Romantic Conception Research Articles

Aldous Huxley, Brave New World The Good Savage – Rousseau

The Noble Savage is an idealized concept of the uncivilized man, who symbolizes the innate goodness of one not exposed to the corrupting influences of civilization. It is a romantic conception of a man enjoying a natural and noble existence until civilization makes him a slave and corrupts him. John the Savage is the son born of parents from the Brave New World, but raised in the Savage Reservation, John represents a challenge to the dystopia. He is the character closest to being the hero of the novel. John is labelled a savage in Brave New World because he rejects society’s values and prefers to live as people did in older times. Even though he rejects the society tells him is civilized John is closest in mindset and experience to what we consider civilized today. John is the only character in the novel burn naturally of a mother, as opposed being born in a laboratory from a test-tube procedure. John maintains a familial relationship with his mother, while the other characters never know their parents. John reads Shakespeare as a hobby, while the other characters use drugs and sex as their only sources of recreation. And finally, once in London, John abhors society and claims that freedom and individuality should never be sacrificed for the sake of stability.

The World in Ruins: Wordsworth, Du Bois, and Silko

Abstract For W. E. B. Du Bois and Leslie Silko, ruins are sites of haunting pain and injustice as well as of liberatory hope and renovation. Reflecting on the image of the ruin in their writings against the backdrop of Romanticism, this article depicts two Romantic conceptions of ruins: the picturesque ruin and the Wordsworthian prophetic ruin. Against these contrasting employments of the ruin, the article discusses how Du Bois and Silko subvert the picturesque ruin and radically extend and transform the prophetic ruin. The article then claims that some ruins are so catastrophic, it is not much of an exaggeration to speak of a ruined planet due to such forces as white supremacy, settler colonialism, and climate change. The present article concludes by reflecting on the work of renovation—that is, rebuilding in the shadows of the ruin having learned from its lessons, history, and ghosts.

Romantic Hope and “Black Despair”: A Brief History

Scholars coordinate the historical emergence of political hope with the French Revolution, Romanticism, and the secularization of inherited theological ideas. This essay argues that the conceptual development of political hope functioned as a technology of racialization. Drawing attention to how hope’s theological opposite, despair, had become synonymous with racial slavery in the late eighteenth-century British political imagination, it unpacks the figural logic of “black despair” and shows how this logic subtends the Romantic conception of political hope as a hereditary right of the white liberal subject.

Language Plurality and Practices of Translation in Sigmund Freud's Work: Another Chapter in the History of Multilingualism in the German-Speaking Lands

abstract: By bringing together various examples of multilingualism in Freud's work, this article addresses the question of how experiences of linguistic diversity and translation might have affected the development of psychoanalytic language thinking. In a historical perspective, by conceiving of humans as essentially polyphonic and every language as ambiguous, Freud's theory stands in remarkable opposition to the romantic conception of a unique mother tongue and the long-standing cultural devaluation of multilingualism in the German-speaking lands. It therefore deserves to be reassessed and integrated into current research on the history of cultural and literary forms of multilingualism.

The Phenomenon of Romanization in Jhumpa Lahiri’s Collection of Short Stories «Unaccustomed Earth»

The aim of this article is to analyze the genre form of a short story on the example of Jhumpa Lahiri’s short prose in the aspect of the phenomenon of romanization. The subject of the study is the determination of the features of romanization disclosed in the genre structure of the second part of short stories’s collection «Unaccustomed Earth» entitled «Hema and Kaushik». As an object of research the three stories («Once in a Lifetime», «Year’s End», «Going Ashore») united by a common plot were chosen which form the second part of the collection. The relevance of the work is explained by the fact that the study of works of modern multicultural and postcolonial literature in the genre aspect allows us to reveal the features of the functioning and modification of stable genre forms in the literary process. The method of structural analysis and the comparative method have made it possible to examine the process of romanization on the compositional, subjective and spatial–temporal levels of the text and reveal the correlation of the short story form with the American tradition of the genre. The scientific novelty consists in applying the new approach to the analysis of the genre form of this collection within the framework of the concept of romanization. The study concludes that the romanization of a short story is based on the complication of compositional, subjective and spatial–temporal organizations. This leads to the integration of the stories into a cohesive narration united by the several main characters whose names gave the title to the second part of the collection. Besides, the genre strategies of a short story including a narrator’ figure, covering a single event of the past are putting in the front which is expressed in the use of the ending like in a novella.

