva per sempre la fase ossianica della letteratura italiana. Non Barbieri, insomma, ma Foscolo fu il vero "figlio" di Cesarotti. Ma Cesarotti non se ne accorse, non sembrò capirlo. Troppo affezionato al proprio ruolo ed al proprio modo di vedere gli affetti, e la letteratura che da quegli affetti doveva prendere ispirazione, trattò Foscolo da ribelle, e non comprese che era proprio questi ad aver assimilato e messo in pratica il suo insegnamento di proiezione verso il nuovo, di apertura al bello in ogni sua forma, di libertà creatrice scevra da qualsiasi idolatria. In questo davvero Foscolo superò il maestro. Non si fece intaccare dai pregiudizi della scuola. Apprese il metodo cesarottiano, e lo applicò sistematicamente a tutti: ad Alfieri, a Parini, a Monti, ed allo stesso Cesarotti. Tracciò la sua strada, in Italia e fuori d'Italia e, a differenza dei prediletti cesarottiani, seppe trovare elementi validi tra i propri allievi, e valorizzarli. Trovò Di Breme, Berchet, Pellico, Borsieri, e gettò con loro le basi di una nuova scuola e di un nuovo magistero adatto ai nuovi tempi e, proprio per questo, molto più duraturo.
7
Thomas, François. "L'art de traduire : enjeux philosophiques, éthiques et politiques de la traduction, à partir de la critique formulée par les Romantiques allemands à l'encontre des traductions françaises". Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30012.
Texto completoResumen
Cette recherche a pour point de départ l’important mouvement de traduction en Allemagne au tournant du XIXe siècle, et la critique par les penseurs allemands de la manière dont les Français traduisaient. Ceux-‐ci se voient reprocher leur tendance à toujours traduire comme si l’auteur était français, refusant l’épreuve de l’étranger (Berman) que constitue la traduction. Ce conflit est philosophiquement problématisé en 1813 par F. Schleiermacher, qui montre que derrière ces approches du traduire s’affrontent des conceptions de la rationalité, du rapport de la pensée au langage, et de la subjectivité, mais aussi des conceptions de la culture, de la nation, et du rapport à l’étranger. À la lumière de ces analyses, nous réinterrogeons les conceptions de la traduction en France aux XVIIe et XVIIIe siècles, où domine la pratique des « belles infidèles ». Nous nous intéressons aux soubassements théoriques de ces conceptions, ce qui conduit à accorder une attention particulière aux réflexions sur le langage menées à Port-Royal, et à la réflexion de Voltaire sur l’histoire. Nous étudions la question de la traduction de la philosophie en français à cette époque. Parallèlement, l’étude des premières traductions de Shakespeare en France et en Allemagne (Voltaire/Herder, Schlegel) montre comment se nouent réflexions sur la littérature, l’histoire, la pluralité des cultures – sur fond de volonté de s’émanciper, du côté allemand, de la domination culturelle française, et de remise en question de la pensée des Lumières. Revenant enfin sur les réflexions de Schleiermacher, nous étudions en quel sens elles définissent une éthique de la traduction et l’éthique à partir de la traduction, autour du concept d’hospitalité.En mettant en lumière la richesse des conceptions autour de la traduction en France aux siècles classiques, ce travail vise à redonner un intérêt à leur étude d’un point de vue philosophique, et en revenant sur cette critique allemande, à éclairer l’origine de réflexions contemporaines majeures sur la traduction et ses enjeuxThe investigation's starting point is the significant German translation's movement from the begining of the 19th century and the German thinkers criticism against the French practice of translation. The Germans reproach the French to translate a foreign work as if the author was french, thus refusing the very principle of translation, that is to confront to the Otherness (Berman). In 1813, F. Schleiermacher points the philosophical issues raised by the conflict opposing these two different approaches of translation, revealing that not only does such a conflict mirror the opposition between different ways of conceiving rationality, the relationship between language and thought, subjectivity, but also different ways of conceiving culture, nation, and the relationship to the Other and to foreignness. In the light of such analysis, we question the ways of conceiving translation in France in the 17th and 18th century, in which the practice of the "belles infidèles" prevails. We examine the theoretical groundings of these conceptions of translation, which leads to focus especially on the language studies conducted in Port-Royal and Voltaire's consideration about history. We study the issue raised by the French translation of philosophical work at the time. The confrontation of Shakespeare's first translations in France and in Germany (Voltaire/Herder, Schlegel) shows how a reflection on literature, history and cultural plurality builds up while at the same time, the Germans wish to emancipate from the French cultural domination and question the Enlightenment. We finally come back to Schleiermacher's thought to study in which way it contributes to define both an ethics of translation and an ethics based on translation, refering to the concept oh hospitality. By highlighting the depth and richness of thought surrounding translation in France in the 17the and 18th century, this work's aim is to restore an interest for studying its notions from a philosophical perspective. Furthermore, by going back to this German critique, this work is also concerned with shedding light on the origins of major conteporary thinking over translation and the issues at stake
8
Franzin, Benedetta <1992>. "Miserabili sognatori. La figura del sognatore nel Romanticismo europeo e ne "I Miserabili" di Victor Hugo". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13782.
