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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.
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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.
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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.
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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.
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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.
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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
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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.
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France’s connection to India dates back to the seventeenth century when the French came to establish trading relations with India and neighboring countries. Even in the heydays of Enlightenment, France, the champion and cradle of Reason and Rationality in Europe, was looking for an alternative and philosophers like Rousseau, Diderot and Voltaire looked towards India as a source of inspiration. That tradition was continued by the French Romantics who were even more influenced and inspired by Indian philosophy and wanted to change the course of French literature with the help of it. This paper aims to explore literary transactions between India and France culminating in the movement called Romanticism in French literature. The paper shall trace the trajectory of how Indian philosophy and thought traveled to Europe in the form of texts and influenced the works of the French from Voltaire in the eighteenth century to Jules Bois in the twentieth. The central argument of this diachronic study, based on the theory of influence, is to prove how significant the role of India and her literary/religious texts have been in the context of the Romantic Movement in French literature in the nineteenth century.
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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.
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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.
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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.
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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.
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This article aims to provide an overview of romanticism in Arabic literature, in particular through two important figures in this school. important in the foundation and development of romanticism in Arabic literature. The method used in this article is descriptive qualitative and literature study. This study also uses the technique of observing and taking notes in data collection. From the discussion it can be concluded that the flow of romanticism is one of the popular streams that first appeared in the 18th century in Europe and entered the Arab region at the beginning of the 20th century. The entry of romanticism into the Arab world was pioneered by Khalīl Muthran. Apart from Khalīl Muthran, there is another Arabic literary figure who popularized this romanticism, namely Khalīl Gibran. These two Khalīls were important figures in the emergence and development of romanticism in Arabic literature. This can be seen from the life history of both of them who both studied literature in western countries. In addition, the works produced by these two figures show a strong romantic style, which strengthens the character of the two in Arabic literary romanticism
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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.
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The article is devoted to the analysis of the concept of literary romanticism. The research aims at a refinement of the “romanticism” concept in relation to the history of the literary process. The main research methods include conceptual analysis, textual analysis, comparative historical research. The author analyzes the semantic genesis of the term “romanticism”, various interpretations of the concept, compares the definitions of different periods and cultures. The main results of the study are as follows. The history of the term “romanticism” shows a change in a number of definitions for the same concept in relation to the same literary phenomena. By the end of the 20th century, realizing the existence of significant contradictions in the content of the term “romanticism”, researchers often come to abandon it. At the same time, the steady use of the term “romanticism” testifies to the subject-conceptual component that exists in it, which does not lose its relevance, but just needs a theoretical refinement. Conclusion: one have to revise an approach to romanticism as a theoretical concept, based on the change in the concept of an individual in Europe at the end of the 18th century. It is the newly discovered freedom of an individual predetermines the rethinking for the image of the author as a creator and determines the artistic features of literary romanticism.
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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.
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Romanticism is often misunderstood as something genuine love and merely about romance. In fact, romanticism is an understanding of great ideas that also be delivered great ideas. The development of Romanticism delivered a new orientation that called National Romanticism by maintaining the freedom of individual, sovereignty, and independent of human rights. This study took data from three Walt Whitman poems; Patriotic, War Democracy, and Poem of America. Researcher was using the concept of interpretation to explore the meaning of poetry and the influence of romanticism in Whitman poetry. Researchers use Isaiah's theory in his book “the root of romanticism” to explore the influence of the romanticism idea on Whitman's poems. From the three samples of poetry, it is found that romanticism is very influential in Whitman poetry, especially the idea of romantic nationalism. Patriotic themes, nationalities and egalitarian concepts are reflected in Whitman's collection of "Leaves of grass" poems. Patriotic themes and nationalities are seen from the struggle for the right of individual freedom in opposing slavery and aristocratic government. The egalitarian concept is seen from the struggle to promote equality, as well as the democracy system that promotes people's sovereignty. The role of the idea of romanticism has evolved in American territory because it shares the same pattern and state of affairs as revolutions against noble, social, and political norms and rationalization of nature. Thus, the representation of romantic ideas originating from Western Europe of the 18th century has penetrated into the 19th century America which is reflected in the works that carried Whitman.
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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.
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Bowdler, Roger. "ROMANTICISM AND REMEMBERING". Baltic Journal of Art History 25 (25 de octubre de 2023): 63–88. http://dx.doi.org/10.12697/bjah.2023.25.04.
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This article looks at the celebrated poem Elegy in a CountryChurchyard (1751) by Thomas Gray, and links it to the place of itsinspiration, Stoke Poges, Buckinghamshire. The development ofEnglish churchyard memorials is considered, followed by a briefdiscussion of the Graveyard School of poetry, which consideredthemes of mortality and melancholy set in the context of burialgrounds. This formed a strand of proto-romanticism and wasinfluential across Europe. The poem is then analysed in terms of itsdiscussion of rural approaches to death and remembrance. A surveyof mid-18th century churchyard memorials at Stoke Poges is thenprovided, and their imagery discussed: most of these post-date thepublication of the poem. Thomas Gray died in 1771 and was buriedin the tomb of his mother and aunt. He subsequently received amemorial in Westminster Abbey. A later owner of Stoke Park, themanor house of the estate, John Penn, was eager to commemoratethe poet. He commissioned the celebrated architect James Wyatt todesign a memorial which would be visible from the main house.This was erected in 1799, and consisted of a sarcophagus raised on
a tall base, the sides of which were inscribed with extracts fromthe Elegy. This was a highly unusual form of parkland memorialcelebrating a poet and his best-known work, which has subsequentlybecome one of the best-known verses in the English language.There is irony in that the poem is a discussion of rural humilityand yet was celebrated through an imposing monument, raisedby an extremely wealthy owner as a feature in his private park.
