Die Romantik und die Geschichte PDF Download

Author: Kurt Borries
Publisher:
ISBN:
Category : German literature
Languages : de
Pages : 254

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Author: Horst Albert Glaser
Publisher: John Benjamins Publishing
ISBN: 9789027234476
Category : Literary Criticism
Languages : en
Pages : 784

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This volume is the twelfth to date in a series of works in French or English presenting the epochs and movements of a Comparative History of Literatures in European Languages (Histoire Comparée des Littératures de Langues Européennes). The original intention of the editors was to publish a four-volume history of European literature from 1760-1820, and the first of these volumes, Des Lumières au Romantisme. Genres en Vers, appeared as long ago as 1982. The volumes Genres en Prose and Théâtre are still awaited. In their absence the present volume, Epoche im _berblick, attempts a more comprehensive and rigorous treatment of the period and its historiographical problems than was initially planned, providing the reader with an overview of sixty eventful years of European literary history — years in which German Classicism coincided with the birth, initially in Germany and England, of Romanticism. And at the centre of this turbulent period of European intellectual and literary history stands the French Revolution.

Author: Gerhard Schulz
Publisher: C.H.Beck
ISBN: 9783406410536
Category : Europe
Languages : de
Pages : 148

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Author: Roy Porter
Publisher: Cambridge University Press
ISBN: 9780521339131
Category : History
Languages : en
Pages : 368

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Special emphasis is placed on the interplay between Romantic culture and social, political and economic change in this study of the course of Romanticism in various European countries.

Author: Steven P. Sondrup
Publisher: John Benjamins Publishing
ISBN: 9789027234513
Category : Literary Criticism
Languages : en
Pages : 500

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Nonfictional Romantic Prose: Expanding Borders surveys a broad range of expository, polemical, and analytical literary forms that came into prominence during the last two decades of the eighteenth century and the first half of the nineteenth. They stand in contrast to better-known romantic fiction in that they endeavor to address the world of daily, empirical experience rather than that of more explicitly self-referential, fanciful creation. Among them are genres that have since the nineteenth century come to characterize many aspects of modern life like the periodical or the psychological case study; others flourished and enjoyed wide-spread popularity during the nineteenth century but are much less well-known today like the almanac and the diary. Travel narratives, pamphlets, religious and theological texts, familiar essays, autobiographies, literary-critical and philosophical studies, and discussions of the visual arts and music all had deep historical roots when appropriated by romantic writers but prospered in their hands and assumed distinctive contours indicative of the breadth of romantic thought. SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.

Author:
Publisher:
ISBN:
Category : Electronic journals
Languages : en
Pages : 634

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Provides image and full-text online access to back issues. Consult the online table of contents for specific holdings.

Author: Leslie J. Workman
Publisher: Boydell & Brewer
ISBN: 9780859914000
Category : Architecture
Languages : en
Pages : 280

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Concentrating on Europe, this volume's sixteen essays discuss different forms of medievalism in Germany, France, Italy, Spain, and Serbia. Medievalism, the whole spectrum of post-medieval response to the middle ages, is now accepted as a vital key to the understanding of Western culture and society from 1500 to the present, pervading every aspect of our time, from the popular and artistic to the scholarly. Studies in Medievalism, now published annually, is the one series to provide a regular forum for discussion of medievalism. This volume is devoted to medievalism in Europe, excludingEngland (the subject of Volume IV,1992). Contributors from Europe and America consider medievalism in Germany, Italy, France, Spain and Serbia over a wide range of topics from eighteenth-century French politics and nineteenth-century German nationalism to contemporary Italian film.

Author: Margaretha G.
Publisher: GRIN Verlag
ISBN: 3640992687
Category : Literary Criticism
Languages : de
Pages : 20

