The Oxford Handbook of European Romanticism

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HAMILTON, P., ED.: THE OXFORD HANDBOOK OF EUROPEAN ROMANTICISM Introduction, Paul Hamilton 1: Pre-Romantic French Thought, Caroline Warman 2: Literary History and Political Theory in Germaine de Staël's idea of Europe, Biancamaria Fontana 3: François-René de Chateaubriand: Migrations and Revolution, Jean-Marie Roulin 4: Stendhal, Francesco Manzini 5: The Novel and the (Il)Legibility of History: Victor Hugo, Honoré de Balzac, and Alexandre Dumas, Bradley Stephens 6: Romantic Drama: The Mask of Genius, Sotirios Paraschas 7: French Romantic Poetry, Katherine Lunn-Rockliffe 8: Frenetic Romanticism, Francesco Manzini 9: Johann Georg Hamann: Metacritique and Poesis in Counter-Enlightenment, Alexander Regier 10: Freedom, Reason, and Art in Idealist and Romantic Philosophy, Andrew Bowie 11: Friedrich von Hardenberg (pseudonym: Novalis), William Arctander O'Brien 12: Jena 1789-1819: Ideas, Poetry, and Politics, Maike Oergel 13: Gender and Genre in the Works of German Romantic Women Writers, Astrid Weigert 14: The Scepticism of Heinrich von Kleist, Tim Mehigan 15: Friedrich Hölderlin's Romantic Classicism, Rüdiger Görner 16: Goethe the Writer, Angus Nicholls 17: Goethe's Figurative Method, Stefan Uhlig 18: Heidelberg, Dresden, Berlin, Vienna, Dennis Mahoney 19: Hungarian Romanticism: Re-Imagining (Literary) History, Richard Aczel 20: The Task of Italian Romanticism: Literary Form and Polemical Response, Joseph Luzzi 21: Voice, speaking, silence in Leopardi's verse, Michael Caesar 22: Leopardi as a writer of prose, Franco D'Intino 23: 'European Man and Writer': Romanticism, the Classics, and Political Action in the Exemplary Life of Ugo Foscolo., Giuseppe Gazzola 24: Manzoni's Persistence, Jonathan White 25: Personal Demons and the Spectre of Tradition in Spanish Romantic Drama, Derek Flitter 26: Russian Literature Between Classicism and Romanticism: Poetry, Feeling, Subjectivity, Andrew Kahn 27: Alexander Pushkin as a Romantic, Luba Golburt 28: The Geography of Russian Romantic Prose: Bestuzhev, Lermontov, Gogol and Early Dostoevsky, Katya Hokanson 29: Polish Romanticism, Monika Coghen 30: Scandinavian Romanticism, Klaus Müller-Wille 31: The Romantic construction of Greece, Rodney Beaton 32: Geographies of Historical Discourse, Roberto Dainotto 33: Histories of Geography, Paul Stock 34: Romantic Political Thought, Douglas Moggach 35: Science and the Scientific Disciplines, Benjamin Dawson 36: Life and Death in Paris: Medical and Life Sciences in the Romantic Era, Leon Chai 37: Religion, Thomas Pfau 38: Theatre, Drama and Vision in the Romantic Age: Stages of the New, Diego Saglia 39: Identity Crises: Celebrity, Anonymity, Doubles, and Frauds in European Romanticism, Angela Esterhammer 40: Theories of Language, Jan Fellerer 41: Europe's Discourse of Britain, Patrick Vincent.

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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
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COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19
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Three Poems on the Death of Pushkin
STEPHANIE SANDLER THE LAW, THE BODY, AND THE BOOK: THREE POEMS ON THE DEATH OF PUSHKIN ... the Cheated Eye Shuts Arrogantly-in the Grave- Another way-to See- Emily Dickinson No fact of Alexander Pushkin's life or work was so important in constructing modern mythologies of Pushkin as his death. As a preliminary effort toward understanding those modern myths, I propose here to consider three nineteenth-century poems on Pushkin's death, all written soon thereafter. Mikhail Lermontov's "Smert' poeta" ("The Death of the Poet," 1837) de- fined Pushkin's death as an act of social violence and created a powerful discourse about Pushkin's death based on moral judgment. His definition itself constituted a symbolic act in Russian political and cultural life: "Smert' poeta" attained great authority for succeeding generations' writings about Pushkin's death and about the political context of his life. Less well-known accounts by Vasilii Zhukovskii and Countess Evdokiia Rostopchina will show more personal and strictly historical responses, foreshadowing the unorthodox responses of some of Pushkin's later readers. At the time of his death in a duel in 1837, Alexander Pushkin was admired as Russia's great national poet. Though his fame had declined during the 1830s, crowds who waited for news of the dying poet revealed how much Pushkin was loved and how pro- found was Russia's loss. The transformation of the death into tributes to his greatness began at once,l and Lermontov's "Smert' 1. For a survey of nineteenth-century poems about Pushkin, see R. V. Iezuitova, "Evoliutsiia obraza Pushkina v russkoi poezii XIX veka," Pushkin: Issledovaniia i materialy, 5 (1967), 113-39.
