Romantic Features Research Articles

The Romantic Self in The Poetry of Piramerd and Mirzada Ashqe

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.

Representation of the Croatian National Revival and Romanticism in Croatian Literary Historiography

The paper presents poetically and politically conditioned changes in the interpretationof the literature of the Croatian National Revival period as “Romantic”.It indicates that these phenomena should necessarily be viewed in mutual (inter)action. It states that the Croatian National Revival, as a period that is most frequently demarcated by the years 1835 and 1848–49 in the so-called general historiography, is a necessary framework for the periodisation and understanding of the history of Croatian literature too. This framework does not exclude the necessity of including the concept of Romanticism in the study of Croatian literature of this period, which was strongly influenced by Romantic trends. And consequently it is a stage in a longer period of manifestation of Romantic features in Croatian culture and literature of the 19th century.

The Principles and Techniques of Artur Schnabel’s Performance of the Piano Sonatas by Ludwig van Beethoven

The piano sonatas by Ludwig van Beethoven (1770–1827) represent the highest achievement of the First Viennese School in modern piano performance. The complexity and depth of the stage interpretation requires the study of the composer’s music based on its performance specifics. The study of the features of the piano sonata works by Beethoven on the example of performances by Artur Schnabel, one of the most prominent pianists of the twentieth century, will enrich modern knowledge about the style of Beethoven’s piano works. The objectives of the paper are to characterize the genre and stylistic features of Beethoven’s sonata works and to study the performing features of the German composer’s sonatas in Schnabel’s interpretation. Rationalistic approach is not typical for Schnabel’s interpretation of Beethoven’s sonatas. On the contrary, his performance has romantic features in terms of strength and depth of feeling but is classical in terms of the proportionality of expressive means. His performance impresses with its philosophical orientation and epic spirit. What is especially important to him in the musical composition is an individual approach to the intonation of recitatives, cadences, syncopation, and those stylistic components of playing that form an original interpretation of Beethoven’s music. Schnabel embodies Beethoven’s concepts on the basis of integrity, starting from the epic characteristics of Beethoven’s work

„Idée sur les romans” Donatiena Alphonse’a Françoisa de Sade’a. Rozważania na temat utworu

The article shows the wider literary context of the epoch and defines the creative inspirations of the author in past and historic events. An Essay on Novels, servings as the introduction to the collection of short stories The Crimes of Love (1800), is discussed in a broader, holistic context of a publication containing 11 titles. Sade’s definition of the novel is presented and analyzed, from an outline developed by him of the history of literature from ancient Egypt to the present and his prediction of the future, and the most important motives and attributes of fictional works through-out history were enumerated in accordance with his guidelines. The rules of writing that Sade formulated in relation to the works of Samuel Richardson and Henry Fielding are another subject discussed here. De Sade’assessment of the work by contemporary writers and his literary forecasts were juxtaposed with the romantic features of the coming era: the desire for freneticism and horror caused by the French Revolution. The text is presented in a broader historical context of the 1800s (M. Milewska, Vinegar and Tears) and a comparative one with references to the works and literary thought of Polish writers (M. Janion, Romantyzm, rewolucja, marksizm. Colloquia gdańskie). The article also draws attention to footnotes penned by de Sade and his reflections on the contemporary book market. The aim here is to gain a deeper understanding of the writings of the Marquis and show his deep knowledge of literature.

