Romanticism Research Articles

Poésie et astronomie. De l’antiquité au romantism edited by Florian Barrière and Caroline Bertonèche

This collection of essays edited by Florian Barrière and Caroline Bertonèche presents an anthropological and cultural approach to astronomical themes in poetic works from antiquity to the Romantic period (with emphasis on Latin literature and British Romantic poetry). Apart from the main subject, the framework spans myth, theater, natural philosophy, and musical composition. Although the reader can tell that the emphasis is on the philological aspects of works, it is done with much careful consideration of contemporary scientific and philosophical debate and a good knowledge of the critical literature.

On Informality - Programmed Spontaneity in Spatial Design

In the history of European-based classical architecture, the concept of formalism has often been understood as a deviation from canonical form. Until the cultural changes introduced by the Romantic movement in the nineteenth century, the repetition of established formal rules was prevalent in architectural theory and practice. However, the last two hundred years have shown an increasing fascination with the possibility of incorporating the features of “architecture without architects” in the discourse and practice of conventional design, progressively codifying them into theoretical and formal canons. On an urban and territorial scale, the formal characteristics of the so-called informal settlements are currently being systematised and subsequently replicated in design practice. This is exacerbated by market economy and by the broad subject of taste. The aesthetic of spontaneity and the induction of informality have become established architectural concepts, criteria and goals. The differences between the needs of rapidly expanding built territories (in rich or in poor contexts) and those which face mainly punctual adaptations have become clearer, as they often require conflicting approaches. Therefore, the degree of informality enabled in the design process and desired as a design purpose is a key conceptual and practical factor in contemporary spatial planning.

Unparalleled Intimacy with Nature in Wordsworth's Poetries

This study delves at William Wordsworth's unique relationship with nature as it appears in his poetry. Wordsworth's poetry is defined by a deep and personal connection to nature that goes beyond simple poetic adoration. This research examines Wordsworth's lyrical ballads and love rhymes to show how nature functions in his poetry as an allegory, a reflection of the self, a guide to morality, and a reflection of the human condition. Wordsworth's representation of nature is what sets him apart from his contemporaries and makes him a forerunner of the Romantic movement, which is explored in depth here. Wordsworth's contribution in establishing modern environmental consciousness is also highlighted, as is the influence of his lyrical connection with nature on following generations of poets and environmental philosophers. Our study aims to honor Wordsworth's literary legacy by illuminating the timeless truth of his words in an urbanized, technological age. In doing so, we attest to the perennial relevance of the natural world as both muse and metaphor for the intricacies of the human experience.

Semiotic Analysis of “Super Reader” in “I Wandered Lonely as a Cloud” Poem by William Wordsworth

ABSTRACT This study aims to analyze the figure of speech in the poem “I Wandered Lonely as a Cloud” by William Wordsworth. The study's design is descriptive qualitative with no changes in the variables. It described the result of the semiotic analysis of the poetry “I Wandered Lonely as a Cloud”. The research technique has been done by using the super reader theory of analysis by Michael Riffaterre which focuses on three concepts: displacing, distorting, and creating. The result of the analysis shows that William Wordsworth’s poem represents super reader theory. Displacing the meaning of semiotic Super Reader reveals figurative language such as metaphor, personification, simile, and synecdoche. The figurative language revealed by the displacing and distorted meaning shows how the reflection of solitudes is described and his view on the sound of crowded society in the romantic age. This creates meaning when he feels lonely, angry, and alienated from it. The figurative language of metaphor has more dominance in this poem that relates to distorting meaning that some phrases or clauses have ambiguity, contradiction, and nonsense.

“A heroine of ancient times”: Maternity, History, and Empire in Jane West’s The Advantages of Education and The Mother

ABSTRACT Jane West’s novel The Advantages of Education (1793) and her critically neglected epic poem The Mother (1809) signal the role of historical discourse in establishing cultural importance for white British women—mothers in particular—in the Romantic period. They also clarify the ideological importance of mothers to the ascendance of the second British Empire of the nineteenth century. In both texts, mothers are emissaries for the stadial historical theory that positioned Great Britain as a nation destined to dominate less “civilized” parts of the globe. Amelia Williams in The Advantages of Education and the multitude of mothers in West’s epic poem signify the order, self-regulation, and prosperity at the heart of the Empire’s emerging moral imperative. Both texts show how women writers in the Romantic period might revise existing genres in creative ways while simultaneously contributing to a nascent Western feminism that depends upon dehumanizing binaries.

