Theory Of Romanticism Research Articles

Эстетика раннего французского романтизма и ее литературные ипостаси. Жермена де Сталь

The article reconstructs the early romantic philosophical aesthetics of Madame de Stael, which was embodied in her literary work. She made a significant contribution to the creation of the theory of romanticism, compared the romantic and classical types of creativity. De Stael was one of the first French romantics to use the term “romanticism”, define it and analyze from a philosophical and aesthetic point of view a number of key concepts for this new direction of artistic life: love, passion, enthusiasm, spirituality, sensitivity, reflection, self-reflection, melancholy, self-sacrifice, loneliness, alienation, imagination, inspiration, imagery, aesthetic pleasure, taste, talent, genius, ideal. She conceptualized the trend that would become prevalent in mature romanticism — a combination of the incongruous, sharp contrasts and tragic collisions of opposite principles — the sublime and the low, the beautiful and the ugly. De Stael attached particular importance to the national characteristics of artistic creativity, its rootedness in popular culture, and the influence of social institutions on art. She made a significant contribution to the development of aesthetic aspects of literary theory, put forward an innovative thesis about the “metaphysical” language that distinguishes the romantic style. The aesthetic vector of de Stael is directed to the future associated with the development of romantic art. All these ideas were reflected in her literary works.

Nima Yushij's Phoenix: From Romanticism to the First Modern Persian Poetry

The beginning of twentieth century is marked by the Constitutional Revolution in Iran. Alongside the revolution, sweeping changes were brought about in every aspects of Iranian society. Undeniably, these extensive changes affected the literature of time. With respect to Persian poetry, Nima Yushij stamped a new pattern on Persian poetry and released it from its long-standing tradition. The plausible reason explaining Yushij's innovation has remained an enigma for literary scholars. Nonetheless, Yushij's attachment to Romanticism can be analyzed to clarify the ambiguous realm behind Yushij's big step for the modernization of Persian poetry. As such, Morse Peckham's theory of Romanticism which is subdivided into four consecutive stages is recruited to encapsulate Yushij's progress in Romanticism. Studying Yushij with respect to these stages proves that Yushij's Phoenix previously dismissed as a romantic poem is indeed Yushij's culmination of Romanticism. Eventually, this is concluded that Yushij reaching the pinnacle of Romanticism in Phoenix has been a decisive factor in creating a new path for Persian poetry.

АКСІОЛОГІЧНІ ДОМІНАНТИ В ЕПІСТОЛЯРІЇ МІХАЛА ГРАБОВСЬКОГО 40-Х – 50-Х РОКІВ ХІХ СТОЛІТТЯ

This article is devoted to integrated research into correspondence of polish literary man M. Grabovskyj, analyzed literary and philosophic views of master in a diachronic aspect, his axiological priorities according to the periods of creation and philosophic views of figure.For the first time it is the attempt of new valuation of his achievements and intentions, consideration and description epistolary heritage of M. Grabovskyj, which include theoretical-literary dialogues with the famous polish artists of XIX c.In his enormous array of letters there are the conceptual reasoning and estimations of both work of separate writers and of that timeliterary process. The looks of writer were constantly evolved.The period of 40th – 50th ages of XIX c. is characterized by correlations of the own theory of romanticism, ambiguousness of communicative structure. Grabovskyj comprehended the nomenclature of texts of romantic canon.The letters of М. Grabovskyj, that became the article of independent analysis first, substantially specify presentation in the relation to his literary-aesthetic program realized in the articles. In that correspondences, especially in those that are addressed to the closest friends he was frank and formulated the positions laconically and clearly. In the letters of artist it is legitimate to see continuation of critical articles. In accordance with the vital looks of the critic, for every catholic there must be a few rules, that, according to his opinion, have to serve an original postulate for every christian. He expounded also an optimistic confidence that everything may change, but not a a few vital positions required to remain permanent during the whole life.