ЗУСТРІЧ ІЗ ДВІЙНИКОМ: ФЕНОМЕН ДВІЙНИЦТВА У ПРОЗІ ЮРІЯ КОСАЧА, ІГОРЯ КОСТЕЦЬКОГО, ВІКТОРА ДОМОНТОВИЧА

The paper is devoted to the study of the artistic interpretation of the phenomenon of duality in Ukrainian emigration prose, in particular in the works of Yuri Kosach ("The Voice from afar"), Ihor Kostetsky ("The price of a human name"), and Viktor Domontovych ("The tamed haydamak"). The peculiarities of interpretation by Ukrainian émigré writers of the concepts of duality and double, their ideological content and autobiographical overtones are analyzed. Attention is focused on the creation of a system of double characters, the main artistic techniques used by the authors to depict the duality of man and the world as well as inter-textual parallels of the studied texts. Duality is considered in these texts both as a certain motive realized through understanding the phenomenon of duality of a person and the world, and as an artistic device that affects the organization of the work system (figurative, plot, composition). It is noted that in the texts under study, the phenomenon of duality, although it has distinctly romantic features, demonstrates new changes based on modernist artistic means and associated with the problem of identity. It is artistically expressed by such means as the principle of "polar mirroring", the interweaving of "external" and "internal" plots, the sleep as an artistic technique, the motif of the "mechanic man", etc. In the content of the works, it is realized thought an appeal to the theme of taboo, isolated and repressed memory (by Yuri Kosach), the question of name and biography (by Ihor Kostetsky), the problem of the integrity of the human personality (by Viktor Domontovych). It is argued that the phenomenon of duality turned out to be a fairly productive artistic model, which made it possible to identity significant contradictions in the human character and thinking, to realize the complexity and ambiguity of the world and the person in it, their interconnectedness and interdependence.

La figure de l’artiste dans la littérature française ultra contemporaine : de l’analyse thématique vers le portrait de l’homme

The figure of the artist in French ultra-contemporary literature: From thematic analysis to the portrait of Man. This paper aims to contribute to the study of the figure of the artist through thematic analysis of several recent texts published in French. The author examines the main themes linked to the artist-protagonist, classifies them in hypernymic categories and shows that in the works of some contemporary French authors (Houellebecq, Grainville, Gailly, Le Guillou) the figure of the artist loses its romantic features, inherited from the artist novel of the nineteenth century and increasingly takes on anthropological dimensions to convey the values of the human quest. According to the author, hermeneutic interest in these works should consist in deciphering their full potential in terms of meaning beyond the surface of the artist novels.

The image of Ivan Mazepa in opera works of the 19th century

Statement of the problem. Ukraine is currently going through a period of forming its nation, so it is urgent to turn to historical figures who influenced the country’s development. The tragic life of Hetman Ivan Mazepa has been attracting the attention of both historians and artists for over 300 years. Each of the authors was drawnto something “his own” in Mazepa’s fate, so the range of artistic representations of the hetman is very wide: from traitor to hero, from warrior to philanthropist, from an ordinary person to an almost mythical creature. The question arises as to the relevance of Mazepa’s personality representation in artistic works. The purpose of the article is to study the image of the Hetman in the opera practice of the nineteenth century using historical, chronological, cultural and comparative research methods. For the first time, M. Grandval’s opera is studied in comparative chronological and general cultural contexts. Results and conclusions. In world culture, the memory of I. Mazepa has been preserved mainly because his life reflects the main themes of Romanticism: loneliness, betrayal, love, exile. These romantic features prompted most authors to modify the historical truth, so Mazepa’s portraits are very different from their prototype. Taking up the study of Mazepa’s “operatic iconography”, we found that three other operas of the same name were created in the nineteenth century, in addition to the most famous and most studied work by P. Tchaikovsky, written in 1881–1883. The first of them is the opera “Mazepa” (“Maria”) by the prominent Ukrainian composer, folklorist, and music critic Petro Sokalsky (1832–1887). The opera was never staged. The second opera “Mazepa” chronologically was written and staged in St. Petersburg in 1859 by Borys Fitinhoff, a little-known Russian composer of German descent. The third opera “Mazeppa” was written b the French composer M. Grandval (Marie Félicie Clemence de Rezet, Victoire de Grandval). By analyzing the facts of her creative life, we have clarified the main features of her compositional style, which represented the salon culture of the time and was the result of her own passion for opera. Her operatic work was quite fruitful: she created eight operas and two “lyrical poems” written together with the most famous librettists who collaborated with G. Bizet, Ch. Gounod, J. Massenet, C. Saint-Saëns. M. Grandval’s Mazepa (1892) is rightfully considered the most prominent and popular among the composer’s operas. After its premiere, the opera was performed for more than 10 years at opera houses in France. The answer to the question of why the composer of chamber and lyrical salon genres chose a large-scale historically significant image of Mazepa, on the one hand, should be sought in the high public interest in the romanticized image of the Ukrainian hetman and the related problem of power inherent in post-Napoleonic France. On the other hand, the creation of “Mazeppa” is a logical result of the internal evolution of Grandval’s operatic work from a one-act comedy to a five-act grand historical opera, which is a continuation of the established national tradition.

