Romantic Conception Research Articles

Regulating Life: Romanticism, Science, and the Liberal Imagination

ABSTRACTThe concept of regulation was a key means by which many Romantic-era authors sought to understand and direct relationships among life, the individual, and political collectives: for example, Immanuel Kant contended that the Ideas of reason must play a “regulative” role in subjective experience; Thomas Malthus argued against the utility of human political regulations by outlining a natural logic of population self-regulation; and Mary Shelley began her novel Frankenstein with a description of Robert Walton’s dream that his arctic voyage would result in a discovery capable of regulating all future nautical navigation. Yet precisely what regulation meant for Romantic-era authors remains obscure, as does the relation of Romantic conceptions of regulation to liberalism and biopolitics, which latter both emerged during the Romantic era, and which both relied on conceptions of self-regulation. Focusing especially on Malthus, Kant, and Wordsworth, this essay maps several key aspects of Romantic understandings of regulation, and concludes with a reflection on how these reflections can guide our own contemporary efforts to rethink self-regulation in our era of the Anthropocene.

The Romanthropocene

AbstractThe Romanthropocene is a neologism that names the transits of meaning which shuttle between the terms it joins together. I explore this complex of meaning by retracing the histories of its component lexical, semantic, and conceptual elements. The word Anthropocene is constructed from two etyma, anthropos and cene, which first acquired their current sense in the Romantic period. The Anthropocene then brings together a Romantic conception of geological time with a Romantic conception of human cultures as empirical objects of naturalist study. While the history of the word Romantic is better known, it too merits retelling in the Anthropocene epoch. Its reflexive naming of the textualisation and historicisation of nature reads differently now that the human spirit has impressed its law on all earthly things. I would call the approach taken in this paper ecophilology, but one polysyllabic neologism per paper is probably more than enough already.

Review: The Melody of Time: Music and Temporality in the Romantic Era, by Benedict Taylor

Book Review| April 01 2018 Review: The Melody of Time: Music and Temporality in the Romantic Era, by Benedict Taylor The Melody of Time: Music and Temporality in the Romantic Era, by Benedict Taylor. New York: Oxford University Press, 2016. ix, 312 pp. Sherry D. Lee Sherry D. Lee SHERRY D. LEE is Associate Professor of Musicology at the University of Toronto. A specialist in music and modernist cultures and philosophical aesthetics, her work has appeared in this Journal, the Cambridge Opera Journal, Music and Letters, 19th-Century Music, the Germanic Review, and several collected volumes including The Oxford Handbook of Music and Disability Studies (2015) and Music, Modern Culture, and the Critical Ear (Routledge, 2017). Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2018) 71 (1): 260–264. https://doi.org/10.1525/jams.2018.71.1.260 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Sherry D. Lee; Review: The Melody of Time: Music and Temporality in the Romantic Era, by Benedict Taylor. Journal of the American Musicological Society 1 April 2018; 71 (1): 260–264. doi: https://doi.org/10.1525/jams.2018.71.1.260 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search Somehow, the enormity and intractability of a subject such as time seem not to have deterred countless authors ancient or recent, but rather to constitute a stimulus especially to those invested in puzzling philosophical problems and knotty conundrums. Benedict Taylor is one whose interest in time has remained thus undeterred for a while now, and The Melody of Time: Music and Temporality in the Romantic Era represents an extension of the field of his earlier endeavors to bring questions of the nature of time to bear on the analysis and interpretation of music, “the most quintessentially temporal of the arts” (p. 7). This book shares some features of Taylor's previous monograph Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge University Press, 2011), including not only its hermeneutic methodology but its focus on philosophical thought and argumentation, and its tendency toward a broad historical spread of philosophical reference.... You do not currently have access to this content.

Babylon under Western Eyes: A Study of Allusion and Myth

Babylon under Western Eyes: A Study of Allusion and Myth

What is an open mind?

