What Is Romanticism, and Where Did It Come From?
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Concept of Bildung in Early German Romanticism
CHAPTER 6 The Concept of Bildung in Early German Romanticism 1. Social and Political Context In 1799 Friedrich Schlegel, the ringleader of the early romantic circle, stated, with uncommon and uncharacteristic clarity, his view of the summum bonum, the supreme value in life: “The highest good, and [the source of] ev- erything that is useful, is culture (Bildung).”1 Since the German word Bildung is virtually synonymous with education, Schlegel might as well have said that the highest good is education. That aphorism, and others like it, leave no doubt about the importance of education for the early German romantics. It is no exaggeration to say that Bildung, the education of humanity, was the central goal, the highest aspiration, of the early romantics. All the leading figures of that charmed circle—Friedrich and August Wilhelm Schlegel, W. D. Wackenroder, Friedrich von Hardenberg (Novalis), F. W. J. Schelling, Ludwig Tieck, and F. D. Schleiermacher—saw in education their hope for the redemption of humanity. The aim of their common journal, the Athenäum, was to unite all their efforts for the sake of one single overriding goal: Bildung.2 The importance, and indeed urgency, of Bildung in the early romantic agenda is comprehensible only in its social and political context. The young romantics were writing in the 1790s, the decade of the cataclysmic changes wrought by the Revolution in France. Like so many of their generation, the romantics were initially very enthusiastic about the Revolution. Tieck, Novalis, Schleiermacher, Schelling, Hölderlin, and Friedrich Schlegel cele- brated the storming of the Bastille as the dawn of a new age. -
Joseph Beuys and the Reincarnation of German Romanticism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2003 Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren Elizabeth Smith University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Smith, Lauren Elizabeth, "Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism" (2003). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/601 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. ----------------~~------~--------------------- Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren E. Smith College Scholars Senior Thesis University of Tennessee May 1,2003 Dr. Dorothy Habel, Dr. Tim Hiles, and Dr. Peter Hoyng, presiding committee Contents I. Introduction 3 II. Beuys' Germany: The 'Inability to Mourn' 3 III. Showman, Shaman, or Postwar Savoir? 5 IV. Beuys and Romanticism: Similia similibus curantur 9 V. Romanticism in Action: Celtic (Kinloch Rannoch) 12 VI. Celtic+ ---: Germany's symbolic salvation in Basel 22 VII. Conclusion 27 Notes Bibliography Figures Germany, 1952 o Germany, you're torn asunder And not just from within! Abandoned in cold and darkness The one leaves the other alone. And you've got such lovely valleys And plenty of thriving towns; If only you'd trust yourself now, Then all would be just fine. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
Some Recent Definitions of German Romanticism, Or the Case Against Dialectics
SOME RECENT DEFINITIONS OF GERMAN ROMANTICISM, OR THE CASE AGAINST DIALECTICS by Robert L. Kahn When the time came for me to be seriously thinking about writing this paper-and you can see from the title and description that I gave myself plenty of leeway-I was caught in a dilemma. In the beginning my plan had been simple enough: I wanted to present a report on the latest develop- ments in the scholarship of German Romanticism. As it turned out, I had believed very rashly and naively that I could carry on where Julius Peter- sen's eclectic and tolerant book Die Wesensbestimmung der deutschen Romantik (Leipzig, 1926), Josef Komer's fragmentary and unsystematic reviews in the Marginalien (Frankfurt a. M., 1950), and Franz Schultz's questioning, though irresolute, paper "Der gegenwartige Stand der Roman- tikforschungM1had left off. As a matter of fact, I wrote such an article, culminating in what I then considered to be a novel definition of German Romanticism. But the more I thought about the problem, the less I liked what I had done. It slowly dawned on me that I had been proceeding on a false course of inquiry, and eventually I was forced to reconsider several long-cherished views and to get rid of certain basic assumptions which I had come to recognize as illusory and prejudicial. It became increasingly obvious to me that as a conscientious literary historian I could not discuss new contributions to Romantic scholarship in vacuo, but that I was under an obligation to relate the spirit of these pronouncements to our own times, as much as to relate their substance to the period in question. -