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Beenstock, Zoe. "Palestine as Europe’s Future: Antiquity as Contemporaneity in Volney’s Travels , Considerations , and The Ruins". Studies in Romanticism 62, n.º 2 (junio de 2023): 269–82. http://dx.doi.org/10.1353/srm.2023.a903036.
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Abstract: European Romanticism often represents Palestine in ageographical terms. Through an analysis of Volney’s writings on the East, this article traces Palestinian ageography to religiously-inflected discourses that identify Palestine as Europe’s future. Volney juxtaposes antiquarianism, realist travelogue, and science fictional literary modes to represent Palestine’s multiple spiritual pasts, its contemporaneity with Europe, and its prophetic anticipation of revolution. His account of Palestine shapes Romanticism and Mary Shelley’s Frankenstein as arguably the first science fiction novel, demonstrating the importance of religious discourses for Romantic European engagements with Palestine.
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Daher, Claudia Helena. "A valsa nos trópicos: repercussões de um fenômeno europeu na literatura brasileira do século XIX". Caligrama: Revista de Estudos Românicos 23, n.º 1 (24 de mayo de 2018): 39. http://dx.doi.org/10.17851/2238-3824.23.1.39-52.
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Resumo: Partindo de uma observação feita na obra Raízes do Brasil (1936), de Sérgio Buarque de Holanda, na qual o autor reflete sobre a disparidade entre a sociedade brasileira do século XIX e as ideias do liberalismo europeu, Roberto Schwarz desenvolve em Ao vencedor as batatas (1977) uma crítica ao Romantismo brasileiro, que teria sido montado sobre uma comédia ideológica, diferente da europeia, representando uma idealização que não correspondeu à realidade. O presente artigo revê esses conceitos a partir da cena de baile da obra Senhora (1875), de José de Alencar. Observa-se a presença da valsa na literatura brasileira oitocentista, objetivando analisar de que maneira esse fenômeno europeu se manifestou em território brasileiro e como o imaginário em torno do baile foi apropriado e relido pelo autor. O artigo coloca a literatura brasileira em diálogo com a literatura europeia produzida no mesmo período. Ao ponto de vista de Roberto Schwarz acrescenta-se o estudo feito por Maria Cecília de Moraes Pinto (1999) que investiga as influências europeias de Alencar e o seu empenho em fazer uma literatura nacional.Palavras-chave: valsa na Europa e no Brasil; Romantismo; literatura nacional.Abstract: The piece of writing Raízes do Brasil (1936) by Sérgio Buarque de Holanda, in which the author reflects about the disparities between Brazilian society of the nineteenth century and the ideas of European liberalism, provides a basis to Roberto Schwarz’s criticism of Brazilian Romanticism in Ao vencedor as batatas (1977). According to Schwarz, different from its European correlate, Brazilian Romanticism would have been based on an ideological comedy, thus representing an idealization that did not correspond to reality. This article revisits such concepts from the perspective of the ballroom dancing scene in Senhora (1875), by José de Alencar. Based on the presence of the waltz in nineteenth century Brazilian literature we analyzed how the European phenomenon manifested in Brazilian territory and how the imaginary constructed around ballroom dancing was appropriated and re-read by Alencar. This work establishes a connection between Brazilian Literature and the literature produced in Europe during the same period. In addition to Roberto Schwartz’s point of view, we included Maria Cecília de Moraes Pinto’s study (1999), which investigated Alencar’s European influences and his efforts in creating a national literature.Keywords: waltz in Europe and Brazil; Romanticism; national literature.
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Łukaszyk, Ewa A. "Romantyzm krańców Europy. Portugalia, Polska i Chrystus narodów". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 21 (23 de diciembre de 2021): 87–99. http://dx.doi.org/10.24917/20811853.21.5.
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This article tentatively provides acomparative outlook on Polish and Portuguese Romanticism. Taking as a starting point the famous parallel between the opposite ends of Europe sketched by the 19th-century historian Joachim Lelewel, the author claims that Polish and Portuguese literature, although they had almost no direct contact with each other, participated in the same system of cultural coordinates established by European Romanticism. At the same time, both nations had some sort of dispute or clash with Europe, developing syndromes of inferiority, as well as megalomaniac visions of their moral superiority. Almeida Garrett and Alexandre Herculano tried to provide a solution, harmonising their country with its European context. The conclusion accentuates the uttermost victory of this harmonising vision, presenting the contemporary Portuguese culture as fully Europeanised and contrasting it with the doubts concerning European identity that may be observed in contemporary Poland.
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Amit, Mr. "Romanticism: Characteristics, Themes and Poets". SMART MOVES JOURNAL IJELLH 9, n.º 5 (17 de mayo de 2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.
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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence.
The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe.
Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse.
The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase.
The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.
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Mutmainah, Mia y Tatik Mariyatut Tasnimah. "Pengaruh Romantisisme terhadap Tren Psikologis Maḥmūd ‘Abbās al-‘Aqqād dalam Kritik Sastra Arab Modern". Al-Ma‘rifah 19, n.º 1 (20 de noviembre de 2022): 93–102. http://dx.doi.org/10.21009/almakrifah.19.01.08.
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This study aims to reveal the influence of the Western romanticism movement on the psychological style developed by Maḥmūd ‘Abbās al-‘Aqqād in assessing and understanding Arabic literary works in the modern era. This research is library research using the analytical-descriptive method. The result of this study shows that the psychological trend of al-‘Aqqād’s criticism is strongly influenced by the romanticism movement. Romanticism is a revolutionary movement in the artistic, literary, and intellectual fields that emerged in Europe as a form of resistance to the conditions around the 18th century. This movement emphasizes the individuality aspect to highlight the liberation of feelings and emotions. This aspect of individuality then became the basis of al-‘Aqqād’s criticism in assessing literary works which, according to him, were full of individual personalities. Thus, the psychological trend in Arabic literary criticism developed by al-‘Aqqād cannot be separated from the immense influence of the romanticism movement that emerged in the West. The results of this study increasingly show the significance of the West's role in the development of Arabic literary criticism in the modern era.