Texto completoResumen
La tesi si occupa di proporre un'analisi della figura del sognatore nel Romanticismo europeo analizzandone trasversalmente il pensiero dei suoi maggiori esponenti, tra i quali si ricordano Tieck e Goethe. Particolare attenzione viene rivolta al romanzo di Victor Hugo, "I Miserabili", in merito al quale si è cercato di condurre un'indagine accurata relativamente al ruolo della fantasticheria nel personaggio di Fantine e, parallelamente, a quello dell'utopia politica elaborata dai compagni dell'ABC ai quali si unisce successivamente il giovane borghese Marius Pontmercy, idealista che combatte sulle barricate più per noia e senso di ribellione, che per convinzione.
9
Tellier, Virginie. "Le discours du fou dans le récit romantique européen : (Allemagne, France, Russie)". Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL008.
Texto completoResumen
La thèse étudie les caractéristiques linguistiques, philosophiques et esthétiques du langage littéraire du fou à l'époque romantique. Elle porte sur Les Élixirs du Diable (Hoffmann, 1815), La Fée aux Miettes (Nodier, 1832), le Journal d'un fou (Gogol, 1835), La Sylphide (Odoïevski, 1837) et Aurélia (Nerval, 1855). D'autres récits sont convoqués plus ponctuellement, comme Les Veilles (Bonaventura, 1804) ou Louis Lambert (Balzac, 1832). Le fou est un être problématique : il est à la fois inférieur à l'homme sain et habité par une inspiration divine. Ce paradoxe trouve une actualité nouvelle dans la première moitié du XIXe siècle. D'une part, le développement de l'aliénisme tend à définir médicalement les pathologies mentales. D'autre part, la naissance de la littérature fantastique promeut la figure de l'artiste fou. Le fou, lorsqu'il prend la parole, interroge l'écriture autobiographique et redéfinit le moi, l'espace et le temps. Son discours présente des enjeux pragmatiques : le fou cherche à démontrer qu'il n'est pas fou, face à une société qui le condamne. Il cherche également à transmettre une vérité. Sa langue sert alors à décrire les forces mythiques qui traversent le monde et, peut-être, à le recréer. La notion de création est essentielle. L'âge romantique modifie la définition de la littérature, qui perd sa fonction représentative au profit d'une fonction purement langagière. Le discours du fou participe à la fondation de cette nouvelle esthétique : il l'instaure dans un geste critique qui interroge sa légitimité. Impossible et impensable, il incarne la « parole muette » (J. Rancière) que devient la littérature moderneThe thesis studies the linguistics, philosophy and aesthetics of literary language of the madman in the Romantic era. It focuses on The Devil's Elixirs (Hoffmann, 1815), The Crumb Fairy (Nodier, 1832), The Diary of a Madman (Gogol, 1835), The Sylph (Odoevsky, 1837) and Aurelia (Nerval, 1855). Other narratives are more promptly summoned, as The Night Watches (Bonaventura, 1804) or Louis Lambert (Balzac, 1832). The madman is a problematic being: he is both unhealthy and inhabited by a divine inspiration. This paradox finds a new relevance in the first half of the nineteenth century. On the one hand, the development of Alienism tends to define mental pathologies from a medical point of view. On the other hand, the birth of the Fantastic promotes the figure of the mad artist. The Madman, when he speaks, questions autobiographical writing and redefines the Self, Space and Time. His speech has pragmatic issues: the madman seeks to demonstrate that he is not mad, in a society which condemns him. He also endeavours to convey a truth. His language is then used to describe the mythical forces that travel the world and, perhaps, to recreate it. The notion of creation is essential. The Romantic era modifies the definition of literature, which loses its representative function in favour of a purely linguistic function. The speech of the madman takes part in the founding of new aesthetics: it creates it in a critical gesture that questions its legitimacy. Impossible and unthinkable, it embodies the "silent speech" (J. Rancière) that becomes modern literature
10
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.
