Romanticism Research Articles

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

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

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

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

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

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

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

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

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

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

Austen’s Men, Immortality and Intertextuality

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

Sámi Literature in Norwegian Language Arts Textbooks

Sámi Literature in Norwegian Language Arts Textbooks

Spiritual Aspect of Early Music on The Example of Organ Compositions

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

Romantic Characteristics of Harmony in the Chamber and Vocal Works of Viktor Kosenkо on the Poems of Symbolist Poets

The vocal and chamber work of the outstanding Ukrainian composer of the 20th century Viktor Kosenko is a reflection of the lyrical musical and poetic features of his artistic world. For the author, this is a field of constant search for new means of musical expression and at the same time a solid base for mastering the traditions of past and present creative achievements. That is why romances occupy an important place in the composer's work.
 Romantic lyrics dominated his work until the end of the 1920s, but still Viktor Kosenko's romances have not lost their relevance. The music complements the experience of the modern listener with numerous allusions to the romantic era. It sometimes resemblessty listic fusion sof elements of the music allanguage of composers of the past – S. Rachmaninov, P. Tchaikovsky, O. Scriabin, impresses with a palette of harmonious colors of late romanticism, impressionism, which shows the directions of the composer's musical and aesthetic preferences, especially in harmony. It is this important aspect that remains the least studied in musicology, therefore the study of harmonic phenomena in Vіktor Kosenko's chamber and vocal lyrics has all the signs of relevance.

‘Start not, gentle reader!’: Re-reading Alicia LeFanu’s <em>Helen Monteagle </em>(1818) 

This article is the first to focus upon Helen Monteagle (1818), a novel written by Alicia LeFanu and the second of six works of fiction she is known to have published between 1816 and 1826. In part an act of recovery, the article explores Helen Monteagle’s significance to understandings of the development of prose fiction in the romantic period, and situates the novel in relation to the traditions and innovations of satirical writing in particular. Tracing the various acts of conformity and resistance displayed by its female protagonists, the article identifies in the novel a corresponding interest in the terms of women’s professional practice as performers and authors in a year which also saw publication of Shelley’s Frankenstein and Austen’s Northanger Abbey. LeFanu’s novel, the article argues, reflects upon the author/creator and her audience, and articulates a commentary upon the adequacy of conventional narrative frameworks in the context of market competition and anxieties about the integrity of contemporary literary culture. The novel’s innovative and allusive approach to plot and character are examined in relation to LeFanu’s third novel of 1819, entitled Leolin Abbey. In its discussion of the various personal, professional and commercial imperatives which informed LeFanu’s career as a writer, the article reflects upon the broader context of women’s writing in this period and aims to enhance an appreciation of its diversity.

Romantic Novels 1817 and 1818: Introduction

This special issue comes out of two 'Romantic Novels' seminar series, held in 2017 and 2018, inspired by the Romantic Bicentenary and hosted by the University of Greenwich, UK. Each of the twelve seminars focused on a novel published in either 1817 or 1818, which was introduced by an expert and then discussed by the group at large. Reading the twelve novels of 1817 and 1818, in 2017 and 2018, illuminated not only the range of fiction available in the late Romantic period, but also the dialgoues that emerged between these texts. Since many were composed concurrently, this is not so much a matter of direct influence as an effect of the zeitgeist. The five essays collected here represent some of what the editors came to see as the most pressing and presistent topics articulated across the fiction read, and what was discussed in the seminars.

Amos Bronson Alcott: A Case for Romantic Education

As one of its ideologues, Amos Bronson Alcott constitutes one of the most relevant figures of Transcendentalism or American Romanticism. Confronted with the radical changes of the times he was living in, Alcott will come up with his most daring proposals in the realm of education. The objective of this article is to place Alcott’s reformation drive within its philosophical context and to reveal his singular position. Self-awareness, in perspective with nature, constitutes an unavoidable previous step to any educational intent. It is from here that the most useful learning takes place, that which allows for establishing a relationship between the material world and the spiritual world. Alcott identifies the general laws of thought, as series of Maxims, that must at all times guide the instructor. Due to the divine nature of human beings, education will, in the end, be concerned with self-education.

:Album Verses and Romantic Literary Culture: Poetry, Manuscript, Print, 1780–1850

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The ethical implications of resonance theory

In the first part of this paper, I want to look at the ethical implications of Hartmut Rosa’s Resonance theory for a critical theory of society. I know that this widening of the scope of critical theory is an important objective which Hartmut has pursued. Then I will look at some of the sources of resonance theory in the poetry of the Romantic period. These still provide the basis for important Resonanzachsen today. At the end of this essay, I deal with the issue of the epistemic status of the convictions this poetry inspires.