The Ocular Harpsichord ‘La Toilet’

The color organ with its modern interpretation is an electronic device representing sound in a visual configuration. The origins of the color organ inventions can be traced back to the hand-operated models based on harpsichord design promising the splash of colors upon pressing a key. In this perusal, the harpsichord appears as a tool of fashion with its unique interpretation taking place in a setting where the author got into the habit of calling the ocular harpsichord ‘la toilet’. The acquisition of a certain tendency made the author develop a habit of calling ornaments in general as ‘visible music’. Throughout the narrative incorporating romantic features, the concept of ornament in music manifests itself visibly on clothing and architectural decoration adhering to the philosophical fulcrum between the 18th-century decorative aesthetics and the inventiveness of the Lumières. As a logical consequence, a mathematical structure applied in architecture could turn into keyboard compostition.

Образы военачальников второй половины XIX в. в трудах А. Форбса: некоторые аспекты становления британской военной журналистики

The article is devoted to one of the aspects of interaction between the press andsociety. The author examines the personified approach used bythe Britishwarcorrespondent A. Forbesto displaythetheme ofwar –thecreation of a psychophysical and professional portrait ofmilitary leaders of the second half of the 19th century. It is shown that A. Forbes singles out F. Karl and M. Skobelev as examples of combining special service qualities with romantic features of a heroic image. It is concluded that A. Forbes successfully defined and implemented ideas and ways of their representation which has been demanded by society.

ART SPECIFICS OF «FORGOTTEN» FAIRY-TALE PROSE BY MARKO VOVCHOK

The proposed article is devoted to the study of the artistic specifics of «forgotten» fairy tale prose by Marko Vovchko. In modern literary criticism, despite some achievements in the field of research of the fairy-tale heritage of the writer, there are still works that have never been subjected to critical analysis, an example of this − the collection «Fairy Tales and Tales of Marko Vovchko» (1874). Today, this publication, without receiving proper evaluation, is in the shadow of the author's work. The only exception is the folklore-historical story «Marusya», and the rest of the works: «Queen I», «Perfect Chicken», «Inventor» have not received their literary assessment. Therefore, the fairy-tale prose of Marko Vovchko is gradually returning from oblivion to the modern reader. Note that this process is accompanied by the need for detailed and in-depth rethinking. Thus, the proposed study is relevant because it aims to prove the originality of the unknown to critics of the fairy-tale work of the writer. In the given article with the help of biographical method, method of analysis and synthesis, text analysis the artistic originality of Marko Vovchko's fairy-tale prose is determined. The fairy-tale works of the author «Queen I», «Perfect Chicken», «Inventor» in their genre direction- social and domestic fairy tales are practically not studied. They reveal moral and ethical issues due to social and psychological factors. The most prominent in the above-mentioned works of the writer is the problem of selfishness and meanness of the human soul, which in turn is subject to the pressing social problem − the dominance of lordly arbitrariness, which leads to fatal consequences. The outlined problem acquires a corresponding gradation here: first it is revealed in the fairy tale «Queen I», later it is actualized in «Perfect Chicken», and acquires a special tragic sound in «Inventor». First of all, you should pay attention to the titles of the analyzed fairy tales. They have a kind of ironic connotation, which is revealed at the end. For example, in the plot of the fairy tale «Queen I» ridiculed such flaws as the arrogance and arrogance of human nature, in «Perfect Chicken» − a hint of immorality of the so-called «perfect» lordly behavior, in the fairy tale «Inventor» − expressed hidden irony of the romantic idea transformation of society. The article also clarifies the basic principles of storytelling in the collection «Fairy Tales and Tale of Marko Vovchko»: the presence of a social plot, uniformity in the development of events, a combination of romantic and realistic stylistic features in the image of reality, psychology as one of the basic principles of fairy tales.