:Living as an Author in the Romantic Period

:<i>Living as an Author in the Romantic Period</i>

The Enchanted North

Abstract The article explores ‘off the grid’ representations in social media, with a focus on how these representations reproduce imaginaries of nature, place and gender. The analysis material consists of content produced by three influencers who left urban life for a simpler lifestyle in northern Sweden. We find that the social media content draws on numerous ideals: neoliberal ideals on digital entrepreneurship, anti-capitalist ideals on ‘escaping’ modern consumerist society and romantic (sometimes colonial) envisioning of northern Sweden as wild and empty land. We conclude that the ‘off grid’ social media representations and the various ideals they incorporate should be understood as expressions of a contemporary era of neoliberal romanticism: a trend that exists both online and offline.

Биографический миф о Гайдне в интерпретации Стендаля и Жорж Санд

The article deals with the peculiarities of the interpretation of the Haydn myth in the French literature of the Romantic era ‒ Stendhal’s essay “Vies de Haydn, Mozart et Metastase”, 1814 and George Sand’s novel “Consuelo”, 1843. It is shown how the invariant of the biographical myth is adjusted ac-cording to individual creative attitudes and existing cultural and artistic stereotypes. Stendhal, remaining within the established biographical invariant, emphasizes Haydn’s ingenuity and tenacity, discipline, natural optimism and devotion to his work. He sees in Haydn’s melodicism a manifestation of talent, free from the restrictive rules of counterpoint. At the same time, the life story of the composer is an opportunity not only to express his idea of music as the most unformal form of art, but also to try on the fate of the artist-creator. George Sand’s Haydn is shown as the incarnation of the exemplary ideas of genius and in this sense is opposed to the protagonist – Consuelo. Like Stendhal, the writer actualizes those dominants of the biographical image which are concordant with her ideas of a creative personality. The novelistic Haydn is laborious, determined, unpretentious, good-hearted and fully devoted to music. These are the qualities that serve to ensure the artist’s inner free-dom. However, despite all the differences in creative strategies, both Stendhal and George Sand proceed from the biographical myth of Haydn which is rooted in the European cultural tradition and is based on the key seme “Papa Haydn” that conceptually determines the composer’s creative manner, character, lifestyle and way of social interaction, as well as his place in the musical landscape of the time.

Harmonic Rhythm in Western European Romantic Music

The article is devoted to the phenomena related to the rhythm of harmonic changes in its relationship with musical formation. The research perspective is stylistic. The author focuses on the music of Western European composers of the 19th century. E. Aleksandrova reveals compositional and dramaturgic patterns in the manifestation of harmonic rhythm in the context of the individualised thematicism of composers of the Romantic movement.

AN ABORTIVE VOYAGE: J. VON EICHENDORFF’S EINE MEERFAHRT AS A HISTORY OF THE ROMANTIC MOVEMENT

This article dwells upon time and space in J. von Eichendorff’s Eine Meerfahrt (1836). Eichendorff seldom uses the sea as an element of his fictitious landscapes; there are, however, a few prominent cases where the sea becomes a symbol of the Absolute, of an element comprising the entire world. Eichendorff rarely uses such an image; he typically relies upon creeks, rivers, streams, etc. The imagery of the novella Eine Meerfahrt provides for an impressive array of allusions to different texts, both by other authors and by Eichendorff himself. In earlier works, Eichendorff used such allusions as a means of discussion, arguing in favor or against certain elements of the worldview expressed in the works of his fellow romanticists. This article suggests that Eine Meerfahrt is different in nature, being comparable rather to Eichendorff’s later works on literary history. This novella is interpreted as a literary ‘biography’ of the Romantic movement. Eine Meerfahrt speaks of a voyage, or rather two voyages across the ocean, both abortive; these are regarded as a symbolic depiction of the ‘promise’ and ‘failure’ of the Romanticism (Eichendorff used these expressions in his autobiographic notes). A change in the narrator’s point of view, which is observed in the last lines of the novella, is interpreted as a shift into the point of view of a historian who is detached both from the passed Romantic era and from the new epoch coming in its stead.

