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1
Gaevska, N. M., and O. V. Naumovska. "ROMANTICISM OF THE FOREST UKRAINE IN THE ASSESSMENT OF D. CHYZHEVSKY." Literary Studies, no. 61 (2021): 20–27. http://dx.doi.org/10.17721/2520-6346.2(61).20-27.
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The article focuses on D. Chyzhevsky’s assessment of Lesya Ukrainka’s romanticism, outlines the latest trends in the literature of the late XIX – early XX centuries, which professed Lesya Ukrainka as a neo-romantic. The aesthetics of romanticism and its transformation into neo-romanticism are traced. It is about identifying and analyzing the symbolism of Lesya Ukrainka’s works. The subject matter of the poet’s works is considered, the influence of romantic ideas (German, Polish romanticism) at the end of the XIX century is comprehended; combination of theoretical views of the writer with works of art, which is characteristic of romantic writers.
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Heneghan, Fiacha D. "Are the Frühromantiker Platonists?" Idealistic Studies 49, no. 2 (2019): 123–43. http://dx.doi.org/10.5840/idstudies20191016104.
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How to classify the artistic and philosophical movement of Early German Romanticism (die Frühromantik) remains a topic of ongoing disagreement. I consider the views of two of the leading interpreters—Frederick Beiser and Manfred Frank—and argue that the latter’s are closer to the truth. Beiser, however, has noticed a lacuna in the literature surrounding the metaphysics and epistemology of the Romantics, namely their debt to an ascendant Plato during their intellectual development. This is right, but Beiser’s idealist reading of the Romantics leans heavily on Platonic sources that are fundamentally incompatible with a consistent anti-foundationalist strain in Romantic thought. I argue that it is unlikely that Plato influenced the Romantics in the way Beiser suggests.
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Konrad, Franz-Michael. "Early Childhood Education." History of Education Quarterly 49, no. 2 (May 2009): 238–40. http://dx.doi.org/10.1111/j.1748-5959.2009.00200.x.
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As a historian of early childhood education in German-speaking Europe, I am struck by the outstanding role that Friedrich Froebel, or rather his ideas, played in all the countries described in the six essays. This is not really new since even the first historiographic articles in German-speaking countries already pointed out Froebel's role internationally. The worldwide spread of Froebel's educational teachings remains the subject of German research to this day. And yet it is still so remarkable to see how Froebel's philosophy of education—which had its origins in the spirit of romanticism and which seems strange even to German audiences—has succeeded in establishing itself in different cultures and for different reasons. Just think of Italy in the second half of the nineteenth century (James C. Albisetti), of post-revolutionary Russia ruled by the Bolsheviks (Yordanka Valkanova), of Great Britain, France, and the United States. Even in Asian countries we can find evidence of Froebel's influence, for example, in Korea and in Japan (on Japan, Kathleen Uno). In spite of the differences between these countries and their cultures, Froebel's pedagogy has succeeded in playing an influential role in all of them. Extant institutions for the care and education of preschool children developed into modern kindergartens under the influence of Froebel's teachings. In the end it was always about making it possible for young children to learn and, at the same time, taking into account the very special way learning occurs in these early years as an active, action-based and almost effortless kind of learning. Froebel found an answer to this problem. With his gifts he gave the answer in a simple and yet brilliant manner which was, despite its origins in German idealism, apparently unrelated to culture.
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Lolic, Marinko. "The philosopher in a freemasons' lodge." Filozofija i drustvo, no. 24 (2004): 51–70. http://dx.doi.org/10.2298/fid0424051l.
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Fichte's Philosophy of Freemasonry took as its object the culture of a secret society, quite influential and widespread but no less obscure in times of Enlightenment and early Romanticism. He tried clarify it from the perspective of classical German idealism, and to use it for his own purposes: through it, Fichte sought to realize the idea of man as citizen of the world and thus to influence the so-called or public society, as well as politics.
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Dyomin, Mykola, Olena Kozakova, Yulia Haraborska, and Oksana Kravchuk. "TRANSFORMATION OF THE TRADITIONS OF NORTHERN NATIONAL ROMANTICISM IN THE CONDITIONS OF CHINA (ON THE EXAMPLE OF THE QINGDAO GOVERNOR'S RESIDENCE)." Spatial development, no. 7 (February 23, 2024): 47–53. http://dx.doi.org/10.32347/2786-7269.2024.7.47-53.
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Chinese local architectural and artistic traditions proved to be so resistant to external influences that they in turn actively transformed the borrowed styles, giving them a local flavour. As an early example of the gradual transformation of foreign styles on local soil, the Dunhuang cave temple complex should be mentioned, where the traditions of decorating the interiors of Buddhist cave sanctuaries borrowed from India increasingly moved away from the original models, acquiring a local flavour during the heyday. We can talk about similar processes at the beginning of the 20th century in the case of the development of the German settlement of Qingdao, where, in fact, purely German traditions acquired a fundamentally different context in a different cultural and natural environment. The phenomenon of the transformation of northern national romanticism in the conditions of foreign settlements on the territory of China is studied. The Qingdao Governor’s Residence was analyzed as the main example. By comparing this object with European objects of northern national romanticism, the ways in which the borrowed styles were transformed under the influence of local Chinese traditions were determined. Changes took place at the level of landscape traditions, architectural objects, design elements, works of art. This phenomenon continued the process of transformation of foreign phenomena, which took place much earlier, for example, in the unique cave complex of Dunhuang.