In this article, I suggest that an open mind wholly unburdened by preconceptions and prejudgments is a mistaken ideal. Not only is it unrealistic; it deprives us of context and background knowledge relevant to judging well. I begin with two cases that show how the ideal of the “prejudice-free” mind, though appealing, may end up thwarting good judgment: blind assessment and “blank-slate” jury selection (the ideal of empaneling jurors without prejudgments). I then trace the prejudice-free ideal to the Enlightenment, exposing its roots in the subject-object worldview. Drawing on Heidegger, I suggest that the subject-object worldview is misguided and that all judgment involves a prior understanding of the matter we judge. To have an open mind, paradoxically, is to have a stake in defending a prior understanding, to be possessed of an understanding of the good that one wishes (at least provisionally) to promote. I then draw out the implications of this view for how we might make sense of cultural differences, examining the difference between the practice of marriage based on a romantic conception of love, and that of arranged marriage. By thinking through these two practices, seemingly opposed, we can arrive at a conception of marriage and love that preserves both.

Umiarkowana pochwała klasycyzmu

Artykuł jest poświęcony relacji między pięknem i umiarem w estetyce klasycyzmu i romantyzmu. Dobierając przykłady, staram się pokazać, że umiar był kluczowym pojęciem estetyki klasycznej, a także sztuki życia w dobie antyku. W drugiej części artykułu traktuję klasycyzm i romantyzm jako paradygmatyczne postawy życiowe i staram się ocenić ich przydatność w warunkach życia współczesnego.Słowa klucze

Re-Placing Outdoor Education: Diversity, Inclusion, and the Microadventures of the Everyday

With the increased emphasis on sustainability and place-based education, along with a heightened sense of awareness of diversity and inclusion issues in outdoor education, the time has come to critically examine the long-held trip and expedition construct within the outdoor education field. This paper will explore the theoretical influences of Romanticism on the field and connect these influences to long-standing and unresolved issues of diversity and inclusion in outdoor education. Using the romantic concept of the “sublime,” I argue that outdoor and adventure education have traditionally settled around the organizing motif of the trip and the expedition in contrast with local and everyday experiences, and as a result, these frameworks have caused the field to miss opportunities for wider acceptance and usage as well as solidarity with like-minded pedagogies in environmental and place-based education. In this paper, I claim that a critical awareness of the romantic legacy, combined with a renewed focus on the concept of place and everyday experiences, will allow the fields of outdoor and adventure education to expand in influence and inclusion. Subscribe to JOREL

Promena komunikacijske paradigme u obrazovanju novinara

In the age of a plethora of communications options caused by the invention of the Internet and numerous digital platforms, professional communicators' methods, techniques and skills have significantly changed, which requires an appropriate critical analysis of the existing curricula and practices in journalism education. The topic of the research is the transformation of information structure and meaning, in relation to the fact that media news has been remodelled into social self-promotion service, and that digital formats stimulate sensationalism and demand for tabloid content by forcing numbers regarding algorithms, likes, comments and reactions. Together with social commercialization, the romantic concept of investigating, preparing and modelling information that carries within itself true meaning has fallen apart in the spirit of possessive neoliberalist order, which has converted media contents into cheap goods, which test its value daily in the evergrowing and more banal market. The authors' aim is to prove that, with the new media, the possibility of message routing expands, whereas multichannel and multi-modal communication stimulate a persuasive process in the audience. New communication protocols based on the criteria of clickstream consumption and convergent digital technologies require new media education, but, in our academic practice, this has been slow to gain traction.