Liederkreis: Towards a Pedagogical Insight

The German term, Liederkreis, translated as a song cycle, refers to a group or cycle of individually completed songs, designed to be performed in a sequence as a unit. This paper employs a bibliographic strategy, seeking to trace the evolution of this musical genre, and determine its implication for music pedagogy, premised on the theory of contiguity. Saturated data, collected through document review, were subjected to thematic-textual analysis. Findings suggest that song cycles emerged, towards the end of the Classical period and rose to their highest point in the Romantic period, with Beethoven having the credit for pioneering the genre. The study also revealed that in Leiderkreis, key relationship is important and plays a coherent role by making the songs an organic, composite whole in a manner which could be either formal or dynamic. It was concluded that Liederkreis has rich pedagogical prospects due to its focus on the strengths, talents, abilities of every student. The study recommended deliberate and adequate use of Liederkreis in the music classroom. By doing so, students could learn to value each other’s uniqueness in strengths, abilities, and competencies thereby promoting a community of learners where music teaching and learning becomes simplistic and organic, allowing all to grow and bloom. Future research will examine the extent to which Liederkreis has been employed in various music instructional contexts.

The Accordionist Profile in the Work Asas by Christopher Bochmann

The Accordion, portable aerophone invented and patented in 1829 by Cyrill Damian in Austria, emerges in the 21st century as one of the most versatile instruments in the history of music [1].&#x0D; Several factors contribute to this connection: portability, multi-timbral sound, ability to play melody and accompaniment, possibility of performing counterpoint, independence of hands, among other characteristics. In this context, the second half of the 20th century was crucial for an unprecedented development both in organological, interpretative and compositional terms. The Accordion versatility extends today from popular and traditional music to contemporary music, passing through Jazz. In the field of transcribing works, the accordion's features allow you to approach works from the Baroque, Classical, Romantic periods, among others, either solo or in chamber music. Asas, a work for Accordion, Soprano Voice, Saxophone, Viola and Cello composed by Christopher Bochmann is a good example of the integration of the Accordion in the panorama of contemporary music and in the performative relationship with other instruments.

Retracted: The Ecological Consciousness of Natural Writing in British and American Romantic Literature.

[This retracts the article DOI: 10.1155/2022/8233269.].

An Overview of the Romantic Age, Romantic Poets and Romantic Poetry in English Literature: A Critical Analysis

An Overview of the Romantic Age, Romantic Poets and Romantic Poetry in English Literature: A Critical Analysis

Exploring Political and Cultural reflections in Goethe's The Sorrows of Young Werther

This research paper examines Goethe's novel The Sorrows of Young Werther as a combination of literature and politics. By analyzing the social and political context in which the novel was written and published, the paper explores the ways in which Goethe's work reflects the political tensions and cultural changes of its time. The qualitative approach is utilized and content analysis is provided. The paper also considers the role of literature as a tool for political commentary and criticism, particularly in the context of the emerging Romantic movement in Germany. This research also highlights the significance of The Sorrows of Young Werther as both a literary masterpiece and a political statement and sheds light on the complex relationship between literature and politics in the early 19th century.

TRANSFORMATION OF ROMANTIC MOTIFS IN J. SCHUMACHER’S MUSICAL FILM THE PHANTOM OF THE OPERA

The article analyses how J. Schumacher’s musical film The Phantom of the Opera (2004), based on A. L. Webber’s musical, revises some elements of the artistic and aesthetic system of Romanticism. Since the musical was based on the novel of the same name (1910) by a French Romantic writer Gaston Leroux, this multi-step reinterpretation allows one to observe a special perspective of the "end of a century" – to track how the postmodern film adaptation reflects the artistic and aesthetic shifts of the late 18th – early 19th century (when Romanticism emerged) and late 19th – early 20th century (Neo-Romanticism). At the same time, in J. Schumacher’s musical film, the forms of art associated with special artistic and aesthetic aspirations (theatre at the beginning of the 19th century, cinema at the beginning of the 20th century) define certain stylistic dominants and become markers of time, its revolutionary and catastrophic changes, as well as moral and aesthetic constants.&#x0D; While the Romantic concept of the man and art is subject to reduction and profanation in G. Leroux’s epigonic novel, the context of postmodern film narration makes it possible both to enrich it with the artistic achievements of a two-century artistic evolution and simplify it to a universal formula. The artistic whole of the musical film The Phantom of the Opera reproduces the motifs peculiar to the brilliant authors of European and American Romanticism (G. G. Byron, E. T. A. Hoffman, V. Hugo, E. A. Poe) and epitomizes the ideals of humanism that reach their maximum in Christianity-inspired Classical Realism of the 19th century. The film neutralizes such traditionally associated with Romanticism oppositions as those of the ideal and reality or the artist and the general public. Art and life interact, creating a prerequisite for mutual understanding, harmonization, and escaping the tragic contradictions of being. This interaction enables reality to open up new opportunities, and art turns out to be the place of salvation and restoration of love-based relationships among people.