Baroque Violin Sonatas
Three Dissertation Recitals: the German Romanticism in Instrumental Music and the Baroque Instrumental Genres by Yun-Chie Wang A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2018 Doctoral Committee: Professor Aaron Berofsky, Chair Professor Colleen M. Conway Professor Anthony Elliott Assistant Professor Joseph Gascho Professor Vincent Young Yun-Chie (Rita) Wang [email protected] ORCID id: 0000-0001-5541-3855 © Rita Wang 2018 DEDICATION To my mother who has made sacrifices for me every single day To my 90-year old grandmother whose warmth I still carry ii ACKNOWLEDGEMENTS I would like to thank my committee members for helping me become a more thoughtful musician. I would like to give special thanks to Professor Aaron Berofsky for his teaching and support and Professor Joseph Gascho for his guidance and collaboration. iii TABLE OF CONTENTS DEDICATION ii ACKNOWLEDGEMENTS iii LIST OF FIGURES v ABSTRACT vi Dissertation Recital No. 1 Beyond Words Program 1 Program Notes 2 Dissertation Recital No. 2 Baroque Violin Sonatas Program 13 Program Notes 14 Dissertation Recital No. 3 Baroque Dances, a Fugue, and a Concerto Program 20 Program Notes 22 BIBLIOGRAPHY 31 iv LIST OF FIGURES Figure Page Fig. 1, The engraving of the Guardian Angel (printed in the manuscript of the Mystery Sonatas by Heinrich Ignaz Franz von Biber) 27 Fig. 2, Opening measures of the fugue from Op. 10, No. 6 by Bartolomeo Campagnoli 29 Fig. 3, Opening measures of the fugue from Sonata No. 3, BWV 1005, by J. -
Nikolaus Pevsner: Art History, Nation, and Exile Iain Boyd Whyte
RIHA Journal 0075 | 23 October 2013 Nikolaus Pevsner: art history, nation, and exile Iain Boyd Whyte Editing and peer review managed by: Regina Wenninger, Zentralinstitut f r !unstgeschic"te, #unich Reviewers: $"ristian Fu"r&eister, 'olker Welter bstra!t Shortly after losing his teaching position at Göttingen University in September 1933, Nikolaus Pevsner 19!"#19$3% travelle& to 'nglan& as a refugee from National Socialist Germany( )hanks to his pro&igious energy an& ambition, his career flourishe&, an& at the time of his &eath in 19$3 he had become a national institution an& the preeminent e*pert on +ritish architecture( )he emotional an& scholarly transition from ,&olf -itler.s Germany to 193!s 'nglan& /as by no means easy for Pevsner, ho/ever, an& this article investigates Pevsner.s continuing &ebt at this time to German art history Kunstgeschichte% in general, an& to his &octoral supervisor, 0ilhelm Pin&er, in particular( )he &iscussion, set /ithin the broader conte*t of 1migr1 stu&ies, ad&resses the contrasting practice of art history in the t/o countries at that time an& the essential &ifferences bet/een conservatism, nationalism, an& fascism( * * * * * 213 ,t the very en& of her magisterial biography, Nikolaus Pevsner: The Life, Susie -arries conclu&es that 4he /as not 'nglish, let alone .more 'nglish than the 'nglish., an& never /ante& to be(41 Nikolaus Pevsner 19!"#19$3, 5ig( 1% /as German an& his /orking life /as &etermine& by his e&ucation in German Kunstgeschichte, the scholarly stu&y of art that barely e*iste& in +ritain before -
Joannes Georgius Adamus Forster, His Voyages and Polish Relations
POLISH POLAR RESEARCH 10 1 31—45 1989 Zbigniew WÓJCIK Museum of the Earth Polish Academy of Sciences Na Skarpie 27 00-488 Warszawa. POLAND Joannes Georgius Adamus Forster, his voyages and Polish relations ABSTRACT: J. G. A. Forster, member of J. Cook's expedition towards South Pole, spent the majority of his life in Poland. In the years 1784—1787 he was professor of natural history at the Wilno University. Born near Gdańsk, he never lost the consciousness of his Polish citizenship. Forster's publications have enriched the culture and science of England. France, Germany, Poland and other countries. Key words: Antarctica, history, Forster's biography. Introduction The activities of Joannes Georgius Adamus Forster (1754—1794) are fairly well documented in bibliography. Recently, particular attention to his publications concerning the Ilnd Cook's expedition around the world was paid by German and Polish historians, and some papers on this subject have also appeared in the USSR (e.g. Merkys 1960), France and other countries (see Fiedler 1970). After the World War II. fundamental Forster's papers have been published in the GDR as Georg Forsters Werke. The first volumes of this series were devoted mainly to the reports from his voyages, including that of essential importance for German literature - the description of his common travel with Alexander von Humboldt entitled Ansichten von Nie- derrhein. von Brabant. Flandern. Holland. England und Frankreich im April. Mai and Juni 1790 (9th volume of this series). As a rule, in the majority of books and papers devoted to J. G. A. Forster, there are references as to his birth within the Kingdom of Poland and to his professorship at the Polish University of Wilno (called at that time The Main School of the Grand Duchy of Lithuania). -