Hypostases of the adaptation of psalter Melos to the prosody and topic of the Romanian language in the first half of the 19th century

If the 18th century initiated - through Psaltichia Rumănească by Filotei sin Agăi Jipei - the process of autochthonization of psalter singing in the Romanian area, and then it ensured its upward course, the first half of the 19th century marks the zenith of the approach, bringing in the foreground personalities such as Macarie Hieromonk and Anton Pann. Both the Macarian concept of Romanization of sacred singing, as well as Anton Pann’s achievements in this domain, have a certain artistic and instructive value and, in their time, were affirmed as attitudes and models to follow. At the same time, the current Byzantinistics insists on the limited character of these contributions, showing that the two precursors only referred to Constantinopolitan singing after 1814 and did not capitalize on the old autochthonous liturgical music, did not take into account the psalter singing from villages, close to the folkloric matrix. They aimed especially at the text of the pew singing and not at the musical background, which changes only to a small extent.

BYRONISM AND GEORGESANDISM IN THE FIRST HALF OF THE 19TH CENTURY AS SOCIOCULTURAL MYTHS OF ROMANTICISM: A TYPOLOGY OF DISTINCTIVITY

: The article analyzes the features of Byronism and Georgesandism as sociocultural myths that arose in the post-revolutionary era and embodied the totality of socio-aesthetic gender representations. On the basis of the historical-typological approach, taking into account the trends of modern comparative studies, the origins of the gender opposition of male and female — the Hero and the Heroine — are regarded in the poetics of personified myths — Byronism and Georgesandism, which acquired an all-European scale in European culture of the first half of the 19th century. At the Enlightenment stage of mastering the specifics of the intimate and the public, the development of the ideas of civil society, the destruction of the paradigms of mental and universal laws of aesthetics, in public life and literature of the 18th century there was an increase in the gender consciousness of society. In the article it is correlated with the French tradition — the sentimentalist novel by J.-J. Rousseau Julia, or the new Eloise and the romantic concepts of the hero and the heroine in the works of Germain de Stael, where the conflict, antithesis, dichotomy of the feminine and the masculine began to be artistically meaningful from the standpoint of social and psychological egalitarianism. It is proved that Byronism and Georgesandism were complementary and oppositional to each other as socio-aesthetic currents, systems, paradigms, myths, in which variously interpreted skepticism and the individualistic concept of the Hero, the poet, are opposed to optimism and utopia, the feminine myth of the Heroine — in the works and biography of George Sand. The gender originality of typologically related romantic value ideas is considered: aspiration for the absolute, spiritual maximalism with a clear priority of the male myth in the image of Byron and his work — and the female, socialistically marked in George Sand. Biographical and biographically related material, the work of each in the first half of the century formed the basis of sociocultural and romantic symbolizations that characterize and form the gender specificity of the text of romantic culture.

Prometheus on Perelandra: The Inversion of the Satanic Hero in C.S. Lewis’s Perelandra

Approaching the character of Satan in A Preface to Paradise Lost, C.S. Lewis asserted that the Romantics’ admiration for Milton’s angelic rebel as a heroic figure was misplaced. It is a passing reference, but the comment revealed Lewis’s discomfort with the concept of the romantic hero. Two years later, he would continue his investigation of this archetype with his publication of Perelandra. While the way Lewis reworked facets of Miltonic’s Paradise Lost in his extra-terrestrial Garden of Eden have been well studied, the obvious sources for Lewis’s work loom so large in its scholarship that the similar reimagining of Romantic concepts and character types in which he engaged has received little attention. Yet the presence of Romantic echoes among all of the medieval allusions is quite telling. Lewis seems to make particular use of Shelly’s Prometheus Unbound, his favourite poem, in much the same way he does Paradise Lost, adapting that which he loved while ‘correcting’ that which he felt went wrong. This explores this recasting of Romantic concepts and observe Lewis’s efforts to bring the Byronic hero in line with the Christian cosmology of the Ransom trilogy, trying to paint a picture of authentically realized humanity.