ПРОБЛЕМАТИКА ПОЛЬСЬКОГО РОМАНТИЗМУ В РЕЦЕПЦІЇ ЛІТЕРАТУРНОГО КРИТИКА МІХАЛА ГРАБОВСЬКОГО (на матеріалі листування)

Problems of polish romanticism in the perception of literary critic Mihal Grabovskyj (according to the materials of correspondence). This article is devoted to integrated research into correspondence of polish literary man M. Grabovskyj, analyzed literary and philosophic views of master in a diachronic aspect, his aesthetic priorities, described the evolution of general vital references of theoretician, and outlined the division into periods of creation and philosophic views of figure. A lot of attention is given to elucidation letters’ genres of M. Grabovskyj and its style. For the first time it is the attempt of new valuation of his achievements and intentions, consideration and description epistolary heritage of M. Grabovskyj, which include theoretical-literary dialogues with the famous polish artists of XIX c. In his enormous array there are the conceptual reasoning andestimations of both work of separate writers and of that timeliterary process. The looks of writer were constantly evolved, that does any division into periods of correspondence conditional enough. However there sre distinguished two periods: European-”loyal” (1823 -1843) and later “tendentious” clerical-panslavics’ (1843 – 1863). The range of letters’ problems of of the first period marks adaptation of ideas of European (German) romanticism to national traditions, grouping and consolidation by the leaders of Polish romantic literature. These ideas contain optimistic character and sent to deepening the national perception of the world. The second period is characterized by correlations of the own theory of romanticism, ambiguousness of communicative structure. Grabovskyj comprehended the nomenclature of texts of romantic canon. The letters of М. Grabovskyj, that became the article of independent analysis first, substantially specify presentation in the relation to his literary- aesthetic program realized in the articles. In that correspondences, especially in those that are addressed to the closest friends he was frank and formulated the positions laconically and clearly. In the letters of artist it is legitimate to see continuation of critical articles.

Miłość po „zmierzchu paradygmatu” – kilka słów o afektach i romantyzmie w Hanemannie Stefana Chwina

The aim of the article is to show the relevance between the affection theory and romanticism emotion in Stefan Chwin’s Hanemann . The author of the article interprets the novel with the romanticism theory – romantic love, melancholy, Kierkegaard Repetition and through new affection theory. Chwin’s Hanemann is the example of novel which shows us a turn to emotion, especially emotion derived from romantics.

The Romantic Philosophy In The Poetry Of William Wordsworth And Samuel Taylor Coleridge

This research work focuses on “The Romantic Philosophy in the poetry of William Wordsworth and Samuel Taylor Coleridge’’. The Romantics focus on landscape because of its natural essence and its spiritual composition. The Romantics aim at fighting for the masses and educating the public on how nature can be better treated and appreciated. They present the beauty and enjoyment of life in which they find themselves as imaginary and visionary. This work examined the theory of romanticism in romantic poetry using William Wordsworth and Samuel Taylor Coleridge’s poems as our reference texts. Wordsworth and Coleridge own most of their poetic resources and characters to nature as they both strongly believe in the power of nature that brings all that is good to life.

Timothy Saunders, Charles Martindale, Ralph Pite, and Mathilde Skoie Romans and RomanticsRomans and Romantics. Edited by Timothy Saunders, Charles Martindale, Ralph Pite, and Mathilde Skoie. Classical Presences. Oxford: Oxford University Press, 2012. Pp. vi+431.

<i>Timothy Saunders, Charles Martindale, Ralph Pite,</i> and <i>Mathilde Skoie</i> Romans and Romantics<i>Romans and Romantics</i>. Edited by Timothy Saunders, Charles Martindale, Ralph Pite, and Mathilde Skoie. Classical Presences. Oxford: Oxford University Press, 2012. Pp. vi+431.

Sublime landscapes in contemporary British horror: The Last Great Wilderness and Eden Lake

Landscape, as distinct from setting, presents its own visual authority, particularly in the horror genre. A number of contemporary British films contain pictorial images of the landscape that are not necessarily pivotal to the narrative. By implementing an analysis of these representations in contemporary British rural horror, and drawing on the theories of romanticism and the Sublime of the eighteenth and nineteenth centuries with their emphasis on the spiritual aspects of nature, allows for setting as more than narrative space. It produces an affect that elicits a certain type of emotion from the viewer, who is invited to experience an intuitive response on encountering the pictorial compositions, aiding narrative meaning. This essay examines what Martin Lebebvre describes as impure or spectator landscapes in two recent films: The Last Great Wilderness (MacKenzie, 2002) and Eden Lake (Watkins, 2008), and finds visual correlations drawn from the contemporary art world. This indicates that, from a socio-cultural perspective, the twenty-first century has witnessed an emergence of Romantic and sublime vocabulary in both film and painting, which indicates the existence of, what Raymond Williams might term, a structure of feeling.