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Howell, Michael. "Broers, Europe After Napolean - Revolution, Reaction, And Romanticism, 1815-1848". Teaching History: A Journal of Methods 22, n.º 2 (1 de septiembre de 1997): 100–101. http://dx.doi.org/10.33043/th.22.2.100-101.
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Michael Broers, Lecturer in History at Leeds University and author of Europe under Napoleon, 1799-1815, has just published the succeeding volume in the same series, New Frontiers in History. The series intends to provide broad-ranging textbooks emphasizing historical methods and knowledge of sources in fields characterized by revisionism or substantial disagreement.
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Sabr, Rozhgar M., Osman H. Dashty y Jihad Sh Rashid. "The Romantic Self in The Poetry of Piramerd and Mirzada Ashqe". Koya University Journal of Humanities and Social Sciences 7, n.º 1 (1 de abril de 2024): 1–8. http://dx.doi.org/10.14500/kujhss.v7n1y2024.pp1-8.
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The notion creativity in the Western civilization has a long history. It has influenced various aspects of human life since Greek and Roman times. Western thinkers have significantly contributed to literary growth in art and literature. Western intellectuals have also led literary research and developed theoretical approaches to literature. After their development, the western literary traditions were imported to other countries for various reasons. Thus, the non-Western writers adapted several aspects of Western literary movements including romanticism. Romanticism, a literary and artistic movement that emerged in late 18th-century Europe, opposed the basic tenant of classicism. The movement introduced new literary forms and radical ideas. Influenced by Western romanticism, Kurdish and Persian romantic literature evolved and reached its peak. The term “romantic self” is used to describe how a poet reveals his hidden and spontaneous feelings, desires and anguish using various romantic features. Drawing from American Romanticism, this comparative study explores how both Piramerd and Mirzada Ashqe emphasize the romantic self in their poems. This helps to understand the similarities and differences in the poets’ approaches to the notion of romantic self in their works.
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Gomes Filho, Robson Rodrigues. "Anna Katharina Emmerich and the Impacts of Catholic Romanticism in 19th-Century Germany". Religions 15, n.º 6 (7 de junio de 2024): 709. http://dx.doi.org/10.3390/rel15060709.
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As a result of a close relationship established between Romanticism and Catholicism in the struggle against modernity in the early 19th century, a significant number of mystical phenomena, especially involving visionary women, spread throughout Europe during the 19th century. The works of Anna Katharina Emmerick stand as one of the earliest and primary influencers in this regard. Her mystical visions were transcribed and published by a romantic intellectual who had converted to Catholicism in that same context: Clemens Brentano. However, despite inspiring various mystical phenomena in the Catholic milieu, Emmerich’s visions raised suspicion within the Catholic Church due to the presence of supposed pagan and superstitious elements from Brentano’s Romanticism in her descriptions. This suspicion has resulted in ongoing difficulty in advancing her canonization process. In light of this debate, this article discusses the impacts of the union between Romanticism and Catholicism in early 19th-century Germany. It focuses on the case of Anna Katharina Emmerich and Clemens Brentano.
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Voß, Torsten. "Ästhetisch konstruierte Traditionen?" Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, n.º 2 (8 de noviembre de 2019): 442–70. http://dx.doi.org/10.1515/iasl-2019-0022.
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Abstract Throughout various literary and artistic periods, artists have referred to or even converted to Catholicism as a means of conjuring a certain perception of a European tradition. In doing this, they seek to create an aesthetic of romanticism and/or an idea and concept of beauty, the artist, artwork etc. After giving a brief overview of this discursive practice in modern avant-garde movements, this article focuses on early forms of literary Catholic movements, such as the French Renouveau catholique and François-René de Chateaubriand’s Le Génie du Christianisme (The Genius of Christianity), as well as Novalis’ ‘invention’ of German romanticism in his essay Die Christenheit oder Europa (Christianity or Europe). It shows that there are a variety of parallels to be identified across these periods and places, namely, in programs, performances, rhetoric-building and group-building processes, and in cultivating an anti-bourgeois distinction, both in the texts themselves and in the positioning of the artists within the literary field. Despite accusations of being reactionary, writers and artists who elaborate a Catholic concept of art and literature aim to develop a traditionalist and anti-modern stance within (aesthetical and social) modernity.
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Silva, Lucélia Magda Oliveira da y Naiara Sales Araújo. "GETTING INEBRIATED IN THE TAVERN: REMINISCENCES OF POE IN ÁLVARES DE AZEVEDO". REVISTA DE LETRAS - JUÇARA 3, n.º 1 (15 de agosto de 2019): 37–50. http://dx.doi.org/10.18817/rlj.v3i1.1869.
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Romanticism, initiated in eighteenth-century Europe, had, among other characteristics, the overestimation of emotions and the elaboration of a social critique based on pre-defined customs and values. In America, Romanticism established itself, primarily, in the United States, where Edgar Allan Poe was one of its main figures, whose pessimist and macabre works were translated by Baudelaire; and, afterwards, in Brazil, the need to build a literature that had its own nationality, even if still under the influence of the French molds. Therefore, the translations of Poe’s tales made by Baudelaire came to Brazil and served as inspiration for many established authors. By observing concomitant aspects in the prose of both Poe and Álvares de Azevedo, whose work Noite na Taverna (1997) is regarded as one of the first pieces of fantastic literature in Brazil, our article aims to verify the possible influence of the American author on the work of Azevedo, using the studies held by Alfredo Bosi, Antônio Candido, Todorov and Roas, as well as consolidated literary reviews on Edgar A. Poe. Keywords: Edgar Allan Poe. Álvares de Azevedo. Romanticism. Noite na Taverna.
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Muhammad Ahmed Awan y Abdul Khalique. "An Analytical Study Of Aagha Hashar's Poetry". Dareecha-e-Tahqeeq 4, n.º 3 (5 de noviembre de 2023): 74–79. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.142.