Interpretation of Schumann's 'Humoreske' in B flat major, op. 20, within the context of Jean Paul Richter's romantic concept of 'humor'

This research began with the realization that Schumann's idea of "humor" (which the title of his work implies) might be very different from our own, and should be understood within the cultural and philosophical context of his time. To this end, I decided to base my research on the writings of celebrated author Jean Paul Richter, whom Schumann idolized, and who devoted a large section of his "Introduction to Aesthetics" to the subject of humor; the profound psychological connections between Schumann and Jean Paul, which I point out, are also very revealing. I went on to summarize some concepts within Jean Paul's definition of humor which seemed the most naturally analogous with the act of musical interpretation, such as romantic irony, "the Absurd" and "humorous sensuousness". In the final part of the research I put these ideas to use by experimenting with the interpretation of different sections of the "Humoreske"; in the written exposition I provided recordings to demonstrate the different possibilities which arise from this analogy, as well as a written explanation of the thought process behind each one. For the presentation I will demonstrate this at the piano. These recordings are the "final" result of my research in the sense that they represent a clear answer to the research question. However, while the process of conscious experimentation was illuminating- and can be repeated with any other work by the composer!- I believe that the most important result of this research would be impossible to document or present here: that is, the more subtle, subconscious way in which understanding Schumann's connection with the spirit of his time will continue to influence my playing.

Thunderstorms underground: Giuseppe Saverio Poli and the electric earthquake.

This paper presents a case study of the "electric hypothesis" of the causes of earthquakes, which emerged in the second half of the eighteenth century as part of the first studies of seismology. This hypothesis was related to Franklin's views on atmospheric electricity and developed in a period when electric phenomena were widely studied, and was essentially based on solid empirical evidence and confirmed by model experiments. Even though it resulted from scientific reasoning, the theory remained strongly empirical, and was supported by Italian scholars who were familiar with seismic events. Among these, Giuseppe Saverio Poli, a follower of Franklin, was able to provide a careful and comprehensive explanation of the disastrous earthquake of 1783, which occurred in Calabria, a region of southern Italy, and the St. Anne earthquake of 1805, by drawing not just upon the electric evidence, but all the relevant phenomenology available. We outline here the emergence, the development, and the later evolution (up to the beginning of the nineteenth century) of the "electric earthquake" paradigm by focusing on different works by Poli, including a previously unknown manuscript containing a thorough account of the Calabria earthquake prepared by the Neapolitan scholar for the Royal Society. The present case study therefore offers the opportunity to illustrate how electrical science shaped earthquake science to a degree not usually appreciated in the literature, and is also supported to some extent by the transition from Enlightenment scientific ideals to the Romantic conception of unity in the natural world, in search of common causes among phenomena belonging to different fields.

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.
 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.

The Entanglements of Matter, Mind, and Meaning: Novalis’s “Elastic Mode of Thinking”

This article explores the methodological, aesthetic, and ecological implications of Novalis’s dynamic conception of matter, called “original elastic fluid.” By elucidating a set of this fluid’s generative and performative capacities, Novalis explains the non-teleological and contingent emergence of natural objects and organic forms as well as mental figures and poetic genres. This article argues that Novalis’s model of a “dynamic materialism” resonates with recent new materialist discourses that emphasize the agency of inorganic matter. More specifically, Karen Barad’s “material-discursive” approach, derived from quantum phenomena that suggest the inseparability of meaning and matter, is comparable to the ways in which Novalis draws on dynamic laws of fluidity to develop an “elastic mode of thinking” and a Romantic conception of prose with a characteristically loose rhythmic structure. A reading of Die Lehrlinge zu Sais as an example of this prose form sheds new light on the entangled relationship between mind and nature and “ecopoetic” approaches to nature.

Problems of fate and free will in Hauptmann's “Iphigenia in Delphi” drama

The article is devoted to the problem of Gerhart Johann Robert Hauptmann’s interpretation of his own views concerning the problem of fate and freewill, which sheds light on the general problem of modern, connected with the eternal process of creative personality, formation. The objectives of the work correspond to this: to substantiate the leading role of anthropological patterns in the Art Nouveau era, to reveal the dynamics of G.Hauptmann’s formation on the basis of commenting his theoretical and artistic works, to reflect in this respect the overcoming of fate and gaining freedom by the heroine of the late drama “Iphigenia in Delphi”. In the course of the analysis, it was revealed that in his later work, G.Hauptmann retains the same views on the fatal predetermination deprived of real being, and he switches to the sphere of feelings. In this case, special attention is paid to the author’s revision of the romantic concept, in which the idea of immortality, transcend the borders of the visible world, became the main one for the said writer. It is from these positions that Iphigenia’s image is revealed. Seeking self-understanding and identity, she renounces the Olympian world, in which sacrifice and fear of gods is the norm, and she voluntarily returns to Hecate’s Palace, as it is in them that a new immortal existence takes place. The conclusion is made about the birth of a new personality through the conception of one’s own existence, the rejection of dogmatic conceptions from the power of the doom makes the individual free, strong and unbroken by anything or anybody.