Ernest Haycox and the Western by Richard W. Etulain

Reviewed by: Ernest Haycox and the Western by Richard W. Etulain Daniel Worden Richard W. Etulain, Ernest Haycox and the Western. Norman: U of Oklahoma P, 2017. 200 pp. Cloth, $29.95. A productive author of Western fiction, Ernest Haycox wrote twenty-four novels and over two hundred short stories. Most notably for scholars of Western American literature and film today, Haycox's 1937 story "Stage to Lordsburg" was adapted into John Ford's landmark 1939 film Stagecoach. In his engaging biographical study, Richard W. Etulain chronicles Haycox's career as a Western writer, from his prolific work for pulp magazines to his later interest in breaking out of the Western formula he helped to define. In so doing, Etulain offers not only a valuable study of Haycox and his [End Page 261] work but also a model for how neglected Western writers can be approached as both literary figures and laborers within a publishing industry that thrived on the Western genre. Etulain's book begins with a brief account of the Western genre's emergence, from frontier narratives and Cooper's Leatherstocking saga to the Western genre's solidification into "something of a morality play" by the first decades of the twentieth century (18). This sets the scene for Haycox's entrance into literary culture in the 1920s, when he devotes himself to "learning and practicing the formula of the Western" that had become ubiquitous in pulp and middlebrow magazines (19). After establishing the literary context Haycox would encounter as an adult, Etulain then tells Haycox's life story, from his birth in Portland, Oregon, to a family that struggled financially and moved around a great deal, to high school, and to service overseas during World War I. Attending college first at Reed, then at the University of Oregon, Haycox wrote for campus newspapers, and in so doing, Etulain notes, Haycox would begin to articulate his worldview: "He held that one should be independent in beliefs and actions but not to such an extent as to isolate one's self from society" (34). This perspective has a clear affinity with the Western genre, in which isolated individual Westerners are often compelled to act heroically, in the interests of a larger good. In a brief foray into Haycox's politics, Etulain also remarks that Haycox's worldview would reach beyond his fiction writing and "helps explain why Haycox stood against Franklin D. Roosevelt's New Deal and became a strong advocate of conservative Republicanism in the 1930s and 1940s" (34). This is a rare gesture in the book to the broader social and political currents that surrounded Haycox and the Western in the twentieth century. The book's major focus is on the development of Haycox's literary career, from his short stories and serialized novels in pulp magazines such as Western Story Magazine, his later publications in the more prestigious and better paying Collier's, and his novels. Etulain details Haycox's vision of writing, which differs from more romantic conceptions of the profession, noting that "Haycox considered himself more of a craftsman than an artist. He was convinced that writing could be compared with plumbing, [End Page 262] carpentering, or any other such skill" (71). Gradually, Haycox began to depart from the Western genre formulas he honed in the pulps, perhaps most notably in his 1944 historical novel about the Battle of Little Big Horn, Bugles in the Afternoon. He would continue this focus on history, instead of formula, with the posthumously published The Earthbreakers in 1952. In this novel, Etulain sees evidence of a broader conception of novelistic form, a more complex representation of character, and a nuanced engagement with history. Unfortunately, Haycox would not complete the trilogy that The Earthbreakers was supposed to begin. Ernest Haycox and the Western portrays the life of a working Western writer, devoted to craft and the market yet not without literary ambitions. In the book's epilogue, Etulain reflects on Haycox's place, or lack thereof, in the canon of Western American literature and whether we should think of Haycox among genre writers like Max Brand, Zane Grey, and Louis L'Amour or among more "literary" figures such as Walter...

The poet who failed his best play? Podmiot mówiący w utworach zespołu Nightwish wobec paradygmatu romantycznego

The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group’s leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept album and the End of an Era concert as the last live performance of Nightwish with Tarja Turunen as the lead singer.