Melody Master Tchaikovsky: Analysis of Ethnic Colors in the Piano Suite "Four Seasons"

Tchaikovsky was a great musician in Russia during the Romantic period. Due to his melodic works, he was known as the "master of melody" in Russia and received an honorary doctoral degree from the University of Cambridge in the United Kingdom. His creative genres cover a wide range of opera, dance, symphonies, concertos, and piano works. His music incorporates the characteristics of folk songs and his works reflect the oppressive psychology of the Russian people under the Tsar's rule, as well as their longing and longing for a better life in the future. He is committed to revealing the conflicting emotions within people's hearts. His later works are full of strong dramatic conflicts, his own thoughts on life, and fiery emotional colors. This article takes Tchaikovsky's piano suite "Four Seasons" as the text, and analyzes the ethnic characteristics of Tchaikovsky's works from the perspective of ethnology, using acoustic methods. The aim is to clarify the ethnic colors in "The Four Seasons" and reveal the profound ethnic connotations in Tchaikovsky's music works by utilizing elements such as harmony and melody.

Austen’s Men, Immortality and Intertextuality

Jane Austen’s men are central to her immortality and enduring appeal in the twenty-first century. This article links the intertextual imagining and re-imagining of Austen’s men with her own textual practice in the Romantic Era. Drawing on emerging methodologies for identifying and interpreting literary influence in the Romantic Era, threads of influence are established between Austen and contemporary Romantic-Era novelists, including Jane West, Hannah More, Maria Edgeworth, Sydney Owenson and Jane Porter. Reading these novelists collectively reveals a shared authorial undertaking in interrogating and rewriting masculinity through fictional genres emerging in the Romantic Era.

Sámi Literature in Norwegian Language Arts Textbooks

Sámi Literature in Norwegian Language Arts Textbooks

Spiritual Aspect of Early Music on The Example of Organ Compositions

The author of the article examines the stereotypical perception of the organ as a church instrument, that is connected with the facts of the construction of the first wind organs after the destruction of the hydrolos precisely in monasteries, as well as it is due to the existence of a large number of musicians-organists who still participate in divine services today. The study, based on the Ukrainian specialized scientific literature, analyzed the problems of the connection of early music with the work of romantic composers. The author notes that there is a need to study baroque symbolism to deepen the understanding of J.S. Bach's music, which is an integral part of the performance training of organists and pianists. The historical roots of early music were discovered as a result of a review of certain sources. It has been proven that music has always been close to the exact sciences - for example, during the early Middle Ages, the "seven liberal arts" that were compulsory to study in schools included the "trivius" (grammar, rhetoric and dialectic) and the "quadrivius" (arithmetic, geometry, astronomy and music). The author investigated the gradual transformation of organists from strict "servants of the cult" into concert musicians of the Baroque era. It is noted that the considered period was characterized by the perception of music as a language in which almost everything "speaks": musical form, texture, size, duration of notes, rhythmic pattern, voicing, tempo, tessitura used in the work, etc. The ways of interaction of the organist with the author's text during the study of motivic and numerical symbolism were outlined. Basics were defined for deciphering the J. S. Bach’s work. Classicism is characterized, during its heyday, Bach's compositions were heard mainly in the church. The devaluation of the instrumental works of ancient composers (in particular, J.S. Bach) in the period of romanticism and the transition of the organ to a virtuoso concert instrument are described, using the examples of the techniques of playing the organ by F. Liszt and M. Reger, etc. Late Romanticism is presented as a movement in which the attitude of musicians to the heritage of ancient composers was revised thanks to the German movement "back to Zilbermann" (led by A. Schweitzer). The study gives a description of the specifics that are possible to apply for studying the design of J.S. Bach's work. The urgent need to examine the ancient music as a source of spirituality in the work of modern organ composers is emphasized.