Texto completoResumen
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
Libros sobre el tema "Romanticism – Europe"
1
1946-, Porter Roy y Teich Mikuláš, eds. Romanticism in national context. Cambridge [England]: Cambridge University Press, 1988.
Buscar texto completo
2
Gerhart, Hoffmeister, ed. European romanticism: Literary cross-currents, modes, and models. Detroit: Wayne State University Press, 1990.
Buscar texto completo
3
Poggi, Stefano. Romanticism in Science: Science in Europe, 1790-1840. Dordrecht: Springer Netherlands, 1994.
Buscar texto completo
4
Stefano, Poggi, Bossi Maurizio y Van Straalen Berendina, eds. Romanticism in science: Science in Europe, 1790-1840. Boston, MA: Kluwer Academic Publishers, 1993.
Buscar texto completo
5
Stefano, Poggi y Bossi Maurizio, eds. Romanticism in science: Science in Europe, 1790-1840. Dordrecht [The Netherlands]: Kluwer Academic, 1994.
Buscar texto completo
6
Marin, Mincu y Albisani Sauro 1956-, eds. Eminescu e il romanticismo europeo. Roma: Bulzoni, 1990.
Buscar texto completo
7
Pauly, Walter. Staat, Nation und Europa in der politischen Romantik. Baden-Baden: Nomos, 2015.
Buscar texto completo
8
1972-, Jensen Lotte, Leerssen Joseph Th 1955- y Mathijsen Marita, eds. Free access to the past: Romanticism, cultural heritage, and the nation. Leiden: Brill, 2010.
Buscar texto completo
9
Burwick, Frederick. Poetic madness and the Romantic imagination. University Park, PA: Pennsylvania State University Press, 1996.
Buscar texto completoCapítulos de libros sobre el tema "Romanticism – Europe"
1
Longworth, Philip. "The Age of Reason and Romanticism (1770–1848)". En The Making of Eastern Europe, 127–55. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22202-5_6.
Texto completo
2
Longworth, Philip. "The Age of Reason and Romanticism (1770–1848)". En The Making of Eastern Europe, 158–86. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25572-6_7.
Texto completo
3
Vincent, Patrick. "A Continent of Corinnes: The Romantic Poetess and the Diffusion of Liberal Culture in Europe, 1815-50". En A Companion to European Romanticism, 486–504. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch29.
Texto completo
4
Corduwener, Pepijn. "‘Disconnect Romanticism from Politics’: Democracy’s Moderate Face in Cold War Western Europe". En The Politics of Moderation in Modern European History, 187–203. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27415-3_10.
Texto completo
5
Duffy, Cian. "‘The Vanity of Translation’; or, Locating Adam Oehlenschläger in Romantic-Period Europe". En Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print, 79–99. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99127-2_4.
Texto completo
6
Russell, Victoria. "Psychological Androgyny, Romanticism and the Radical Challenge to Hegemonic Masculinity in England, 1790–1840". En The Palgrave Handbook of Masculinity and Political Culture in Europe, 311–33. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58538-7_15.
Texto completo
7
Drace-Francis, Alex. "Romanticism". En European Identity, 90–133. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-36819-5_5.
Texto completo
8
Stafford, Fiona. "Scottish Romanticism and Scotland in Romanticism". En A Companion to European Romanticism, 49–66. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch4.
Texto completo
9
Flitter, Derek. "Spanish Romanticism". En A Companion to European Romanticism, 276–92. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch17.
Texto completo
10
Moore, Fabienne. "Early French Romanticism". En A Companion to European Romanticism, 172–91. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch11.
Texto completoActas de conferencias sobre el tema "Romanticism – Europe"
1
Munteanu-Iorga, Ionuta-Natalia. "Perspectives on a Philologic and Academic Cannon on Virgil Nemoianu’s Theories". En Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.07.