Theories of Romanticism: From a Theory of Genre to the Genre of Theory

Theories of Romanticism: From a Theory of Genre to the Genre of Theory

Passion and Nation: War, Crime, and Guilt in the Individual and the Collective

Riffing off of George Fletcher's theory of Romanticism and war, the article reviews Fletcher's arguments, which received derisive reviews during the War against Iraq in 2003. The article takes Fletcher's approach seriously in considering the problem of war as a Romantic impulse, and the difficulties caused by that understanding. The article then derives arguments on the limits of the laws of war to apply to military actions against terrorism. The article considers the nature of collective guilt as a mitigating element in the crimes of one individual, and it considers the nature of non-state enemies in war. This last point is illustrated through detailed contrast between the U.S. experiences in the Barbary Wars and the Punitive Expedition to Mexico.

The History in Literature: On Value Genre, Institutions (review)

REVIEWS HERBERT LJNDENBERGER. The History in Literature: On Value Genre, Institutions. New York: Columbia UP, 1990. xix + 269 pp. Herbert Lindenberger's latest collection of essays investigates the relentlessly historical nature of literary study with clarity, knowledge, and elegance. In addition to providing a sane view of some hotly debated issues, he also includes a wealth of fascinating details. The book is centered in the nineteenth century, but extends into the present with essays on canon formation, on opera, and on the new historicism, with which this collection joins forces. It begins with a useful glossary, recontextualizing such terms as canon, genre, history, institutions, literature, opera, romanticism. The essay on "The Normality of Canon Change" gives a much needed historical perspective on the subject. For one thing, it is comforting to be reminded that our predicament is not new, such a perspective may serve to lessen some of the animosity which debates about the canon have generated. Given Lindenberger's central role in such debates at Stanford, I wonder whether that diffusion of hostility may have implicitly inspired this levelheaded essay. In it he considers three instances: a current debate over a humanities reading list, the mid-nineteenth century formation of the German classical canon raising Goethe, Schiller and Lessing to star status while includingbut dimming slightly the lights ofKlopstock, Wieland, andJean Paul, and the formation of the canon of Greek tragedy sometime between the third century B.C. and the second A.D., the selectors seeming to have favored plays with catastrophic endings but not those with melodramatic action. The next essay reports on the much publicized debate about what should be included in a general course on western culture taken by all undergraduates at Stanford. Here again, we get a valuable sense of particular history, we learn, for example, that many western civilization courses stemmed from one given at Columbia in 1918, which "sought to introduce Americans to the European heritage in whose defense they were soon to risk their lives." (One might bistoridze Lindenberger's text from an interamerican comparative perspective , and note that our language is not quite pluralistic enough yet, for he, like many of us, still uses "American" rather than "North American" to refer to this continent.) Lindenberger usefully contextualizes the polemics of these debates, reminding us, for example, that Allan Bloom's criticism ofStanford's revisions of the canon as "indoctrination with ephemeral ideologies" and "surrender to the present" are strikingly similar to complaints against Rousseau in the British press during the 1790s. He ends the essay with the wise observation that the move toward a more "globally oriented" course represents not only the university's multicultural student body but also the waning of America's power in the world—an implicit testimony to the continuing importance of comparative perspectives. The chapter on opera and postmodernity includes an instructive comparison of opera house and art museum, in which Lindenberger investigates why opera houses have been less hospitable to contemporary music than art museums to contemporary art: whereas the production of new and unpopular operas tends to alienate rich patrons, the acquisition ofnew art works attracts such patrons via new display rooms named for them. 140 THE COMPARATIST Other chapters, on "RomanticPoetryandthe Institutionalizing ofValue," and on "Evaluation as Justification and Performance: The Leech Gatherer as Testing Ground," in the "Value in History" section; on "Theories of Romanticism : From a Theory of Genre to the Genre of Theory," on "The History in Opera: La clemenza di Tito, Khovanshchina, Moses andAwn," and on "The Literature in History: Danton's Death in the Texts of Revolutions," in the "Genre in History" section; and on the new historicism, in the "Institutions" section, are equally rich in historical insights and information. The book ends with an epilogue in the form of an interview, where Lindenberger ironizes to himself, expressing his views, for example, on the new historicism as both a valuable corrective to earlier trends, and "the only viable career move the past ten years," demonstrating that "canon change is as normal in criticism as in literature." Finally, he predicts that the issue for the 1990's will be style, but "style in a much broader sense, the styles...