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Aagha Hashar Kashmiri is a renowned poet and dramatist. He is considered one of the pioneers of Modern Urdu theater and his work is known for his poetic language in his dramas. He also wrote many poems i.e. "Shukariya Europe", Moj-e-Zam Zam, Eid Mubarak, Sultan tipu and so on. His poetry has Romanism, socialism, alcoholism, sarcasm, humour and vulgarity. Romanticism was inherent in his poetry and beauty was part of his nature. That is why his poetry is full of romanticism. The essence of speech is prominent in his poems and songs. Imagination, figure carving, subtle elegance, informality, creativity, similes and metaphors are the distinguish characteristics of his Ghazals. He also uses vulgar and immortal words in his poetry but his poetry contains hope and philosophy of life. Aagha Hashar had a lasting impact on Urdu.
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Bartu-Candan, Ayfer. "Beyond the pendulum model in rethinking the archaeology of Europe". Archaeological Dialogues 15, n.º 1 (junio de 2008): 27–30. http://dx.doi.org/10.1017/s1380203808002432.
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In his review of recent trends in archaeology, Kristiansen argues that the changes in broad trends in cultural heritage management parallel profound changes in archaeological theory under the banner of postprocessualism. He also argues that one can conceptualize these changes through a pendulum model that swings between rationalism and romanticism, the former favouring generalized interpretations, the latter favouring local and national histories. For Kristiansen the problem lies in the emphasis on local and national frameworks for interpretation promoted by postmodernism and postprocessualism that prevents archaeologists from asking broader questions. Moreover, he claims, ‘the humanities, including archaeology, are today losing academic and political impact precisely because of this narrowing of their role’ (p. 24).
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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945". Acta Neophilologica 22 (15 de diciembre de 1989): 51–59. http://dx.doi.org/10.4312/an.22.0.51-59.
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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.
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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945". Acta Neophilologica 22 (15 de diciembre de 1989): 51–59. http://dx.doi.org/10.4312/an.22.1.51-59.
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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.
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Bertelé, Matteo. "Soviet “Severe Romanticism” at the 1962 Venice Biennale". Experiment 23, n.º 1 (11 de octubre de 2017): 158–72. http://dx.doi.org/10.1163/2211730x-12341308.
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Abstract With the Soviet Pavilion of the 1962 Venice Art Biennale, the Thaw era made its entrance onto the international art scene. Artists from different generations and Soviet republics were entrusted to illustrate “the deeply human dimension of Soviet art.”1 Among younger painters, one prominent figure was 30-year old artist Viktor Popkov. Along with the drawings and sketches produced during his travels in the virgin lands and building sites of Siberia, he presented the monumental painting The Builders of Bratsk (1960-61), an iconic artwork of the so-called “severe style.” The exhibition took place just a few months before the Moscow Manege Exhibition of December 1962, which prompted Khrushchev’s notoriously negative reaction and the first stop to Soviet cultural détente. The present article explores the genesis of the canvas as the expression of a new “severe romanticism,” against the backdrop of the ongoing debate about romanticism in Soviet culture. It also analyzes the reception of Popkov’s work both in Italy—the country with the largest communist party in the West—and in the international press. On the basis of archival materials and press reviews, the article sheds light onto an artistic encounter between East and West in a divided Europe and discusses missed connections and unmet expectations of Western, mostly Italian, art critics.
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Jane Byrne, Paula. "Australian Squatter Space 1850–1880". Britain and the World 16, n.º 1 (marzo de 2023): 58–85. http://dx.doi.org/10.3366/brw.2023.0400.
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Young men of empire seeking their fortune in Australia incorporated violence against Indigenous people into their lives as part of leisure. This derived from the persona created by romanticism. Squatters created an emotional community that valued capital at the expense of family and emphasised uniformity, they were a transitory people travelling to England and Europe. They held a specific relationship to the Aboriginal polity in which they lived and a loose and imaginative relationship to government. This paper explores squatter space as they saw it.
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Yermolenko, Volodymyr. "Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master". Filosofska dumka (Philosophical Thought) -, n.º 2 (12 de junio de 2021): 49–79. http://dx.doi.org/10.15407/fd2021.02.049.
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The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.
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Tupan, Maria-Ana. "Romantic Healers in Old and in New Worlds". Volume-1: Issue-9 (November, 2019) 1, n.º 9 (7 de diciembre de 2019): 1–12. http://dx.doi.org/10.36099/ajahss.1.9.1.
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The revision of Romanticism in the last two or three decades went deeper than any other revolution in the canonization of western literature. Tom Wein (British Identities, Heroic Nationalisms and the Gothic Novel.1764-1824), Gary Kelly (English Fiction of the Romantic Period), Virgil Nemoianu (Taming Romanticism), or Michael Löwy and Robert Sayre (Romanticism Against the Tide of Modernity) demystified the uncritical association of this literary trend with the revolutionary political ethos in 1789 France, casting light on the conservative, pastoriented yearnings of the major representatives. Such considerations, however, do not apply to the American scene, where politics and poetics, unaffected, or at least not directly affected by the Reign of Terror and the Napoleonic wars remained faithful to the ideas of the French Revolution. Whereas Europe turned conservative, with the Great Powers forming suprastatal networks of influence (The Holy Alliance at the Congress of Vienna in 1815 bonding the Kingdom of Prussia, the Austrian and Russian empires, joined a few years later by France and the United Kingdom), America built a political system grounded in the rights of the individual and pursued ” dreams” of personal and national assertiveness (the ”city on the hill,” “from rags to riches”) in opposition to the European ”concert of nations” model. Our paper is pointing to a necessary dissociation of meliorist plots and narratives of healing in the romantic canon on either part of the Atlantic instead of subsuming them under a common poetics/politics heading.