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Studienarbeit aus dem Jahr 2011 im Fachbereich Germanistik - Neuere Deutsche Literatur, Note: 1,3, Otto-Friedrich-Universität Bamberg (Lehrstuhl für Neuere Deutsche Literatur), Veranstaltung: Hoffnungslos romantisch?, Sprache: Deutsch, Abstract: 1. Einleitung Beim Versuch die Romantik in eine exakte Zeitspanne einzugliedern, stößt man auf zahlreiche Schwierigkeiten. Denn dieser Zeitabschnitt wird als das Exempel schlechthin angesehen, wenn es darum geht, die sich ergebenden Probleme bei der Eingrenzung eines Epochenbegriffs zu definieren. Ingesamt gilt die Romantik nicht als Stilbegriff1, sondern ist eher eine Weltanschauung. Einigkeit herrscht, wenn es um den Beginn der Romantik geht. Dieser ist ins späte 18. Jahrhundert, um das Jahr 1790, einzuordnen. Dazu orientiert man sich vor allem an Ludwig Tiecks Frühwerk. Umso problematischer ist es, ein klares zeitliches Ende festzusetzen. Das liegt vor allem daran, dass die „literaturhistorische Entwicklung“2 nicht in allen europäischen Kulturkreisen synchron ablief. Aber auch die zusätzliche Unterteilung in drei weiteren Phasen der Frühromantik, Hochromantik und Spätromantik, erschwert die temporale Definition erheblich. So reicht Beispielsweise die Spätromantik in der Kunst bis zum Ende des 19. Jahrhundert. In der Musik werden spätromantische Tendenzen sogar noch bis ins frühe 20. Jahrhundert beobachtet3. Unumstritten ist der beträchtliche Einfluss der Romantik in den Künsten, der Musik und in der Literatur. Sie wurde durch eine turbulente Vorgeschichte, vor allem durch die Ereignisse der französischen Revolution geprägt. So ist es nahe liegend, dass sie als Resultat einer Zeit gilt, die in der geisteswissenschaftlichen Forschung als ein „Zeitalter der Umwälzung“4 bekannt ist. Der sogenannte Epochenumbruch hat tiefgreifende Auswirkungen auf Wirtschaft, Gesellschaft, Philosophie sowie Politik und den medizinischen Entwicklungsstatus. Anhand daraus resultierender Innovationen gewinnen die Begrifflichkeiten „Zeit und Zeitlichkeit“5 immer mehr an zentrale Bedeutung. Die umfassende Verzeitlichung des Lebens greift in alle Lebensbereiche ein. Besonders bemerkbar machte sie sich jedoch in der industriellen Entwicklung. Die „Geschichte erscheint als ein Prozess ständiger Neu- und Umordnungen“6 und muss sich ständigen neuen Sinnhinterfragungen unterziehen. 1 Schmitz- Emans, Monika: Einführung in die Literatur der Romantik. Darmstadt 2004.S.8. 2 Ebd. S.7. 3 Vgl. ebd. S.7. 4 Ebd. S.17. 5 Ebd. S. 37. 6 Ebd. S.17.

Author: Irving Babbitt
Publisher: Library of Alexandria
ISBN: 1465612475
Category : Romanticism
Languages : en
Pages : 324

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The words classic and romantic, we are often told, cannot be defined at all, and even if they could be defined, some would add, we should not be much profited. But this inability or unwillingness to define may itself turn out to be only one aspect of a movement that from Rousseau to Bergson has sought to discredit the analytical intellect—what Wordsworth calls “the false secondary power by which we multiply distinctions.” However, those who are with Socrates rather than with Rousseau or Wordsworth in this matter, will insist on the importance of definition, especially in a chaotic era like the present; for nothing is more characteristic of such an era than its irresponsible use of general terms. Now to measure up to the Socratic standard, a definition must not be abstract and metaphysical, but experimental; it must not, that is, reflect our opinion of what a word should mean, but what it actually has meant. Mathematicians may be free at times to frame their own definitions, but in the case of words like classic and romantic, that have been used innumerable times, and used not in one but in many countries, such a method is inadmissible. One must keep one’s eye on actual usage. One should indeed allow for a certain amount of freakishness in this usage. Beaumarchais, for example, makes classic synonymous with barbaric. One may disregard an occasional aberration of this kind, but if one can find only confusion and inconsistency in all the main uses of words like classic and romantic, the only procedure for those who speak or write in order to be understood is to banish the words from their vocabulary. Now to define in a Socratic way two things are necessary: one must learn to see a common element in things that are apparently different and also to discriminate between things that are apparently similar. A Newton, to take the familiar instance of the former process, saw a common element in the fall of an apple and the motion of a planet; and one may perhaps without being a literary Newton discover a common element in all the main uses of the word romantic as well as in all the main uses of the word classic; though some of the things to which the word romantic in particular has been applied seem, it must be admitted, at least as far apart as the fall of an apple and the motion of a planet. The first step is to perceive the something that connects two or more of these things apparently so diverse, and then it may be found necessary to refer this unifying trait itself back to something still more general, and so on until we arrive, not indeed at anything absolute—the absolute will always elude us—but at what Goethe calls the original or underlying phenomenon (Urphänomen). A fruitful source of false definition is to take as primary in a more or less closely allied group of facts what is actually secondary—for example, to fix upon the return to the Middle Ages as the central fact in romanticism, whereas this return is only symptomatic; it is very far from being the original phenomenon. Confused and incomplete definitions of romanticism have indeed just that origin—they seek to put at the centre something that though romantic is not central but peripheral, and so the whole subject is thrown out of perspective.

Author: Irving Babbitt
Publisher:
ISBN:
Category : Romanticism
Languages : en
Pages : 472

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