Auden as Literary Evolutionist: Wordsworth's Dream and the Fate of Romanticism

ion as well as barbaric, inchoate matter-and replaces them with a single indissoluble unity. But because of its intuitive nature, this unity is not the product of a universally logical process but rather a sacred radical of the individually creative imagination. Thus the isologous symbol paradoxically defeats rational empiricism at its own game by elevating the referential aspect of romantic poetics, yet at the same time puts that referentiality beyond understanding, hence beyond analysis or criticism. This is both defense against the inroads of irreverent inquiry and compensation for the confusion of the romantic lexicon. Romanticism's theory of emotional motivation complements the isologous symbol by replacing the concept of literature as an arrangement of conventions or devices with the concept of literature as a series of inevitable yet mysterious relations. Because of the polysemous quality of the symbol, the number of these relations is greatly increased. The actual analysis of the second lecture centers upon Auden's discussion of one particular symbol, the Pequod in Moby-Dick, and the purpose of this analysis is to show that romantic practice does not conform to romantic theory. Any symbol, Auden implies, can be naturalized; that is, the referentiality denied in isology can be re-introduced by supplying a signified for the signifier. In the case of the Pequod, Auden finds such naturalization in various elaborations of the now familiar quest of postrenaissance man for freedom from a false and trivial necessity (i.e., life on shore) and subjection to a true and meaningful one (i.e., life on ship). Auden greatly simplifies his task by taking the Pequod as his example of a symbol; the white whale eventually endures a similar fate of naturalization, but it must await that fate until the third lecture. Once the claim to isology has been dismissed through naturalization, it becomes apparent that, despite their strongly affective quality, romantic

Acts of Inclusion: Studies Bearing on an Elementary Theory of Romanticism

Acts of Inclusion: Studies Bearing on an Elementary Theory of Romanticism

The Artist and the Fly: Some Notes on Puritanism and Romanticism in Hawthorne

The reader who comes for the first time upon a story by Nathaniel Hawthorne entitled 'The Artist of the Beautiful' will rightly expect an exploration, in Hawthorne's characteristic fusion of symbol and allegory, of the aesthetic aims and impulses of art. He will probably expect (especially if he is familiar with 'The Prophetic Pictures' in Hawthorne's earlier Twice-Told Tales) a story of a painter; and, if he has encountered 'The Birth-Mark', he will be prepared for a warning against the dangers of too assiduous a striving after perfect beauty. It may come as something of a surprise that Hawthorne has chosen a watchmaker to symbolize the artist and a mechanical butterfly as the work of art. By the I84os, when this story was written, the aesthetic theories of Romanticism had established the imagination as the 'shaping spirit' of art and, indeed, as the agent by which the beautiful is apprehended and understood; they had also asserted the pre-eminence of the beauty of nature. The point is made by another commentator in a quite different context: 'The characteristic Romantic analogies which describe the operation of both art and life are drawn direct from nature: nightingales, sensitive plants, erupting volcanoes. The artist and his work operate as nature itself seemed to do, spontaneously, organically, mysteriously. The characteristic eighteenthcentury analogies tend to be drawn, instead, from human craftsmanship: clocks, machines, garden mazes, theatres'.1 Hawthorne's symbolism in this story, therefore, may seem to be anachronistic; it may appear to handicap him, or even, by reducing the artist to the technically-skilful craftsman, to belittle either the role of the creative imagination or the spontaneity and function of art itself.

Theories on the Theory of Romanticism

Theories on the Theory of Romanticism

Toward a Theory of Romanticism

Can We Hope for a theory of romanticism? The answer, I believe, is, Yes. But before proceeding further, I must make quite clear what it is that I propose to discuss.