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Pokrovskaya, Nadezhda. "From the History of Russian-French Musical Relations. Harpists’ Tours in Russia in the Mid-Nineteenth Century". Ideas and Ideals 12, n.º 3-2 (23 de septiembre de 2020): 290–304. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-290-304.
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In the middle of the XIX century the musical component of Russia’s cultural ties with Europe significantly increased. This was due to the emergence of romanticism – a revolutionary phenomenon in all forms of art. The touring activity of its creators was a characteristic feature of musical romanticism. Outstanding composers, masterly playing their instruments, introduced a lot of new things to the technique of playing them and to the imaginative sphere of music. They sought to promote their skills in major cities around the world, including St. Petersburg and Moscow. The announcement of their performances and laudatory reviews in the press seemed to fully reflect the state of Russia’s relations with European musical reality. However, the organizational side of the tour, which required a lot of effort on the part of the host and on the part of the tour operators, was not disclosed in the official press. This hidden work was carried out thanks to acquaintances abroad of representatives of the domestic elite with the best musicians in Europe and through their private correspondence. It was done through personal contacts of the Russian enlightened amateurs, which more accurately reflected the depth and nature of our country’s ties with the culture of other countries. The author studied the archival sources in search of information about the appearance in Russia of some guest performers, the structure of their performances and life. The memoirs of contemporaries contain interesting details and direct impressions of the musicians’ playing. This article attempts to show the true value of harpists’ concert touring in our country, their resounding success, noted by the official press. The author highlights the educational role of Russian highly educated music lovers in establishing ties with the best professional musicians in Europe in the middle of the XIX century.
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Mocevičius, Albinas. "PARKŲ MENO RAIDOS TENDENCIJOS EUROPOJE IR LIETUVOJE: ROMANTIZMAS IR ISTORIZMAS". JOURNAL OF ARCHITECTURE AND URBANISM 34, n.º 1 (31 de marzo de 2010): 40–53. http://dx.doi.org/10.3846/tpa.2010.04.
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The paper describes the period between classicism and modernism. At that time romanticism and historicism predominated. The art trends in the parks of western and eastern Europe at the end of the 18th and 19th care analysed. Spatial, planning structure, compositional elements and trends are compared. The author tried to find common features between Lithuanian and European parks created in the period of romanticism and historicism in the 18th and 19th c. Geopolitical, economic and cultural features of development, which predetermined and influenced the trend of park art development until the beginning of a new era of modernism, are shortly described. Santrauka Straipsnyje trumpai aptariamas laikotarpis tarp klasicizmo ir modernizmo. Tuo laikotarpiu vyravo romantizmas ir istorizmas. Nagrinėjamos meno tendencijos Vakarų ir Rytų Europos XVIII a. pab. – XIX a. parkuose. Lyginama jų erdvinė, planinė struktūra, kompoziciniai elementai ir kitos tendencijos. Straipsnyje ieškoma sąlyčio taškų tarp Europoje ir Lietuvoje sukurtų parkų romantizmo ir istorizmo laikotarpiu, XVIII ir XIX a. Trumpai aptariamos geopolitinės, ekonominės ir kultūrinės raidos ypatybės, kurios lėmė ir veikė parkų meno raidos kryptį iki naujos Moderno epochos atsiradimo.
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Stanciu, Laura. "Dimitrie Cantemir and the Transylvanian School on the Ideological “Line” of Central Europe in the Modern Age". Transylvanian Review 32, n.º 3 (12 de enero de 2024): 53–67. http://dx.doi.org/10.33993/tr.2023.3.03.
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The present study attempts to highlight the originality of the Romanian Enlightenment in Transylvania, looking at the way in which the pre-Enlightenment ideas belonging to Dimitrie Cantemir, grounded in the ideological structure of pre-Romanticism in Central Europe, ger minated into the discourse of the members of the Transylvanian School. On the one hand, the author of the study investigates, for each member of the Transylvanian School (Gherontie Cotore, Samuil Micu, Gheorghe Șincai, Petru Maior, Ioan Budai-Deleanu), the takeovers from Cantemir’s work, and, on the other hand, their civic, militant, pragmatic interpretation appropri ate to the political priorities in Transylvania.
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Ghazi ALI, Iman. "NATURE FOR THE ROMANTICS". International Journal of Education and Language Studies 1, n.º 1 (1 de diciembre de 2020): 12–28. http://dx.doi.org/10.47832/2791-9323.1-1.2.
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The Romantic doctrine is one of the modern doctrines that had a great impact on the development of world literature in general because of the principles it came with to end the long-standing dominance of the classical doctrine in Europe and extended its dominance from the seventeenth to the nineteenth century. However, the Romantic doctrine, with its new ideas and new principles Which was characterized by renewal, flexibility, imagination and dreaming ended the dominance of the classical doctrine, and the romantic doctrine of religion and religious ideas in literature restored their existence as well as revived popular and Christian literature that was neglected in the classical era, as well as the romantic doctrine nourished the spiritual aspect of man and navigated within his feelings and in the labyrinths of his imaginations and inner feeling. Romanticism was particularly concerned with nature, and almost all of its writers were excessively interested in nature. This interest began with Jean-Jacques Rousseau, who is considered the father of romance and romantics, who gave nature a special attention, and he considered city life to be against the healthy innate life. Most romantics are considered the person who grows up in The countryside is closer to common sense due to its proximity to nature and an atmosphere that is not disturbed by city life, which is based on principles and relationships that are more complex and far from common sense.
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Szczepska-Pustkowska, Maria. "Dziecięce filozofowanie na tle romantycznej wizji szlachetnego dzikusa J.J. Rousseau". Problemy Wczesnej Edukacji 29, n.º 2 (30 de junio de 2015): 81–96. http://dx.doi.org/10.5604/01.3001.0008.5663.