ГЕНЕЗА ДУМИ ПРО БРИТАНКУ ЮРІЯ ЯНОВСЬКОГО В КОНТЕКСТІ ТРАДИЦІЙ РАДЯНСЬКОЇ ДРАМАТУРГІЇ

The specificity of this article is the consideration not only of the completed text entitled A Duma about Brytanka, but also of the play-forming and creating process, which became possible due to the presence of drafts and draft notes to the work. Therefore, this study is conducted not only in along the lines of literary theory, but also textology. The relevance of the study is that the view from above allows us to comprehend, or even rethink, the play A Duma about Brytanka in the context of the author’s work and also in the context of the Soviet drama landscape in general. Understanding and rethinking the work of predecessors is an important process for comprehending the development of literature as a general process and its development within the national borders. The aim of the study at hand is to determine how the realities of the time and especially the accepted literary trend and historical events influenced the formation of the text of the play. The results of the study show that the original idea of A Duma about Brytanka had much more romantic features, as romanticism as a style of thinking was inherent for Yuri Yanovskyi. However, in the process of creating the play, the author began to rely on the documents that showed the real case of the social republic. The author abandoned the original version and completed the play so that it became much closer to the Soviet canon than to romanticism.

Romanticism in the North American Short Story

El Romanticismo fue un movimiento extremadamente influyente que surgió a finales del siglo 18 y que tuvo un gran impacto en varias áreas, incluida la literatura. Innumerables escritores han representado en sus obras características esenciales del Romanticismo como la representación de horror y emociones intensas, el uso de entornos naturales exóticos y salvajes, el nacionalismo, el individualismo, la mente humana, y el simbolismo, entre muchas otras. En este artículo, se muestra cómo el Romanticismo influyó, en concreto, la narrativa breve norteamericana analizando cinco obras: “Rip Van Winkle,” de Washington Irving; “The Minister’s Black Veil,” de Nathaniel Hawthorne; “Bartleby, the Scrivener,” de Herman Melville; y “The Minister’s Black Veil” y “The Tell-Tale Heart,” de Edgar Allan Poe. Los resultados que se han obtenido de este análisis han demostrado que estas cinco historias breves se pueden considerar trabajos románticos porque reflejan múltiples características del Romanticismo. De hecho, estos autores retratan las peculiaridades de los dos sub-campos más importantes del Romanticismo Americano conocidos como “Romanticismo Claro” y “Romanticismo Oscuro.” Romanticism was an extremely influential movement which flourished at the end of the 18th century and which had a huge impact on various areas, including literature. Countless writers have represented in their works key Romantic features such as the depiction of horror and intense emotions, the use of exotic and wild natural settings, nationalism, individualism, the reproduction of the human psyche, and symbolism, among many others. In this paper, it is shown how the Romantic Movement influenced, more specifically, the North American short story by analysing five works: Washington Irving’s “Rip Van Winkle,” Nathaniel Hawthorne’s “The Minister’s Black Veil,” Herman Melville’s “Bartleby, the Scrivener,” and Edgar Allan Poe’s “The Masque of the Red Death” and “The Tell-Tale Heart.” The results which have been obtained from this analysis have demonstrated that these five short stories can be considered as Romantic works because they reflect multiple characteristics of the Romantic Movement. In fact, these writers portray the peculiarities of the most important subfields of American Romanticism, which are known as “Light Romanticism” and “Dark Romanticism.”