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H-France Review Vol. 12 (September 2012), No. 126 Karyna Szmurlo, Ed
H-France Review Volume 12 (2012) Page 1 H-France Review Vol. 12 (September 2012), No. 126 Karyna Szmurlo, ed., Germaine de Staël: Forging a Politics of Mediation. Oxford: Voltaire Foundation, University of Oxford, 2011. xix + 311 pp. Summaries, bibliography, and index. £65; $115 U.S. (pb). ISBN 978-0-7294-1024-3. Review by Beatrice Guenther, Bowling Green State University. Germaine de Staël’s writings and political activism during the French Revolution and its (Napoleonic) aftermath continue to fascinate readers even as the bicentennial of her death approaches. This excellent collection of essays, edited by Karyna Szmurlo and which explores Staël’s politics of mediation, contributes multiple insights into her rich, complex oeuvre. Szmurlo is already well-respected as editor of The Novel’s Seduction: Staël’s ‘Corinne” in Critical Inquiry and as co-editor (with Madelyn Gutwirth and Avriel Goldberger) of Germaine de Staël: Crossing the Borders, to mention just two examples of her influential scholarship.[1] In her introduction to this volume, Szmurlo explains how the concept of mediation can act as a filter to connect the diverse aspects of Staël’s literary and political works. Mediation can be understood, on the one hand, as a reflection on the transforming and transformative effects of media (petitions, letters, press, but also conversation). Interdisciplinarity, however, can also be read as a mediating practice, as can the practice of social networking. Particularly relevant for Germaine de Staël, the connections between “multiple language communities”--whether through travel, cultural criticism, translations or critical reception--constitute further politicized forms of mediation (p. 5).
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Towards a Poetics of Becoming: Samuel Taylor Coleridge's and John Keats's Aesthetics Between Idealism and Deconstruction
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The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
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43 a Comparative Approach to the Eternising Poetry of Feng Zhi And
Asian Studies International Journal Vol I, Issue No.1(December 2019): Pages 43-49 ©ICRD Publication ISSN: 2279-1949 Asian Studies International Journal https://asianstudies.info/ A Comparative Approach to the Eternising Poetry of Feng Zhi and Ugo Foscolo Salvatore Giuffré University of Malta, Malta Abstract This paper aims at bridging two literary corpora establishing a theme close to the heart of a number of poets who engaged with Romantic leitmotifs: the eternising function of poetry. In order to define this poetic stance, evocative examples of two key writers are adopted for close examination: select sonnets of modern Chinese poet Feng Zhi and select verses from the poems of Italian neo- Classicist writer Ugo Foscolo. Both Feng Zhi and Ugo Foscolo make reference to the corruptibility of man’s body. The ultimate purpose of poetry, as seen in the lyrical excerpts, is to immortalise what is generally conceived as ephemeral, be it the mortal beauty of a friend, the historical achievements of a nation, the quests of heroes or even the transient moments of human life. Poetry, unlike material tokens, becomes a unique product of human sensitivity and génie as it provides unequivocal fame and permanence in a world that is affected by time and its relentless corrosive power. The lyrical verses of Feng Zhi and Ugo Foscolo therefore become ever-lasting testimonials or symbols of historical memory for future generations, which can produce heroic sentiments in the case of the Italian carme or nostalgia and endurance on the Chinese side. Introduction Modern literary texts in China and the West highlight one of the main concerns of the poet, who as a modern intellectual, comes to terms with the historical and social conditions of his own country or “nation-to-be”: the relationship with his community and the epitomised purpose of poetry.