James Cook and Macaronesian Botany: Typification And
JAMES COOK AND MACARONESIAN BOTANY: TYPIFICATION AND NOMENCLATURE UPDATES OF THE NEW SPECIES DESCRIBED BY JOHANN R. FORSTER AND J. GEORG A. FORSTER Javier Francisco-Ortega*, Kanchi N. Gandhi**, Maria Cristina Duarte***, Arnoldo Santos-Guerra◊, Mark A. Carine◊◊ & Maria M. Romeiras◊◊◊ Abstract Johann Reinhold Forster and his teenaged son John Georg Adam Forster (then 17) joined James Cook’s second voyage (1772-1775), as botanist and artist, respectively. Upon their return they described six species that are pertinent to the study of the Macaronesian flora. Previous typifications are revisited and we designate lectotypes for Aytonia rupestris J.R. Forst. & G. Forst. (Aytoniaceae), Borago tristis G. Forst. (Boraginaceae), and Teucrium canescens G. Forst. (Lamiaceae). We designate epitypes for A. rupestris and Epibaterium pendulum J.R. Forst & G. Forst. Our study indicates that Teucrium betonicifolium Jacq. is the accepted name for this Madeiran endemic. Lectotypes, along with epitypes, are also designated for T. betonicifolium and T. betonicum L’Hér. Keywords: botanical history, Atlantic islands, plant taxonomy, botanical exploration, the Enlightenment. JAMES COOK Y LA BOTÁNICA MACARONÉSICA: 39 NOTAS NOMENCLATURALES DE LAS NUEVAS ESPECIES DESCRITAS POR JOHANN R. FORSTER AND J. GEORG A. FORSTER Resumen Johann Reinhold Forster y su hijo John Georg Adam Forster (entonces con 17 años) se unieron, respectivamente como botánico y artista, al segundo viaje de circunnavegación de James Cook (1772-1775). Aquí proporcionamos un estudio nomenclatural de las seis nuevas especies que ellos describieron para la Macaronesia. Se revisan tipificaciones anteriores y designamos lectotipos para Aytonia rupestris J.R. Forst. & G. Forst. (Aytoniaceae), Borago tristis G. Forst. (Boraginaceae) y Teucrium canescens G. -
French Romanticism and the Reinvention of Love by Maxime A
French Romanticism and the Reinvention of Love By Maxime A. Foerster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: French) In the University of Michigan 2012 Doctoral Committee: Professor Michèle A. Hannoosh, Chair Professor Cristina Moreiras-Menor Associate Professor Jarrod L. Hayes Associate Professor Nadine M. Hubbs Lecturer Esther Newton © Maxime A. Foerster 2012 Dedication Au charchour ii Acknowledgements I would like to express my gratitude to David Halperin, David Caron and Frieda Ekotto for having encouraged me to start my PhD at UM, Ann Arbor. I have been honored and stimulated to work with Michèle Hannoosh who taught me coherence and rigor throughout these years of thinking and writing. I feel privileged to have been able to write my dissertation with those I called my dream team, composed of Professors Michèle Hannoosh, Jarrod Hayes, Cristina Moreiras, Esther Newton and Nadine Hubbs. For their friendship, support and fabulousness, I would like to thank Aaron Boalick, Jennifer Bonnet, Virginie Brinker, Neil Doshi, Matthieu Dupas, Gilles Freissinier, Aston Gonzales, Melanie Hawthorne, Trevor Hoppe, Lauren Kennedy, Gérard Koskovich, Charline Lafage, Larry La Fountain, Nicolas Lamorte, Bertrand Metton, Pedro Monaville, Marie-Pierre Pruvot, Pantxika Passicot, Steve Puig, Marie Stoll, Marcelino Viera, and Yannick Viers. I will never thank my parents enough for their love and understanding. Above all, thank you, H.N. iii Table of Contents -
Chapter 4: Iconography and Symbolism in German Romanticism