Language Ecosystem

Language Ecosystem Jen Coleman (bio) Entangled Bank James Sherry Chax Press www.chax.org/shop 85 Pages; Print, $17.00 "It is interesting to contemplate an entangled bank…"—so asserts Charles Darwin in his conclusion to Origin of the Species, and so begins James Sherry's 2016 book, Entangled Bank—a conceptual memoir of language ecosystems. What a canny gift the poet gives us: an invitation to contemplate each poem as a community of living language bits, co-evolving and interdependent, shaped by the environment—an environment in which the reader participates. As a memoir, Sherry acknowledges that each page recalls a language ecosystem as it was, now fixed on the page as a portrait. But when a reader takes up the invitation to contemplate how these pages are entangled ecosystems, the reader revivifies the poems with new sense, perception, and culture. We are vulnerable to, participating in, and culpable for this entangled bank. Calling it a conceptual work directs attention to the way systems work rather than the charismatic critters (e.g., poets) within those systems. Yet it is irresistible to read the book as a memoir of the poet himself. The works contemplate what it is to be a poet among poets, interdependent and in community, co-adapting the practice of language within a violent and destructive culture. Sherry suggests that change and adaptation in language ecosystems are ways to survive—yet the poet also places himself, mortal and vulnerable, as a critter among critters. Entangled. When the oar of your boat is tangled in a kelp forest, your physical presence becomes environment to sea urchins, otters, kelp, wolf eels, and myriad other creatures that provide food, shelter, competition, and more to one another. And in turn, as you free your oar, the kelp forest changes you. Your adrenaline sends inter-kingdom signals to the millions of critters in your personal microbiome, profoundly changing their environment. You are not simply ensnared by the forest, you are intricately interlaced with it. You set particles in motion. They in turn affect the position, spin, and momentum of other particles—even at a distance. That's the working of an ecosystem. And those are the relationships that Sherry encourages the reader to contemplate, as one style of writing tangles with another, each in turn affecting the way the other appears, read, and is written. The first nine pieces in the book include six "Beautiful Poems for My Friends" separated by poems with beautifully divergent language ecosystems. In the first two poems it is hard not to hear Joseph Kaplan's Kill List (2013) as part of the environment of the poems, as Rae Armantrout noted in her comment on the book (even though Sherry has said that the first of the "Beautiful Poems" were written in 2002). Like Kaplan's list, the poems categorize and sort poet-friends into a taxonomy. It's not passive; the taxonomy is charmingly conscious of the taxonomist. For Kim RosenfeldYou are beautifulI caught you lookingPitiless and forgivingFor thinking you beautiful These contemporary poets are part of the living ecosystem of the author. Their names, captured on the page, also become part of a taxonomical language ecosystem. Where Kaplan categorized by a concept of socioeconomic class, Sherry sorts by types of beauty. Present in the environment of these poems is the current culture: Beauty has been shirked by poets like Sherry for a generation. Yet these poems revive the value of the concept of beauty in nature and beauty in death—and even the critique of beauty—all concepts that postmodernism buried. And what of beauty in contemporary culture? By the third and fourth versions of "Beautiful Poems for My Friends," the phylum of friend extends beauty beyond romantic dominant culture expectations to include public figures (Barack Obama), civic figures (My Boss Frank), and corporate persons (Toyota Motors). A community of poets—immersed in contemporary culture—is classified by a poet dwelling in the same culture, according to a taxonomy reviving a romantic concept that, when read against Kaplan's poem, could be an antithesis to a socioeconomic concept. Entangled, indeed. How do these discrete poems tangle with other poems...