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The 18th century brought a sequence of outlook changes to Europe. Although contemporary transformations occurred slowly, their scale exceeded the previously circumscribed frame. Interpenetration of various ideas and cultural achievements, as well as “transnational exchange”, supported information for the coming into existence of the first theories of childhood. One of such theories was born thanks to Jean Jacques Rousseau (1712–1778), thanks to which the Enlightenment and the Romanticism discovered the noble savage child immersed in nature. Reflection on the phenomenon of childlike philosophizing conducted exactly from the perspective of this romantic vision of the child is the purpose of this paper.
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Moisa, Gabriel y Ștefan Moisa. "The 1923 Constitution, a Source for Romania’s Administrative Reorganizations Until the Establishment of the Communist Regime: Case Study: Bihor County". Transylvanian Review 32, n.º 2 (22 de septiembre de 2023): 39–50. http://dx.doi.org/10.33993/tr.2023.2.03.
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The present study attempts to highlight the originality of the Romanian Enlightenment in Transylvania, looking at the way in which the pre-Enlightenment ideas belonging to Dimitrie Cantemir, grounded in the ideological structure of pre-Romanticism in Central Europe, ger minated into the discourse of the members of the Transylvanian School. On the one hand, the author of the study investigates, for each member of the Transylvanian School (Gherontie Cotore, Samuil Micu, Gheorghe Șincai, Petru Maior, Ioan Budai-Deleanu), the takeovers from Cantemir’s work, and, on the other hand, their civic, militant, pragmatic interpretation appropri ate to the political priorities in Transylvania.
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Reid, Donald Malcolm. "Cultural Imperialism and Nationalism: the Struggle to Define and Control the Heritage of Arab Art in Egypt". International Journal of Middle East Studies 24, n.º 1 (febrero de 1992): 57–76. http://dx.doi.org/10.1017/s0020743800001422.
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It was Europeans who started in Egypt a historic preservationist movement for Arab (or Islamic) art.1 It was they who persuaded Khedive Tawfiq to decree, in December 1881, the founding of the Committee for the Conservation of Monuments of Arab Art (hereafter “the Comité,” the usual French designation). It was the European-dominated Comité that opened the Museum of Arab Art three years later, and it was an Englishman, K. A. C. Creswell, who established the Institute of Islamic Archaeology at the Egyptian (later Cairo) University. Why did the Europeans care? In 19th-century Europe, romanticism gave a strong impetus to writers and painters, scholars, and collectors to search for a lost past, the unusual, the exotic, the “Oriental.” This inquiry into the past, at home and abroad, was intimately bound up with Westerners' search for their own identities and with the triumph of the idea of the nation-state. Historic preservationists and museums selected, conserved, and displayed buildings and objects defined as valuable to their national heritages. Romanticism, in part a revolt against classical styles, also spurred a "Gothic revival movement and a fascination with various Oriental styles.
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Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts". European Review 8, n.º 2 (mayo de 2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.
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The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open-air painting as part of the tuition at the Royal Academy of Copenhagen and was, in this respect, a pioneer in a European context. During the 1820s and 30s almost all the young Danish painters were pupils of Eckersberg, and he also influenced the Norwegian J. C. Dahl. The subjects of the Danish paintings are very down-to-earth – they are first and foremost taken from everyday life. In the first decades of nineteenth century, Copenhagen had the status as the most important art centre in Northern Europe, and the art academy attracted many German artists. However, around 1840, a growing nationalism separated the Danish and German artists, and many Danish landscape painters devoted their art to the praise of Denmark. The nationalist artists, however, still stuck to the reality they had actually seen.
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Leerssen, Joep. "Notes toward a Definition of Romantic Nationalism". Romantik: Journal for the Study of Romanticisms 2, n.º 1 (1 de diciembre de 2013): 9. http://dx.doi.org/10.7146/rom.v2i1.20191.
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<p>While the concept ‘Romantic nationalism’ is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and nationalism. In order to come to a more focused understanding of the concept, this article surveys a wide sample of Romantically inflected nationalist activities and practices, and nationalistically inflected cultural productions and reflections of Romantic vintage, drawn from various media (literature, music, the arts, critical and historical writing) and from different countries. On that basis, it is argued that something which can legitimately be called ‘Romantic nationalism’ indeed took shape Europe-wide between 1800 and 1850. A dense and intricately connected node of concerns and exchanges, it affected different countries, cultural fields, and media, and as such it takes up a distinct position alongside political and post-Enlightenment nationalism on the one hand, and the less politically-charged manifestations<br />of Romanticism on the other. A possible definition is suggested by way of the<br />conclusion: Romantic nationalism is the celebration of the nation (defined by its language, history, and cultural character) as an inspiring ideal for artistic expression; and the instrumentalization of that expression in ways of raising the political consciousness.</p>
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García García, Vanessa y Miguel Alvarado Borgoño. "Entre el imaginario y el sacrificio: notas acerca de un lugar de ilusión". Hermenéutica Intercultural, n.º 28 (2 de enero de 2018): 125. http://dx.doi.org/10.29344/07196504.28.1059.