Chapter 4: Iconography and Symbolism in German Romanticism The Influence of Dutch Painters: Jakob van Ruisdael (1628 – 1682) Unlike his contemporaries Jakob van Ruisdael (already in the 17th century did not focus the exact reproduction of a specific landscape but painted self-designed fantasy-landscapes that were composed of different motifs. He used symbols that were distinct to the beholder. His paintings often show symbols of “vanitas” (which means “caducity”). So for example graves and graveyards and ruins show the decay and breakup of life. In his work “jewish cemetery” 1670/75) the tombs and ruins and the streaming water symbolise the dissolution of life and of human creation. In contrary to this the rainbow - for example - symbolises hope. C.D. Friedrich, the famous and maybe most important painter of early romanticism, learned to know those paintings of Ruisdael during his study in Dresden. Jakob van Ruisdael “Jewish cemetery” 1670-5 Symbolism in the Work of Caspar David Friedrich For C.D. Friedrich “the feeling of the artist is his ordinance” **. Therefore the landscapes in his paintings are “landscapes of mood” that are based on his individual feelings. He composes his landscapes by arranging important elements and motifs he “experienced” on his journeys. He quite often sketched these motifs by “sepia-technique” and lateron connected them in his studio according his liking. By the sheer subjectivity of this feeling C.D. Friedrich in contrary to Ruisdael not always creates a definite symbolism of the illustrated persons, items and even times of the day or of the seasons. The strong religiousity of C.D. -
On Early German Romanticism As an Essentially Skeptical Movement
Lecture 1 On Early German Romanticism as an Essentially Skeptical Movement The Reinhold-Fichte Connection call these lectures “The Philosophical Foundations of Early German Romanticism.” I owe you some explanation for this title. First let me clarify what I mean by the term ‘foundations.’ I do not mean something I like principles or highest fundamental propositions, from which other propositions are deduced. This is worth emphasizing because the post-Kantian mood in Germany was filled with a tendency to view philosophy as an activity which necessarily departed from an absolute principle. Karl Leonhard Reinhold and Johann Gottlieb Fichte fit squarely into this tradition. Fichte was a professor in Jena from 1794–99 and his predecessor had been Reinhold, who had introduced a philosophy of this sort in 1789.1 Certainly, the group of thinkers who became known as the early German Romantics were influenced by both Reinhold and Fichte, indeed Friedrich von Hardenberg (Novalis) had been Reinhold’s student from 1790 to 1791. During this time and also later, Novalis was in contact with a number of fellow students who had also studied under Reinhold and whose names have now been forgotten; among them Johann Benjamin Eberhard, Friedrich Karl Forberg, Franz Paul von Herbert, and Friedrich Immanuel Niethammer stand out. In disputes concerning Reinhold’s Philosophy of Elements (Elementarphilosophie), this group of young thinkers came to the conclusion that a philosophy, which seeks to follow a method of deduction from some highest fundamental principle, is either dispensable or downright impossible. In the course of these lectures, I will show you that Novalis and Friedrich Schlegel shared this conviction, namely, that it is impossible to establish an 23 24 The Philosophical Foundations of Early German Romanticism absolute foundation for philosophy. -
TOCC0335DIGIBKLT.Pdf
WENZEL HEINRICH VEIT: COMPLETE STRING QUARTETS VOLUME ONE: QUARTETS NOS. 1 AND 2 by Markéta Kabelková and Aleš Březina Te first half of the nineteenth century saw a change from old to new forms of musical life. Performances accessible to the general public were increasingly promoted, and from the third quarter of the eighteenth century public concerts and publicly accessible musical theatres began to be developed. A lively and diverse cultural environment tends to emerge in places that are not only strong economically – that is, have a solid, educated middle class – but also have an existing cultural tradition. Although Prague was at that time the capital of the Czech kingdom and as such part of the Hapsburg monarchy, no ruler resided within the city, which therefore lacked the cultural life associated with a royal court. It was nonetheless an important European musical centre – the most important in Bohemia – and a popular stop for musicians on their concert tours. In 1810 the ‘Jednota pro zvelebení hudby v Čechách’ (‘Association for the Promotion of Music in Bohemia’) was established there and, only one year later, the Prague Conservatoire was founded, becoming the first professional training institution for musicians in central Europe. New forms of social life influenced demand for certain types of music, particularly smaller-scale compositions (songs, piano pieces and choruses). Larger instrumental compositions– such as symphonies, concertos and chamber music (which at that time was not intended for public concerts but to be played for smaller audiences) – were far less popular in Bohemia during the first half of the nineteenth century.