Ambivalent Embrace: Jewish Upward Mobility in Postwar America by Rachel Kranson

Reviewed by: Ambivalent Embrace: Jewish Upward Mobility in Postwar America by Rachel Kranson Kathleen A. Laughlin (bio) Ambivalent Embrace: Jewish Upward Mobility in Postwar America. By Rachel Kranson. Chapel Hill: University of North Carolina Press, 2017. 232 pp. Rachel Kranson’s engaging cultural history of Jewish life in postwar America complements revisionist histories of the postwar years that interrogate the notion that the 1950s was an idyllic time characterized by an easy conformity and uncritical ideological consensus. She carefully [End Page 584] explores the underlying tensions within the upwardly mobile Jewish community, which eventually contributed to the emergence of a Jewish counterculture in the late 1960s and 1970s. In a search for authenticity, when an increasing number of Jews were joining the ranks of the suburban middle class, postwar Jewish thought leaders romanticized a Jewish cultural life shaped by social isolation and economic vulnerability. Jews coming of age in the 1960s, empowered and inspired by wider critiques of conformity promulgated by social movements, especially from within the New Left, were similarly eager to construct an authentic Jewish identity. Just as historians of African Americans, gays and lesbians, and women have discovered preconditions to the activism of the 1960s and 1970s in nascent critiques of the white supremacy, heteronormative dominance, and oppressive gender ideals in postwar America, Kranson sees continuity from critiques of upward mobility in the 1950s to Jewish countercultural impulses in the 1970s. Relying on the works and actions of Jewish leaders, Kranson examines how the process of upward mobility, manifested in a migration from cities to suburbs, raised concerns about the direction of Jewish identity. Employing statistical measures for upward mobility in categories such as educational attainment, entrance to the professions, income, and migration to the suburbs, Kranson implies that Jewish life in postwar America was a profound change that inspired romantic visions of a Jewish identity forged in the past. While “newly prosperous Jews used their growing resources to transform Jewish culture and practice, creating new modes of ritual and socialization that harmonized with their middle-class standing,” Jewish leaders attempted to forge a more legitimate Jewish identity that evoked the isolation and poverty experienced in the shtetl and immigrant slums in the U.S. as well as in the creation of a separate state of Israel as a homeland for Holocaust survivors (3). The idealization of these distinctive historical moments in Jewish history changed the way Jewish culture was understood and taught in America during the postwar years. A plethora of scholarly works of Jewish history explored life in Eastern Europe and America’s immigrant communities. Leaders contrasted the intense spirituality of shtetl life, the labor activism of immigrants, and the nation-building in Israel with the banality of suburban culture. Separate chapters consider how anxieties around Jewish life in America were displayed within several aspects of identity formation: religious practices, political affiliations, and conceptions of gender. Kranson uses one congregation as a case study to illustrate the ambivalence surrounding the suburban synagogue building boom. Congregation Solel took several steps to avoid undermining its longstanding spiritual mission in [End Page 585] urban Chicago. But Kranson acknowledges that most synagogues did not go to such lengths to retain ties to the immigrant past, which begs the question of just how much angst suburban Jews felt about the purpose of their congregations. She similarly focuses on the criticism of a select group of pundits who feared that suburbanization would lead to the ascendancy of conservative politics, even though opinion polls revealed that suburban Jews did not renounce liberalism. Due in part to the evisceration of the Jewish Left after World War II, leaders sought to ensure that Jews continued to espouse and support progressive ideas, which, apparently, many did. They also feared that the postwar expectation that Jewish men must become successful breadwinners would undermine historical commitments to education and spirituality. The role of Jewish women was especially contested; women’s fervent civic engagement in the suburbs raised apprehensions about the future of the Jewish family. Jews coming of age in the 1960s, influenced by leaders’ uneasiness over the process of suburbanization and inspired by social protests and countercultural behaviors, shared their elders’ romantic conceptions of the past...

Nature on the Move

Nature On The Move Onno Oerlemans (bio) Natures in Translation: Romanticism and Colonial Natural History by Alan Bewell. Baltimore: Johns Hopkins University Press, 2017. 393 Pp.. $60.00 cloth. As Alan Bewell says in the beginning of his rich and meticulous new book, "The centrality of nature during the Romantic period is obvious, but surely modern readers have some right to complain that enough has been said and written about it" (2–3). There is indeed a high bar for critics seeking to add to our understanding of Romantic interests in the natural world; the problems are large and multiple, and have thus attracted more than a century's worth of critical commentary. Surely there is nothing new under the sun on this topic. Romantic conceptions of nature have profoundly affected modernity but are also rooted in specific historical and cultural moments, already far enough in the past that they require ever more concerted efforts of historicism to add nuance and insight. Even the debates initiated by New Historicism's dismissal of the centrality of nature to Romanticism, and the various rebuttals by ecocritics and others, are themselves now old news. The dust has settled. Both are right. Nature matters, and so does culture, and we know what there is to know. Moreover, "nature" is itself now a very tired word, one that we might do well to banish from our collective vocabularies, along with "reality," "art," and perhaps "discourse." We don't really know what we mean when we use the word, and even less when others use it. These [End Page 135] words are weak stand-ins for something broad and vague and abstract and wearying. Nature is the world, physical (Wordsworth's "rocks and stones and trees") and vaguely spiritual (Coleridge's "one Life within us and abroad"). Moreover, it's difficult to know, in the face of the impending catastrophes of climate change, mass extinctions, and the erasure of habitat, why or how the study of Romanticism and its varying understandings of the natural world might still matter. This is especially true if, as Bewell also notes, "nature," however we understand it, matters less to most of us than it used to. We are "post-nature"; we consume it, but we don't collectively care to understand or preserve it, and it's not very clear in any case how literary criticism of any kind can intervene to make us care. The good news is that Bewell rises to all of these challenges. His previous work has been scrupulously interdisciplinary and factual, exploring complex intersections of cultural, environmental, medical, and other kinds of history with literary texts. This latest book is his best yet—the broadest and most theoretical, the most ambitious and field-altering, and also the most inspiring for those seeking new and exciting ways of thinking not just about the natural world and Romanticism, but also about how we might turn our critical and scholarly insights into ways of thinking about the world as it exists around us in the here and now. Bewell's argument seems at first quite simple: that while "we talk as if there were only one nature," there are in fact a plurality of natures …: that the natural world in its general meaning is composed of many natures that are materially, historically, and culturally distinct from one another, that these natures can succeed or evolve in relation to each other across time and space, and that a given environment can be composed, like a society, of many different and often competing natures, reflecting different social relationships and values. (12–13) Bewell is interested in a genealogy of natures, not in the abstract, but as revealed through cultural records. A nature is not just a community or set of organisms bounded geographically to a specific landscape but as understood, lived in, explored, colonized, protected, or destroyed by people, who are also a part of the world. "Politics, in other words, are embedded in natures, and natures embedded in politics, behaviors, and ideas" (13). More interestingly, modernity itself involves a growing awareness of the nature of natures, both through the advancement of science, and through our other [End Page 136...

