The Major Characteristics of Romanticism

Romanticism is often understood as a set of new cultural and aesthetic values. It might be taken to include the rise of individualism, as seen by the cult of the artistic genius that was a prominent feature in the Romantic worship of Shakespeare and in the poetry of Wordsworth, to take only two examples; a new emphasis on common language and the depiction of apparently everyday experiences; and experimentation with new, non-classical artistic forms.

What is the Difference between Romanticism and Transcendentalism

Explanation of Romanticism (literature ..

Romanticism – (1790-1850) | ART

Romanticism, by having a unique reverence for what was old as being separate from the present, had strains which both revelled in form, and which rebelled against strictures not seen as "essential". It would, however, be with the French Revolution and the rise of the use of stark orchestral effects, dramatic changes in dynamic and powerful tutti sections were the beginning of using the unexpected in music to its most forceful effect.

Romanticism in Spanish literature - Wikipedia

The movement, Romanticism, however, began having an impact on music well before this point in time, beginning with the introduction of elements of dance and song from outside of the court culture then dominant in the patronage of the arts. While often termed folk music, it is not necessarily clear that this term applies. What was happening was the growth of a middle class, which was fusing elements from the agrarian culture, including dances and stories, with their own sensibilities.

Romantic poetry emphasizes natural, emotional and personal themes, it values intuition over reason, and it idealizes country life

Romanticism and Ruralism | Imponderabilia

Labels like 'Late Romantic' and 'Post-Romantic' link disparate composers of various nationalities, such as Jean Sibelius, Richard Strauss, Samuel Barber and Ralph Vaughan Williams, all of whom lived into the middle of the 20th century. See Romantic period in music. The conscious 'Modernisms' of the 20th century all found roots in reactions to Romanticism, increasingly seen as not harsh and realistic enough, even not brutal enough, for a new technological age. Yet Bartók began by collecting Hungarian folk music, Stravinsky with lush ballets for Diaghilev and Arnold Schoenberg's later spare style had its roots in rich freely chromatic atonal music evolving from his late Romantic style works, for example the giant polychromatic orchestration of Gurrelieder.

Romantic Textualities: Literature and Print Culture, …

Under the influence of Romantic nationalism, composers were among the most vocal proponents of national unity and progress in society. These ideals were exemplified in Beethoven's republicanism, through to the nationalism of Schumann and Verdi, and to the political sensibilities of Berlioz as he expressed them in his music. For these composers the nation was a worthy theme of music, in a way which was not visible in the previous era. Composers sought to produce a "school" of music for their own nations, in parallel with the establishment of national literature. Many composers would take inspiration from the poetic nationalism present in their homeland - beginning with Germany, but continuing forward through into the 20th century with composers such as Jean Sibelius. This was rooted in the Romantic argument that each "nation" had a unique individual quality that would be expressed in laws, customs, language, logic and, from their point of view of course, decorative and fine art.

Calls for papers – Conferences taking place in November …

In the United States, the romantic gothic makes an early appearance with Washington Irving's Legend of Sleepy Hollow (1819), followed from 1823 onwards by the fresh Leatherstocking tales of James Fenimore Cooper, with their emphasis on heroic simplicity and their fervent landscape descriptions of an already-exotic mythicized frontier peopled by "noble savages", similar to the philosophical theory of Rousseau, like Uncas, "The Last of the Mohicans." There are picturesque elements in Washington Irving's essays and travel books. Edgar Allan Poe's tales of the macabre and his balladic poetry were more influential in France than at home, but the romantic American novel is fully developed in Nathaniel Hawthorne's atmosphere and melodrama. Later Transcendentalist writers such as Henry David Thoreau and Ralph Waldo Emerson still show elements of its influence, as does the romantic realism of Walt Whitman. But by the 1880s, psychological and social realism was competing with romanticism. The poetry which Americans wrote and read was all romantic until the 1920s: Poe and Hawthorne, as well as Henry Wadsworth Longfellow. The poetry of Emily Dickinson – nearly unread in her own time – and Herman Melville's novel Moby-Dick can be taken as the epitomes of American Romantic literature, or as successors to it. Novels written during this time such as Hawthorne's The Scarlet Letter and Herman Melville's Moby-Dick evoked a more realistic, and sometimes deeply psychological and philosophical, view of the world as opposed to the very early romantic tales from the Middle Ages, such as The Green Knight, that used magical occurrences and enchanted lands as literary devices while giving little recognition and descriptive detail to the actual realistic difficulties faced by characters in such works.