Texto completoResumen
The problem of the Literary Canon is stated by the Romanian theorist Virgil Nemoianu several times and from different critical perspectives of the time – each perspective is seeking to reflect an era and its influences, a certain cultural and artistic typology, the cultural projects and products of a canonical era, the spirituality and politics of the time, as well as the ideological disputes that re-establish from one century to another great canonical European literatures. Systematized thematically and through editorials published between 1967 and 2011, the Romanian professor’s concerns related to the canon are written with great precision – enlightening philological and historical details. Into the same unison with the educated voices of the great universities in Europe and America, Virgil Nemoianu will start the discussion about the phenomenology of the literary Canon by using the tools of referring to the European literary details and referring to the European cultural studies. As a framework, within his academic concerns, there is the idea of complexities and cultural continuities, which together with the ideas of aesthetic and moral emergences, both creates veritable encyclopedic studies that the Romanian theorist he dedicated to Minor European Romanticism, then to Structuralism, and finally to Postmodernism and cultural Globalism. By discussing the importance of the canonical lists, as well as by proposing provocative ideas supposed to aim at the correct understanding of the academic curriculum, Virgil Nemoianu initiates a debate that even gives us the opportunity to discuss the cultural phenomena that determine the modification of the canon. In particular, the Romanian professor gives interest to a canon in perpetual transformation – The Hospitable Canon – a hospitable canon, which involves transitions from a rigidity of the interpretation of literature – to an interpretive plurality. Therefore, these methodological filters have a catalytic role, becoming reagents that lead to a new interpretive synthesis. They also manage to lead to the theoretical core of Professor V. Nemoianu’s reflections: the canon and canonicity allow the observation of the secondary, the marginal, the interdependencies and the intertextualism within the canonical literatures – towards to redefine the social, art and spirituality.
2
Kudryashova, Irina y Olena Remizova. "“Semantic field” of European romanticism architecture". En WORLD MULTIDISCIPLINARY CIVIL ENGINEERING-ARCHITECTURE-URBAN PLANNING SYMPOSIUM WMCAUS 2022. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0122762.
Texto completo
3
Yang, Zhiya. "THE DIFFERENT INTERPRETATIONS OF GORKY’S THOUGHTS IN CHINESE LITERATURE OF THE 1930s". En 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.34.
Texto completoResumen
Joseph Stalin, as the ruler of the USSR, invited Maxim Gorky (who was living in Europe at that time) to return home to preach and consolidate socialist realism, and so socialist realism was established in Russia in the 1930s. Gorky played an important role in Russian literature during this time, while in China, different writers also introduced socialist realism through various literary translations of Russian writers, among which Gorky’s works were the most translated. Gorky advocated for the combination of realism and romanticism. He described positive heroes in his works and valued humanity. These thoughts, however, were interpreted in diverse ways by various Chinese writers, which were split into two teams. One team was represented by Zhou Yang (周 扬) and Xiao San (萧三), who underlined the political function of literature; the other team was represented by Hu Feng (胡风) and Mao Dun (茅盾), who were instead in favor of the fusion of the idea of humanism with socialist realism. This article begins with an introduction of Gorky’s thought through various literary works translated in the 1930s, representing the spread of Gorky’s ideas throughout China. The author then focuses on the different interpretations of his thoughts presented by Zhou Yang, Xiao San together with Hu Feng, and Mao Dun. The purpose of this article is first to elaborate on the significance of Gorky’s thoughts for Chinese literature in the 1930s, then to analyze the different interpretations of his thoughts, which serves to explain the reasoning for different interpretations and the objectives of these Chinese writers who put forward different perceptions of Gorky’s word. Finally, this article will conclude by analyzing whose interpretation is closer to Gorky’s original thoughts.
4
Vardoshvili, Eka. "Leaders of Georgian Romanticism in the European Literary Social Thinking". En 6th International Conference on Social, economic, and academic leadership (ICSEAL-6-2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200526.007.
Texto completo
5
White, Harry. "‘Those Unheard’: English Poetry and the (Very) Late Arrival of British Musical Romanticism". En Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika: revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/mjrl3u7x59.
Texto completo
6
W. Pidluzny, Jonathan. "The Roots of Self-Doubt (and Self-Loathing) in the West". En Applied Human Factors and Ergonomics Conference. AHFE International, 2019. http://dx.doi.org/10.54941/ahfe100193.
Texto completoResumen
Democratic self-doubt is manifest in many ways, some of them a threat to the perpetuation of the very political orders responsible for the exceptional appeal of life in Western societies. This paper begins by defining the phenomenon and proceeds to examine its roots. Five contributing factors are identified, all of them in some way a constituent element of the very way of life, our confidence in which they threaten to erode. The factors discussed are the following: first, the value neutral nature of experimental natural science and its effect on the liberal arts; second, European romanticism and its suffusion through the entire cultural life of the West; third, a mania for equality which, although a fundamental principle of healthy republicanism, can (when pushed to the extreme) erode citizens’ pride in their own regime; fourth, materialism and material abundance, which distract citizens from the innately human longings and cut them off from participation in public life; fifth, egalitarianism desiccates the liberal arts—one of the greatest legacies of the West—and enervates the democrat’s capacity to be moved by them. The paper ends by considering a more insidious form of self-hatred that emerged from the thought of Friedrich Nietzsche and Karl Marx.