The influences of the romantic legacy in the artist formation

This paper presents some characteristics of the romantic conception that still influence the processes of construction of artistic identity in contemporary times. Presents a history of these characteristics indicating its permanence as a consequence of the few changes in the political and economic model whose roots lie in the French Revolution while pointing his contribution to contemporary construction of identity of the artist.

Gra z romantycznym afektem w Mariaszu Artura Daniela Liskowackiego

The aim of the article is to show the connection between affection theory and romantic concepts of emotions (mesmerism and melancholy) in Artur Daniel Liskowacki’s 2007 novel Mariasz. By way of introduction, the author presents in brief the most important research on affective turn conducted in Poland and around the world, and also shows the possibilities of affective reading. The next part of the article is an interpretation of Mariasz. What is more, affection theory, as it is used in the novel, helps us to describe the ambiguous network of relations between the characters more fully and clearly, who experience similar affections, despite the temporal distance between them (romanticism and modernity). By analyzing Liskowacki’s novel we can identify the current relevance of the Romantic tradition in Polish literature after 1989, which is far from its martyrological connotations. Romanticism becomes a reference point for contemporary times, and original dialogues from that epoch allow the emotional nature of humans immersed in contemporary times to be described in full.

Between Connotation and Denotation. Posters Announcing the Warsaw Autumn International Festival of Contemporary Music in 1956-2015

Abstract The posters that accompany the successive Warsaw Autumn Festival editions are a unique collection of works, mostly of outstanding quality. One might venture the thesis that their artistic value – living up to the high demands of the topic – exceeds the typical standards of representation characteristic of popular art. Formally speaking, they abandon the conventions of egalitarian iconographic art in favour of a more elite-oriented visual formula, addressed to a competent audience knowledgeable about contemporary music and its qualities. The authors of these WA posters include many artists associated with the Polish school, such as Jan Lenica, Jan Młodożeniec, Julian Pałka, Waldemar Świerzy, Henryk Tomaszewski, and Wojciech Zamecznik. Their graphic representations of the achievements of the musical avant-garde do not, however, situate this poster series within the well-sanctioned canon of the “Polish poster school”, mostly associated with the film and theatre – generally considered as more “democratic” and entertainment-oriented disciplines of art. The WA posters point to an evident polarisation of visual culture, corresponding to the division between high and low culture and between two types of audiences, differing in expectations. These posters form a largely autonomous collection and may be viewed as supplementary to the music they refer to, which determined the choice of expressive means appropriate to this topic. The whole collection is a display of its authors’ evident skills and their ability to live up to the high demands placed on these works. The task of translating one medium into another (in this case – a visual one) requires intellectual discipline. Some kind of (at least formal) similarity between the two media needs to be discovered, and shared semantic elements ought to be traced. On the verbal level, such similarities are presented in terms of related distinctive features, ways of describing phenomena, and intuitions. The 19th-century Romantic concept of the correspondance des arts was based on similar assumptions. The Romantics attempted to systematise the emotions accompanying the experience of different arts, looking for affinities and similar form-building strategies.