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ResumenEste artículo pretende reflexionar en torno al concepto de imaginario, vinculándolo con instancias privilegiadas de producción y reproducción del fenómeno sacrificial. Asumido este fenómeno como el producto del costo social de los valores.En Latinoamérica, el barroco colonial y el romanticismo emulado de Europa son los modos en que el sacrificio se estetiza e introyecta, pero del mismo modo prosigue operando por medio de él una matriz que posee un origen precolombino; de esta forma, el imaginario proporciona un “lugar de ilusión” en el que el dolor no está ajeno, sino que es una constante antropológica que permite comprender la violencia política como expresión de una densidad sacrificial introyectada.Palabras clave: imaginario - sacrificio - introyección - lugar de ilusión AbstractThis article aims to reflect on the concept of the imaginary, relating it with privileged instances of production and reproduction of the sacrificial phenomenon and assuming this phenomenon as the product of thesocial cost of values.In Latin America, the colonial baroque and the emulated romanticism of Europe are the ways in which the sacrifice is aesthetized and introjected,but in the same way a matrix continues operating through it with apre-Columbian origin; so, the imaginary provides a ‘place of illusion’ inwhich pain is not far, but rather is an anthropological constant allowingto understand political violence as an expression of an introjectedsacrificial density.Keywords: Imaginary - sacrifice - introjection - place of illusion ResumoEste artigo pretende refletir sobre o conceito de imaginário, ligando-a cominstâncias privilegiadas de produção e reprodução do fenômeno sacrificial.Assumido este fenômeno como o produto do custo social dos valores.Na América Latina, o barroco colonial e o romantismo de Europa sãoformas em que o sacrifício é estetiza e introjeta, mas da mesma formacontinua operando através dele uma matriz que possui uma origemprecolombina; desta forma, o imaginário proporciona um «lugar deilusão» em que a dor não é aleia, mas é uma constante antropológicaque permite compreender a violência política como uma expressão deuma densidade sacrificial introjetada.Palavras-chave: imaginário - sacrifício - introjeção - lugar de ilusão
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Pacholski, Jan. "Góry postępowe". Góry, Literatura, Kultura 15 (29 de diciembre de 2021): 191–208. http://dx.doi.org/10.19195/2084-4107.15.12.
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The aim of the present article is to demonstrate that people who explore the mountains or have ties to the mountains are among those who bring progress or at least believe they do. The author also seeks to show that in many periods mountain treks had a rather significant social or religious dimension, and specific groups or classes becoming mountaineers often became a political matter. In order to substantiate the thesis the author uses a number of examples, moving non-chronologically from the twentieth century, especially its first half, through the second half of the nineteenth century, and ending with romanticism and the Enlightenment era. The examples illustrating the author’s thesis are limited territorially to Central Europe, mainly its part that was historically or still is today German-speaking.
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Kalewska, Anna. "As traduções d´Os Lusíadas na Polónia ou a revisitação de Camões entre «os Sármatas» e «os Polónios» (questões históricas, culturais e sócio-políticas)". e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 02 (2019): 27–45. http://dx.doi.org/10.53943/elcv.0119_04.
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The epic poem Os Lusíadas (1572), by Luís Vaz de Camões, generated copies, imitations and translations, in between them the first Polish translation: Luzyada by Jacek Idzi Przybylski (Craccow, 1790). The poem has the power of to raise cultural, social and political questions, becoming the starting point for various theses in different epochs. The work of Camões is a pretext for a meditation about Poland’s past in the epoch of Romanticism and today. Camões invites us for an imaginary journey to the Christian rampart of the East, telling not only what had happened in the epoch of the Discoveries, but also what might have happened in the Easter Europe cultural space open for an imaginary journey coursing various methodological perspectives: history, literature, literary criticism, history of ideas and traductology.
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TOTAN, Virginia. "Musical styles approached by Serbian composers in the first half of the 20th century". Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (27 de enero de 2022): 183–92. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.18.
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The musical creation of Serbian composers is not well known in the European area, primarily due to censorship in the first half of the 20th century when music influenced by European orientations was considered capitalist and was banned on the one hand, and on the other hand due to the fact that most of the works are written in Cyrillic and thus did not reach the European research circuit. It should be mentioned that the course of development of music history in Europe, with its periodization into stages of Baroque, Classicism, Romanticism, Impressionism, Expressionism, Neoclassicism, Avant-garde, and Postmodernism, was not applied to music in Serbia. However, all these styles will be found in the musical creations of Serbian composers in the period from the end of the 19th century and during the 20th century.
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Ormonova, Sabira. "FORMATION OF THE SATIRE GENRE IN THE WORLD LITERATURE". Alatoo Academic Studies 2020, n.º 3 (30 de septiembre de 2020): 262–68. http://dx.doi.org/10.17015/aas.2020.203.31.
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In this article, the author provides an overview of the origin of the genre of satire and humor in literature. Satire as a lyric-epic genre which was originated in the literature of Ancient Rome. In ancient Greek literature, the origin of satire dates back to the II- millennium BC. The development of satire in the Middle Ages continued in the literature of the countries of the East and Europe. In the literature of Western Europe during the Middle Ages, satirical elements can be found in the songs of the Vagant folk poets. 16-17th centuries satirical elements acquire a prosaic and open poetic journalistic nature and are widely disseminated in the writings of writers, working in the directions of romanticism, realism and modernism. In 17-18 centuries in England confrontation between two political parties - Tories and Whigs contributed to the development of the satire genre. 19th century magazine satire tends to feuilleton and contributes to the widespread use of satire in novels and dramas. XX century in the development of Russian satire, the release of magazines plays an important role "Satyricon" (1908-1914), "New Satyricon" (1913-1918).
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Cooper, David L. "Competing Languages of Czech Nation-Building: Jan Kollár and the Melodiousness of Czech". Slavic Review 67, n.º 2 (2008): 301–20. http://dx.doi.org/10.1017/s0037677900023548.
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In the modern era, the institution of literature is being reconceived across Europe as a national institution. But the new paradigm of national literatures requires a remaking of literary discourse, including the transformation of critical terminology, and this results in literary discourse becoming politicized. By analyzing the history of the term libozvučnost (melodiousness) in the Czech national literary revival, David L. Cooper demonstrates how this seemingly innocent literary term became a political lightening rod for friends pursuing the same national program. This strongly suggests that, in the formative era of national literatures, using literary issues to discuss politics is not simply a matter of instrumentalizing literary criticism for covert political activity but that discussing literary values is directly political. The example of libozvučnost also reveals how the “borrowed“ discourses of Romanticism and nationalism were fundamentally remade to respond to the modern Czech situation.
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Gledhill, John. "How to understand power from below without romanticism but with commitment". focaal 2021, n.º 91 (1 de diciembre de 2021): 67–69. http://dx.doi.org/10.3167/fcl.2021.910105.