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Novalis's Magical Idealism
Symphilosophie International Journal of Philosophical Romanticism Novalis’s Magical Idealism A Threefold Philosophy of the Imagination, Love and Medicine Laure Cahen-Maurel* ABSTRACT This article argues that Novalis’s philosophy of magical idealism essentially consists of three central elements: a theory of the creative or productive imagination, a conception of love, and a doctrine of transcendental medicine. In this regard, it synthesizes two adjacent, but divergent contemporary philosophical sources – J. G. Fichte’s idealism and Friedrich Schiller’s classicism – into a new and original philosophy. It demonstrates that Novalis’s views on both magic and idealism, not only prove to be perfectly rational and comprehensible, but even more philosophically coherent and innovative than have been recognised up to now. Keywords: magical idealism, productive imagination, love, medicine, Novalis, J. G. Fichte, Schiller RÉSUMÉ Cet article défend l’idée selon laquelle trois éléments centraux composent ce que Novalis nomme « idéalisme magique » pour désigner sa philosophie propre : la conception d’une imagination créatrice ou productrice, une doctrine de l’amour et une théorie de la médecine transcendantale. L’idéalisme magique est en cela la synthèse en une philosophie nouvelle et originale de deux sources philosophiques contemporaines, à la fois adjacentes et divergentes : l’idéalisme de J. G. Fichte et le classicisme de Friedrich Schiller. L’article montre que les vues de Novalis tant sur la magie que sur l’idéalisme sont non seulement réellement rationnelles et compréhensibles, mais philosophiquement plus cohérentes et novatrices qu’on ne l’a admis jusqu’à présent. Mots-clés : idéalisme magique, imagination productrice, amour, médecine, Novalis, J. G.
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SCHILLER, NOVALIS, and the CONCEPT of AUFHEBUNG Hammam Aldouri
Cosmos and History: The Journal of Natural and Social Philosophy, vol. 15, no. 1, 2019 BEFORE HEGEL: SCHILLER, NOVALIS, AND THE CONCEPT OF AUFHEBUNG Hammam Aldouri ABSTRACT: Philosophical explorations of the concept of Aufhebung (sublation, supersession) immediately prior to its formulation in Hegel’s work have remained relatively absent within the context of both Hegel scholarship and German Idealism studies. Hegel is often simply represented as the originator of the concept and the latter is understood almost exclusively within his oeuvre. This essay addresses this lack by offering an exposition of the notion as it unfolds in two works from 1795-1796: Friedrich Schiller’s Letters on the Aesthetic Education of Man and Novalis’ Fichte Studies. In these works, we find distinctive examinations of Aufhebung understood as the name of a process in which a subject comprehends itself in relation to its own processual development. My guiding premise is that without an adequate comprehension of the way in which Aufhebung is constructed and comprehended in the last years of the eighteenth century, we cannot establish the vantage point from which to reconstruct Hegel’s early conception of the notion, a conception which begins to emerge in his earliest Frankfurt writings in 1797, as a contribution to the constellation of post-Kantian conceptions. Keywords: Aufhebung, Schiller, Novalis, Aesthetic Education, Fichte Studies INTRODUCTION The concept of Aufhebung (sublation, supersession) is, without question, one of the most contested and discussed concepts of Hegel’s philosophical enterprise th th 1 and its critical reception in the 19 and 20 centuries. One distinctive 1 So much so, in fact, that it has led philosopher’s such as Jean-Luc Nancy to state that there is “no great study of Hegel that is not a study on the Aufhebung.” Nancy 2001, 158n7.
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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.
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical.
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Novalis and Hymns to the Night : ZHAO 37
Novalis and Hymns to the Night : ZHAO 37 Novalis and Hymns to the Night JINGJING ZHAO “The division of Philosopher and Poet is only apparent, and to the disadvantage of both. It is a sign of disease, and of a sickly constitution.”1 —Novalis In this paper, I start by giving a broad introduction of the early Romantics’ break from Hegel’s systematic philosophy and their efforts to establish the authority of Art in philosophy’s claim to Truth. Then I go on to explore a key concept that lends support to the Romantics’ accreditation of the authenticity of Art—the immediacy of “feeling” as postulated in Kant’s Third Critique. The exploration of this concept will then give further clarification to similar ideas expressed in Schlegel, and especially Novalis’ works. After this I will introduce a central agency that the Romantics use to evoke the sense of the “feeling” of the infinite—“productive imagination”—as well as Novalis’ elaboration on the topic of poetic Imagination (or “romanticization,” as he calls it) in his own writing. At last, I will introduce Novalis’ Hymns to the Night, and describe how this piece of literary work, from its content to its structure, corresponds to the early Romantics’ agenda of unifying poetry and JINGJING ZHAO is a PhD student in English from Auckland University. Her PhD thesis examines the intellectual and ideological aspects of Emily Bronte’s writings in the 19th century European historical context, through comparing her treatment of several issues with that of other Romantic and Victorian authors—Holderlin, Novalis, Tennyson and Arnold.
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