A paixão pela natureza e a busca pelo reencantamento do mundo: as paisagens de Fagundes Varela e Sousândrade

Este trabalho tem por objetivo a análise do poema “As selvas”, de Fagundes Varela, do livro Vozes da América, e do poema “Inverno”, de Sousândrade, de Harpas Selvagens. Em meados do século XIX, em pleno Romantismo, os dois autores criam uma paisagem natural em um sentido particular. Considerando paisagem como a percepção de um espaço, é possível ver nos poemas mencionados uma concepção romântica que procura na natureza tropical não somente um aprazível e privilegiado espaço para se viver, mas uma espécie de “casa ontológica”, de “terra natal” do ser. Nesse sentido, a paisagem construída por meio de um ponto de vista ideal, do qual se acerca o Romantismo, ultrapassa questões de ordem nacionalista, comuns à época e, de outra maneira, representa o desejo de encontrar e de criar um lugar utópico e aconchegante, onde tudo é mágico e o homem pode encontrar-se a si mesmo.

Max Scheler and Jan Patočka on the First World War

The First World War was both an historical and a philosophical event. Philosophers engaged in what Kurt Flasch aptly called "the spiritual mobilization" of philosophy. Max Scheler was particularly important among these "war philosophers", given that he was the one who penned some of the most influential philosophical writings of the First World War, among them Der Genius des Krieges und der Deutsche Krieg. As I aim to show, Max Scheler's war writings were crucial for Jan Patočka's interpretation of the First World War in the sixth of his Heretical Essays. However, the importance of Scheler's war writings goes far beyond the First World War for Patočka, since they offer Patočka a far-reaching interpretation of the 'excessive' character of the 20th century. As I will show through the example of Max Scheler, the German war philosophers succumbed to a dangerously romantic conception of "force" – and it is this ominous force, which Patočka takes to lie at the root of the increasingly excessive character of the 20th and 21st centuries.

Reckoning with the Imagination: Wittgenstein and the Aesthetics of Literary Experience by Charles Altieri

<i>Reckoning with the Imagination: Wittgenstein and the Aesthetics of Literary Experience</i> by Charles Altieri

Performance as a Research Instrument: An Example from the Western European Baroque

In this paper, I discuss performance as a research instrument in Western European classical music. I describe considerations and process leading to my performance of Corelli Op. 5 no. 12 "Follia" in the Indonesian Chamber Music Festival 2011 at ISI Yogyakarta Concert Hall. Corelli's Follia (La Folia), as it is commonly known, is a canonized work which opens many professional violinist's recital programs. Its real identity has become marginalized and transformed through rather blind reliance on 19th-century editions by violinists who wished to adopt it to "mainline" romantic concepts of style and performance. This process of adaption has been characteristic of European classical music for centuries. Works of earlier times were reshaped both in performance and in print editions to fit prevailing musical tastes. I chose to approximate an appropriate ensemble with modern instruments. Using a constructivist approach, I employed aspects of Baroque performance practice, especially in ornamentation and embellishment, along with manipulation of rhythmic elements and in a more spontaneous, and consciously contemporary manner. I take the opportunity to contribute to productive dialogue regarding the role of performance at Music Department, the Faculty of Performing Arts, Yogyakarta Indonesian Institute of the Arts, and qualitative research. I seek to open up our discourse to a wider understanding beyond the persistent positivist continues to approach the academic world in Indonesia as the only platform for research theory and method. I suggest that this performance, like any other, is an informed adventure across time and space and that ethnomusicology and music are no longer separate worlds.