Romantic Theory Research Articles

The Norton Library

Book Review| October 01 1960 The Norton Library The Norton Library. New York: W. W. Norton & Company, Inc. Norton’s paperbacks may not be “Bound to Last,” as advertised (see above), but they are so bound that they may be opened and read without breaking their backs. The type of one or two of the recent titles is somewhat small, but the general quality of both production and matter is high. Some recent titles: Abrams, M. H., The Mirror and the Lamp: Romantic Theory and the Critical Tradition, $1.85; Hawthorne, Nathaniel, The Blithedale Romance, with an Introduction by Arlin Turner, 95 cents; Fielding, Henry, Joseph Andrews, with an Introduction by Mary Ellen Chase, 95 cents; Three Greek Plays: Prometheus Bound, Agamemnon, The Trojan Women, translated and with an Introduction by Hamilton, Edith, 95 cents; and Austen, Jane, Persuasion, ed. Chapman, R. W., Introduction by David Daiches, 85 cents. South Atlantic Quarterly (1960) 59 (4): 570–571. https://doi.org/10.1215/00382876-59-4-570 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation The Norton Library. South Atlantic Quarterly 1 October 1960; 59 (4): 570–571. doi: https://doi.org/10.1215/00382876-59-4-570 Download citation file: 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 Books & JournalsAll JournalsSouth Atlantic Quarterly Search Advanced Search The text of this article is only available as a PDF. Copyright © 1960 by Duke University Press1960 Article PDF first page preview Close Modal You do not currently have access to this content.

Architecture and the Romantic Tradition: Coleridge to Wright

In applying the romantic theory to architecture, Wright holds that a building should be organic. He defines this term in many ways. In a sense the whole of his work, both in his buildings and in his writings, has been effort to state and to embody the organic idea. According to this theory, the form of a building should be determined by its relations to its site and the human use for which it is intended, by the nature of the materials used in its construction, and by esthetic principle of unity analogous to the living, changing unity of a plant animal. Integration, Wright says, or even the very word 'organic' itself, means that nothing is of value except as it is naturally related to the whole in the direction of some living purpose. In another attempt he says that romance is an earnest life-long search for that thing growing out from within the nature of the thing . . . not from anything applied to that thing from without.3

The Mirror and the Lamp: Romantic Theory and the Critical Tradition

The Mirror and the Lamp: Romantic Theory and the Critical Tradition

The Mirror and the Lamp: Romantic Theory and the Critical Tradition.

The Mirror and the Lamp: Romantic Theory and the Critical Tradition.

The Mirror and the Lamp: Romantic Theory and the Critical Tradition

The Mirror and the Lamp: Romantic Theory and the Critical Tradition

The Mirror and the Lamp: Romantic Theory and the Critical Tradition

The Mirror and the Lamp: Romantic Theory and the Critical Tradition

The Mirror and the Lamp: Romantic Theory and Critical Tradition

The Mirror and the Lamp: Romantic Theory and Critical Tradition

Romantik og kristendom hos den unge Grundtvig. C. I. Scharling: Grundtvig og romatikken belyst ved Grundtvigs forhold til Schelling

Romantik og kristendom hos den unge Grundtvig. C. I. Scharling: Grundtvig og romatikken belyst ved Grundtvigs forhold til Schelling

Herder's Preparation of Romantic Theory

Herder's Preparation of Romantic Theory

Romantic Expressionism and the Modern Church

In The search for a new style to house the physical and spiritual activities of modern man, ecclesiastical architecture faces a serious dilemma. In the Medieval period an unconscious integration existed among congregation, church building, and its builders. While modern scholarship does not support the romantic theory of “collective creation” of the Medieval church buildings, undoubtedly there was a high degree of communal expression. During the Renaissance and Baroque periods ecclesiastical architecture depended upon professional architects who were fully conscious of the historicity of ‘style’ and of their own profession. What coherence there was among congregation, Church, and architect was achieved through the arbitrary action of the Church, the courts, or the academies and can not be regarded as a true communal expression. The historical consciousness of the Renaissance period remained to the present day, and paved the way for the revivals of modern times. Of these the Gothic revival was the most imp...

Literary Criticism and Romantic Theory in the Work of Achim von Arnim.

Literary Criticism and Romantic Theory in the Work of Achim von Arnim.

Literary Criticism and Romantic Theory in the Work of Achim von Arnim

Literary Criticism and Romantic Theory in the Work of Achim von Arnim

Literary Criticism and Romantic Theory in the Work of Achim von Arnim

Literary Criticism and Romantic Theory in the Work of Achim von Arnim

The Romantic Theory of Poetry: An Examination in the Light of Croce's Aesthetic.

The Romantic Theory of Poetry: An Examination in the Light of Croce's Aesthetic.

Literary Ideas in Spain from 1839 to 1854

in the two preceding articles', that neither before nor after 1835 (the date of Don Alvaro) was there any general agreement in Spain as to what Romanticism meant, and that 'militant, constructive and self-conscious Romanticism' never dominated Spanish literature at all. I have traced, in these articles, the prevalent Spanish conceptions of Romanticism from an early stage in the pre-Romantic movement, through the period of the emigrations, the short-lived triumph of a few revolutionaryplays, the so-called 'classical reaction' and the years when literary eclecticism flourished, down to the year 1854, at which date all would agree that Juan Valera was justified in calling Romanticism, in the narrow sense of the word, 'una cosa pasada, y perteneciente a la historian.' The aim of this article is to supplement those which precede it by amplifying, and perhaps by defining rather more clearly, the tendencies of literary thought in Spain during the latter part of the period referred to. I propose next to embark upon a more difficult theme, for the study of which this series of articles will have prepared the way, namely, the true nature of Romanticism in Spain, judged not only by Romantic theory, but by Romantic practice. It seems unlikely, however, that the treatment of this theme will be able to be contained within the limits