Reflections on Remixing New Romanticisms: A Plenary Workshop on Anti-Racist Teaching

ABSTRACT This essay is a co-written reflection by two educators on a plenary workshop we led together called “Remixing New Romanticisms: A Workshop on Anti-racist Teaching” during the 2022 NASSR/BARS Conference. We presented on the teaching resource we developed as inaugural fellows of the 2021–2022 Keats-Shelley Association of America/Romantic Circles Anti-Racist Pedagogy Colloquium. First, we explain how we adapted Nicole N. Aljoe, Elizabeth Maddock Dillon, Benjamin J. Doyle, and Elizabeth Hopwood's theory of “remixing” to design constellations that re-envision Romantic concepts such as Revolution and Rebellion, Nature and Ecology, and Imagination through the curation of innovative archival materials. We then discuss a specific example of remixing that we covered in depth, our Q and A session with workshop participants, and an anti-racist teaching resource they created. In addition, we explore other anti-racist pedagogies mentioned during the workshop, among them teaching with tension, valuing student knowledge, and critical fabulation. We frame these concerns within a broader consideration of the need to reconstruct the traditional forms of knowledge that shape our disciplines so that they are more inclusive and accessible for everyone, especially students.

The Multi-layeredness of the Illustrated Book Otok (The Island)

Otok (The Island), an illustrated book, depicts a dystopian future of an unnamed Croatian island. Grandma, the main heroine and narrator, welcomes her granddaughter Zrinka, who arrives by boat from Zagreb. The majority of the island has sunk, and the remainder is inhabited by a few elderly people. Former Mediterranean vegetation has vanished, there are no animals, the sea is poisonous and greasy, the land is poisoned and barren, and the sky is cloudy but devoid of rain. The goal of this paper is to determine which issues emerge in the illustrated book and how they are depicted, as well as to evaluate aesthetic characteristics of the story. The importance of narration in the book cannot be overstated - two stories are told from Grandma’s point of view: the story of the dystopian present (told in the present tense), which is the opposite of Grandma’s melancholy story of the past and Hans Christian Andersen’s fairy tale of Thumbelina. Thumbelina is also the main intertext of the illustrated book, which is dominated by a romantic concept of childhood (the kind that Grandma remembers). That image of childhood contrasts with Zrinka’s posthumanist childhood, which is represented by a completely altered Little Red Riding Hood in the form of a computer game.

엘리엇의 객관성 시학과 감정의 자리

My paper aims to find the locus of emotion in T. S. Eliot’s objective poetics. Eliot is best known as the promulgator of modern poetics of objectivity in contrast to the Romantic conception of poetry emphasizing subjective feelings. Specifically, along with “an objective correlative,” “impersonality,” defined as “escape from emotion” or “escape from personality,” becomes the watchword identifying the objectivity of his poetic theory. The problem is that the subsequent Modernist reception of Eliot’s poetics contains misunderstanding it as if it disregarded the emotional aspect of poetry. But, actually, Eliot affirms emotion and personality as the essential poetic experiences over and over again throughout his essays on poetry. And even in those scholars who have recognized that affirmation, the problem lies, too: they are at a loss, looking on Eliot’s acknowledgment of both personality and impersonality as a contradiction. In an attempt to solve these problems, my thesis has raised and justified the argument that Eliot, in his basic premise, allocates “impersonality” in the sphere of the poetic technique of creation and “personality” or “emotion” in the locus of the poetic content. By finding the locus of emotion in another poetic sphere than the objective technique, my argument has concomitantly clarified that Eliot’s conceptions of personality and impersonality are not contradictory at all but consistent over the critical writings published throughout his career.