О призрачных конях - «проводниках» в иной мир в балладах акмеистов

The article deals with ghostly horses - «guides» to another world in acmeistic ballads. The works of N. Gumilev, Vs. Rozhdestvensky, O. Mandelstam, G. Ivanov and I. Odoevtseva are considered in the paper. The main characters of the ballads are most often riders, and their horses are endowed with demonic or just mystical functions, in some cases they save the characters acting as their defenders. Horses carry the rider to another space; horses kill characters or help them. In ironic ballads this image is reinterpreted - romantic features are weakened, deliberately strengthened, or disappear altogether (for example, «The ballad about a cabby» by I. Odoevtseva).

“ENTERING LIFE” OF POETRY BY E.T.A. HOFFMANN AND GÜNTER GRASS

In this scientific article, it is assumed that the literary works of the Nobel Prize laureate and the German national poet Günter Grass are characterized by romantic features. For this reason, the novel Ein weites Feld (“A Wide Field”) by Grass and the fairy tale Der goldene Topf (“The Golden Pot”) by E.T.A. Hoffmann are examined in terms of their similarities and differences. It is noteworthy that E.T.A. Hoffmann has so far only been associated with Grass in relation to his fairy tale “Klein Zaches, called Zinnober”, and the main hero of the fairy tale served as a literary model for Oskar Matzerath from “The Tin Drum”. Thus, this article makes it possible to throw a new light on Grass’es research. In this paper the following aspects are analyzed: questions of poetics, genesis, main characters, narrative or fictional levels, structural principles, as well as the role of the reader. The results are summarized in the final part of the investigation.

Review of Vasil Simonenko's work

In the paper the work of Vasyl Symonenko (lyric poetry, lyro epic, short stories) is integrally analysed. Attention to collections "Bank of expectations" and "For itself" is paid. The romantic features of lyric poetry, preparation of lyric hero to adult life, feeling of responsibility are marked. The verses of these collections help an author to attain an emotional equilibrium, perform the original psychotherapy duty. First printed collection "Silense and thunder" educed the updating of poetic maintenance at maintenance of classic forms. The poles of "silense" (intimate lyric poetry) and "thunder" (civil lyric poetry) are analysed, didacticism and gnomic are marked. The posthumous collection "Earthly gravitation" strikes the "overpopulation" of the verse line, the concentration of idea, the transparency of ideas, the faith in the future. The features of address verses, facilities of fight against the negative public phenomena are studied. During the study of lyric poetry of V. Symonenko non-verbalized motives of aspiring to the changes, aspiration and spiritual way are educed. Romanticism of lyric poetry is consonant with short stories of V. Symonenko, collected in a book "Wine from roses". The plot organization and ideological level of short stories "He interfered with her to sleep", "Wine from roses", "Black horseshoe" are analysed. An accent on the open finales of works is done. The fairy-tales of the sixty contain a political implication, but they could be addressed to the junior reader. For more complete understanding of the artistic world of author it is necessary to know his literary-critical work, foremost the article "Beauty without beauties ", sanctified to the poetry of L. Kostenko. V. Symonenko appears in the hypostasis of professional reader that analyses collection "Trip of heart". V. Symonenko noticed beauty, wisdom, thin heartfelt sensitiveness and good taste, could be said about a critic. The conclusion, that a poet kept straight in life, and in work, as well as majority of sixties is drawn.

РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ ВОР В СОВРЕМЕННЫХ СРЕДСТВАХ МАССОВОЙ ИНФОРМАЦИИ

The main purpose of the article was to study the representation of the concept 'thief' in the language of Russian mass media. This concept is important for both national and scientific legal concept spheres. The appeal to journalistic texts is due to the fact that they quickly reflect the main characteristics of the current state of mass consciousness and manifest its key stereotypes. The analysis was carried out in accordance with the main task of the study: to identify the key features of the concept represented in the media. In the course of the study, information from the newspaper subcorpus of the National corpus of the Russian language was used in order to collect and analyze empirical data. Semantic analysis of the contexts containing the key word of the concept revealed basic characteristics of the concept prevailing in the mass national consciousness. The authors conclude that the romantic and heroic image of the thief, which has deep folklore and literary roots, continues to exist as one of the prevalent characteristics of this concept in modern public consciousness. This image of the thief is largely formed by modern mass cinema, literature and music which are discussed in the media. The image of the so called «thief in law», often mentioned in the analyzed material, also partly contributes to the strengthening of the romantic features of this concept, since it implies following some alternative principles of morality and honor. At the same time, the research has shown that this concept receives an ambiguous evaluation in the Russian society, since the idea of criminality of this phenomenon is clearly expressed in many of the contexts under study.

Honghuzi in the literary reception

Outlaw is one of the archetypes in world literature. Honghuzi is the eastern version of the image of the outlaw. As his counterpart in European literature, he expressed the ambiguity, the ambivalence of human nature. Unlike the characters of F. Schiller, A.S. Pushkin and others, the image of Honghuzi is the least marked by romantic features. In the prose of the Russian emigrant writers of the Harbin diaspora, Honghuzi expresses the Chinese mentality; the specifics of orientalism are projected onto him, and at the same time its image is extremely objective, which primarily characterizes the prose of P.V. Shkurkin - the author of the ethnographic prose about the outlaws of the border zone of the Russian Far East, Manchuria, Korea and Mongolia. The context consists of the works by Shi Naian, Pushkin, Schiller, English folklore, etc. Comparative analysis allows us to identify the individual features of the artistic perception of the Honghuzi's activities by Shkurkin. It is proved that the interpretation of Honghuzi by Shkurkin is close to the image of the robber in Chinese, English, German literature, along with Russian literature of the XIX-XX centuries.

The Pre-Raphaelites and their Keatsian Romanticism: An Analysis of the Renderings of 'The Eve of St Agnes and Isabella'

This research examines the influence of Romantic poet John Keats on the Pre-Raphaelite Brotherhood, a Victorian artistic and literary movement. The aim of this paper is to prove how Keats became, moreover, a major connecting link between Romanticism and the Victorian era, thus enabling the continued existence of certain Romantic aesthetic features until the beginning of the twentieth century. In that sense, we will explore how this influence took shape and we will analyse Pre-Raphaelite works of art which have as source of inspiration some of Keats’s well-known poems (“Isabella; or, The Pot of Basil” and “The Eve of St. Agnes”). This examination will allow us to perceive the manner in which these artists devised their pictorial style based on Keatsian pictorialism in poetry, with a special emphasis on the significance of medievalism, and the beauty and sensuousness of his verses, and how they were transferred into their canvases.

La colpa in gioco Elementi del Trauerspiel (a partire da Benjamin)

The article discusses the theatrical form named Trauerspiel (baroque drama or mourning play), starting from the very elements that form its concept – play and mourning. Far from being identifiable with tragedy or from being reducible to a sort of anticipation of Romantic features, Trauerspiel expresses the traumas of subjectivity in early modern age, as it deals with religious and political turmoil. Taking inspiration from Walter Benjamin’s Ursprung des deutschen Trauerspiels, the article investigates some crucial elements of baroque mise-en-scène such as sovereignty, guilt, empathy, searching for further intersections with the theories of play by both Johan Huizinga and Georges Bataille.

Черты романтического мировоззрения в творчестве томского композитора Константина Лакина

The paper aims to reveal romantic features in music of the Siberian composer Konstantin Lakin. Scientific originality of the study lies in the fact that romantic elements in music are for the first time considered taking into account meaningful and structural peculiarities of compositions of one of the oldest composers of Siberia whose creative work is poorly studied and has not been previously investigated in the given aspect. Relying on the conducted analysis, the researcher identifies romantic features of K. Lakin’s music, such as: focus on an individual’s subjective world, adherence to the program instrumental miniature, prevalence of lyrical tone and monologue, renewal of the musical form of concert and symphony genres.