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I first met Monique at the Colegio de Michoacán, when she was doing fieldwork in Jalisco for her doctoral thesis. We shared interests in both Mexican land reform communities and political anthropology generally and continued to exchange ideas back in Europe. I felt privileged to be invited to be one of the examiners of her thesis in Wageningen, which was awarded a far-from-routine cum laude distinction. I reported to the committee that I judged her work equally outstanding for its depth of ethnographic enquiry and for its theoretical contributions. It reached a much wider audience than specialists on Mexico after being condensed into her book Power, Community, and the State. Here, however, I want to focus on some of Monique's later research, on the urban periphery of Recife, Brazil. By a happy coincidence, our mutual interests converged again in Brazil, where I was working on the urban periphery of Salvador, Bahia, in collaboration with Dr. Maria Gabriela Hita of the Federal University of Bahia; but it is not because of professional links or the deep personal affection that Monique inspired in all her friends that I want to discuss her Recife studies. It is because they confirm that she remains a “presence that does not end,” the wonderful title chosen for the online event paying homage to all her contributions that the Colegio de Michoacán organized in March 2021. Monique's research is highly relevant to the current conjuncture in Brazil, shaped by the 2016 “parliamentary” coup and subsequent election as president of Jair Bolsonaro, whose regime is now regularly accused of being genocidal as well as ecocidal. Since Bolsonaro's popularity is waning and the Supreme Court has drawn a line under the “lawfare” that blocked ex-president Lula of the Workers’ Party (PT) from standing against him in the 2018 election, the return of a more civilized government under Lula's leadership now seems a possibility. Yet for that very reason, Monique's critical analysis of the PT in power in Recife offers us vital lessons about the limitations such a government would need to transcend to eliminate the enduring structural foundations of social injustice.
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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, n.º 56 (10 de julio de 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
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Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
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Aryan, Ayaz Ahmad, Liaqat Iqbal y Rafiq Nawab. "Moral and Political System as Objects of Aesthetic Beauty and the Case of Shelly". Global Language Review V, n.º II (30 de junio de 2020): 72–82. http://dx.doi.org/10.31703/glr.2020(v-ii).08.
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Researchers and critics, most of the time, have drawn the poets of revolutionary and political ideologies and ideals to the description of aesthetics qualification. Percy Bysshe Shelley's aesthetics of Romanticism tackles a new dimension in appraising and understanding the Romantic spur of poetry. The aspect is aesthetics as a moral and political system of Romantic poetry. In this study, Shelley has been studied from the lens of moral and political dimensions as to how through moral and political engagements, he resisted the prevailed system. The method used for such investigation was textual analysis. Shelley's works hold reformist, moral, political, and radical bases, thus motivating his people from within. In a similar pattern, the poet tries to shape his work in a way that intensely substantiates his idealism for the transformation of sustained rigid structure prevailed that time throughout England, especially, and Europe in general.
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Bryant, Michael. "Canaries in the Mineshaft of American Democracy: North American Settler Genocide in the Thought of Raphaël Lemkin". Genocide Studies and Prevention 14, n.º 1 (mayo de 2020): 21–39. http://dx.doi.org/10.5038/1911-9933.14.1.1632.
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Although it is often assumed that Raphael Lemkin’s original concept of genocide related only to Nazi atrocities, in fact the elements of the offense as Lemkin construed it predate his elaboration of genocide in Axis Rule in Europe. It is clear from Lemkin’s published and unpublished writings that he intended his definition to apply to other mass exterminations, including settler-Indian interactions on the North American frontier. Lemkin forsook the constrictive hermeneutics of legal formalism in favour of a broad understanding of genocide. At the heart of his concept was a concern with the preservation of unique cultural forms—the very phenomena under threat from civilian settler colonialism. Lemkin’s surprisingly non-legalistic concept of genocide is rooted less in 20th century legal developments than in European Romanticism. While law was the integument of his concept, the urge to protect cultural ways of being in the world was its life-blood.
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REITAN, RICHARD. "VÖLKERPSYCHOLOGIEAND THE APPROPRIATION OF “SPIRIT” IN MEIJI JAPAN". Modern Intellectual History 7, n.º 3 (30 de septiembre de 2010): 495–522. http://dx.doi.org/10.1017/s1479244310000211.
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Conceptions of Geist (mind/spirit) associated with German Romanticism shaped ideologies of national folk, not only in Europe but elsewhere in the world. In Meiji Japan (1868–1912) psychologists drew upon Volkerpsychologie (folk psychology) and Geist to create a narrative of Japanese folk mind/spirit. Here, spirit functioned as a “hidden essence” which substantiated the integrity of the folk, positioned the folk hierarchically in opposition to other societies, and explained (and presented correctives to) the fragmentation of Japanese society. Japanese psychologists, I argue, appropriated the narrative form of Geist discourse, retaining its ideological power even as they altered its substance by divesting German psychology of its orientalist and Christian content. Attention to Japan's engagement with nineteenth-century German psychology will contribute to a more thorough account of the production of “spirit” in Meiji Japan and to a critique of present-day exclusionary ideologies of Japanese spirit and identity.
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William R. Shea. "CREATIVITY IN THE ARTS AND SCIENCE". Revista Vitruvian Cogitationes 1, n.º 1 (16 de mayo de 2022): 22–35. http://dx.doi.org/10.4025/rvc.v1i1.63579.
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Only a very rash person would attempt to define creativity in either the arts or science, let alone in both. There is no known recipe for creativity, no magic formula that opens the sluices of originality and guarantees a steady flow of new ideas and fresh insights. Indeed, we do not even know whether creativity is all kind and whether it can be meaningfully discussed under one general category. All we can legitimately do is describe creativity as it is manifested in various fields of human endeavour, from the creation of a beautiful poem to the invention of a new scientific theory. We tackle this problem in the first part of this article; in the second, we take a closer look at artistic and literary representation of science in Europe from the Renaissance to the Romanticism, and, in the third part, we examine the current situation.