Uncertainty in Early German Romanticism

This introduction explores how uncertainty was used as a poetic and philosophical tool around 1800. It first sets up the historical context for the appropriation of uncertainty by underscoring the philosophical interest in challenging the foundations of knowledge. It then focuses on German Romanticism, using the writings of Novalis and Friedrich Schlegel as its primary reference point for an analysis of the poetic and philosophical implications of uncertainty. The authors argue that the work of these two writers presents a philosophical engagement with uncertainty as a problem in its own right and a desire to connect uncertainty to important romantic concepts such as chaos and hypothesis. The introduction concludes with an emphasis on Schlegel’s contributions to the problem of uncertainty.

Эпистолярная дидактика В.А. Жуковского (на материале переписки с членами царской семьи)

Today it is obvious that the texts created by Zhukovsky, including personal letters, are mostly “saturated” with ideas of educative instruction, expressed directly or in subtext. These ideas are organically part of the romantic concepts of life-creation and self-building, and lead the poet to specific socio-cultural practices, in particular, pedagogical ones. The article deals with Zhukovsky's letters to the royal children (Grand Dukes Alexander Nikolayevich, Konstantin Nikolayevich, Grand Duchess Maria Nikolaevna) and their parents, Nicholas I and Empress Alexandra Feodorovna, of the 1820s - early 1850s, as well as response letters from these addressees. The aim of the article is to study this part of Zhukovsky's epistolary works from the perspective of its didactic dominant, which researchers have not yet explored. The article models a holistic concept of Zhukovsky's didactics as educative instruction, analyses different strategies for its presentation in letters to royal persons, depending on the addressee, and also considers Zhukovsky's use of epistolary practices for didactic purposes. The author refers to the methodology of research in the field of “court pedagogy”, epistolary practices of the first third of the 19th century, life-building and life-creation, and works about Zhukovsky as a writer-educator. The historical and cultural method of research is also used, which makes it possible to see the place of Zhukovsky's epistolary didactics in the pedagogical tradition. The analysis carried out led to the following conclusions. Most of Zhukovsky's letters of a didactic nature are addressed to his pupil and student, Grand Duke Alexander Nikolayevich. They highlight two of the most common meanings of statements. The first and dominant determines the educational pathos of the text; the second, actually didactic, is the main one in later messages addressed to the Grand Duke about the education of his children. In the letters, as a rule, Zhukovsky focuses on the representation of events from the life of the state through the prism of history as a moral process filled with behavioural models that give the reader the vector of their perception, experience and comprehension. Zhukovsky's letters to Maria Nikolaevna, which develop her figurative thinking, ability to see the world based on the romantic principle of universalism, perceive and create texts based on romantic philosophy, are distinguished by a special style, defined by Zhukovsky as “chatter”, which obviously intersects with Pushkin's storytelling strategies. Zhukovsky's epistolary didactics in relation to Grand Duke Konstantin Nikolayevich is characterised primarily by the range of discussed issues of a philosophical, moral, ethical and aesthetic nature, focused on the idea of life-creation. Zhukovsky adopted his own features of epistolary didactics in relation to the parents of his students. In general, the most significant achievements of Zhukovsky's romantic philosophy, aesthetics and poetics are involved in his epistolary didactics. Created according to the general laws of romantic epistolary literature, the letters of the writer-educator completed his multifaceted creative system as a holistic one.

PAMIĘĆ O KOZAKU UKRAIŃSKIM W UJĘCIU LITERACKIM ROMANTYKÓW UKRAIŃSKICH I POLSKICH

PAMIĘĆ O KOZAKU UKRAIŃSKIM W UJĘCIU LITERACKIM ROMANTYKÓW UKRAIŃSKICH I POLSKICH

Plaute traducteur : poétique de la traduction ludique dans la comédie romaine

Considering contemporary literary standards, many studies of Roman comedy assume that Plautus is not a mere translator, or is more than a translator, because of his freedom in adapting Greek plays. However, rather than applying contemporary terminology to an ancient author, we reevaluate his relationship with the Greek source based upon his own theatrical poetics and the Roman conception of translation. We examine the transfer of Greek comedy to Roman games. By exploring the way Plautus presents his work in the prologues of his comedies and with examples from one play (Miles gloriosus), we aim at showing that the playwright plays with the process of linguistic and cultural translation which he exhibits to make his audience laugh. Between Greek source and Latin target, Plautinian uertere reveals a poetics of ludic translation.