American Romanticism and the Popularization of Literary Education

American Romanticism and the Popularization of Literary Education

Эволюционный путь внешней политики современной Венгрии

Introduction. The foreign policy of modern Hungary has passed through several stages of development since the fall of socialism. The purpose of this article is to clarify the qualitative characteristics of the points of evolution that have determined the content of Hungarian foreign policy. Today, it is not enough to define the image of Hungarian foreign policy solely in terms of pan-European or North Atlantic solidarity. A more careful and thoughtful study of the dynamics of the foreign policy doctrine of Budapest is required. Methods and Materials. Our main task is to clarify the periodization of the process of Hungary’s foreign policy development. The proposed periodization is carried out in a complex manner, based on several reasons and correlating their influence on each of the allocated time periods. The information array was composed of news for April 2010 – August 2022, based on a digest of news from Hungarian news agencies. Analysis. The author identifies five main periods in the development of Hungary’s foreign policy: the transitional period; the imperative period; the period of Euro-Atlantic romanticism; the period of seeking regional balance; and the period of Euroscepticism and Easternization. Each of these periods is characterized by an assessment of the conceptual content of international politics, the continuity of the foreign policy course, and the change in emphasis of the current policy. Results. Obviously, the current period of development is nearing its end, and in the medium term, Hungarian foreign policy itself will take the form of several relatively balanced concentric circles in the process of forming a polycentric world. At the same time, the European and American orientations will continue to be of paramount importance for Hungary. The growing inertia of the decline in the intensity of Russian-Hungarian relations seems to be the main characteristic of the interaction between the two countries.

The pecularities of transcription of homofon-harmonic musical works for accordion

The article deals with the general and specific issues of accordion transcription development. The peculiarities of this process depend largely on the discourse of the original creations, selected for transcription. Most of them belong to the homophonic-harmonic style, usually corresponding to the period of musical classicism and romanticism, and are written for piano or violin solo, or with orchestral accompaniment. The author focuses on the specifics of the given instruments, analyses the transcription of homophonic-harmonic creations from a historical perspective. At the same time, specific features and recommendations are presented in order to create accordion versions of musical creations in this style.

Образ Альбрехта Дюрера в теории и практике назарейцев и их последователей

The formation of Albrecht Dürer’s cult in German romantic culture is an important problem of modern art history, since the image of the German master, created in the first half of the 19th century, still influences the perception of his work. The article analyses the works of the Nazarene artists and German masters from Munich and Dusseldorf, where the Nazarene traditions were especially strong. Special attention is paid to the design and organization of the so-called Dürer-Feste. In addition, the works of romantic masters have been identified, in which the influence of the style and iconography of Dürer’s works is especially clearly manifested (by P. Cornelius, F. Pforr, E.N. Neureuther, L.E. Grimm). The main subjects associated with the romantic cult of A. Dürer are identified: friendship with Raphael, work for Maximilian I, receiving the coat of arms from the hands of the emperor, and connection with contemporary artists. The peculiarity of the romantic cult of Dürer is special attention to the personality and biography of the master, which manifested itself in the theory and everyday practices of German artists. At the same time, in the art of German Romanticism, references to Dürer’s work are not so frequent. They are found mainly in graphic works, the plots of which are associated with patriotic or historical themes. The article shows that the image of Dürer in the German romantic culture is multifaceted. The Nuremberg master was perceived as a pious Christian artist, an outstanding engraver, a symbol of the chivalric Middle Ages, and at the same time a bright representative of the burghers of Early Modern times. But first of all, the artists of the Romantic era praised Dürer as the embodiment of the national idea and the direct predecessor of modern German painters.

Necromancing the Stones

Abstract: This article argues that nostalgia, as a spatially-oriented concept which developed around the late eighteenth century, was integral to the development of Romanticism in the period. From this emergent paradigm of nostalgia, Palestine––both as a literal and figural place––acquired a renewed interest and prominence in aesthetic and national cultures of the Romantic period. The article then traces how a multiplicity of native Palestinian Romanticisms developed partly in response to American and European encroachments on Palestine that were themselves partly motivated by Romanticism.

Исповедь белого дрозда. Эстетические взгляды Альфреда де Мюссе и его поэтика

The article reconstructs the aesthetics of Alfred de Musset, a thinker and artist of late romanticism, who revised the aesthetic views of the early romanticists, as well as their modern successors, and thus made a significant contribution to the self-reflection of French romanticism. He saw the prospects for the evolution of romanticism in the development not of the medieval, but of the national French classicist tradition with its clarity of style, purity of language, enriched with the sensitivity and melancholy inherent in the romantic mood. Unlike his romantic predecessors, Musset preferred tragedy over drama, reflected on the rules for constructing classical and modern tragedies, advocated the revival of the principles of the Aristotelian Poetics and the reformation of the French theatre on this basis. In the centre of his aesthetic interests were the problems of the beautiful, the sublime, the tragic, the comic, artistic creativity, inspiration, taste, and the relationship between art and life. The article traces the evolution of Musset’s poetics in his drama, prose, and poetry. It is concluded that the ironic distancing from the heritage of both the initiators of romanticism and its current state contrasts paradoxically with the literary work of Musset, imbued with many of the moods that he criticized as a theorist, rejecting some of the conventions of the romantic school and making a significant contribution to the renewal of the aesthetics and poetics of romanticism. In his work, he stood apart, went his own way, often against the current, trying to give the verbal expression of romantic moods purity, transparency, rigor and structure of classical French literature. Musset’s best poetry cycles are distinguished by refined symbolism and deep metaphysical reflections that give the poet’s innermost experiences a generalized philosophical meaning.