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Dyomin, Mykola, Olena Kozakova, Yulia Haraborska, Hanna Kuzmina, and Oksana Kravchuk. "TRANSFORMATION OF THE TRADITIONS OF NORTHERN NATIONAL ROMANTICISM IN THE CONDITIONS OF CHINA (ON THE EXAMPLE OF THE QINGDAO GOVERNOR'S RESIDENCE)." Urban development and spatial planning, no. 85 (March 29, 2024): 159–65. http://dx.doi.org/10.32347/2076-815x.2024.85.159-165.
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Chinese local architectural and artistic traditions proved to be so resistant to external influences that they in turn actively transformed the borrowed styles, giving them a local flavour. As an early example of the gradual transformation of foreign styles on local soil, the Dunhuang cave temple complex should be mentioned, where the traditions of decorating the interiors of Buddhist cave sanctuaries borrowed from India increasingly moved away from the original models, acquiring a local flavour during the heyday. We can talk about similar processes at the beginning of the 20th century in the case of the development of the German settlement of Qingdao, where, in fact, purely German traditions acquired a fundamentally different context in a different cultural and natural environment. The phenomenon of the transformation of northern national romanticism in the conditions of foreign settlements on the territory of China is studied. The Qingdao Governor’s Residence was analyzed as the main example. By comparing this object with European objects of northern national romanticism, the ways in which the borrowed styles were transformed under the influence of local Chinese traditions were determined. Changes took place at the level of landscape traditions, architectural objects, design elements, works of art. This phenomenon continued the process of transformation of foreign phenomena, which took place much earlier, for example, in the unique cave complex of Dunhuang. Keywords
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Shirokova, Marina. "Early Slavophilism and European philosophy: the problem of correlation." SHS Web of Conferences 55 (2018): 05003. http://dx.doi.org/10.1051/shsconf/20185505003.
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The article examines the question of the degree of influence the Western philosophy has on the philosophical concept of the founders of Slavophilism and the related question of the degree of independence of the philosophy of the Slavophils. The view is expressed that the problem of national identity, which became key to the Slavophile authors, was actively discussed at the beginning of the nineteenth century in the countries of Europe and from there penetrated into the Russian thought. It is said that the Slavophiles used the categorical apparatus and methodology of German classical philosophy, primarily the ideas of Hegel and Schelling. A comparison of the views of representatives of Slavophilism and Western European romanticism is conducted. The author concludes that the influence of Western philosophy on the concept of Slavophiles is undeniable, but the complex of Slavophilism ideas cannot be considered secondary to European ideas. The Slavophiles saw their task in creating an independent Russian philosophy, in which the synthesis of the cultures of Russia and the West on the basis of common moral values could be achieved.
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Flaherty, Gloria. "Empathy and Distance: Romantic Theories of Acting Reconsidered." Theatre Research International 15, no. 2 (1990): 125–41. http://dx.doi.org/10.1017/s0307883300009226.
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Works dealing with the actor proliferated during the early decades of German Romanticism. Actors had come to be viewed as role models whose very costumes, hairstyles, and mannerisms often influenced prevailing fashions or, at least, gave them specific labels from particular plays. Popular interest in everything having to do with people of the theatre was seconded by contemporary poets, playwrights, painters, philosophers, professors, and physicians. While some of their writings concentrated on historical and philosophical concerns, others investigated anthropological and psychiatric as well as medical ones. And contemporary actors themselves contributed publications about the ways, means, and consequences of playing roles in public.
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Frolova, L. V. "Albrecht Dürer’s Image in the Art Works and Theory of the Nazarene Movement and its Followers." Art & Culture Studies, no. 2 (June 2023): 304–23. http://dx.doi.org/10.51678/2226-0072-2023-2-304-323.
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The formation of Albrecht Dürer’s cult in German romantic culture is an important problem of modern art history, since the image of the German master, created in the first half of the 19th century, still influences the perception of his work. The article analyses the works of the Nazarene artists and German masters from Munich and Dusseldorf, where the Nazarene traditions were especially strong. Special attention is paid to the design and organization of the so-called Dürer-Feste. In addition, the works of romantic masters have been identified, in which the influence of the style and iconography of Dürer’s works is especially clearly manifested (by P. Cornelius, F. Pforr, E.N. Neureuther, L.E. Grimm). The main subjects associated with the romantic cult of A. Dürer are identified: friendship with Raphael, work for Maximilian I, receiving the coat of arms from the hands of the emperor, and connection with contemporary artists. The peculiarity of the romantic cult of Dürer is special attention to the personality and biography of the master, which manifested itself in the theory and everyday practices of German artists. At the same time, in the art of German Romanticism, references to Dürer’s work are not so frequent. They are found mainly in graphic works, the plots of which are associated with patriotic or historical themes. The article shows that the image of Dürer in the German romantic culture is multifaceted. The Nuremberg master was perceived as a pious Christian artist, an outstanding engraver, a symbol of the chivalric Middle Ages, and at the same time a bright representative of the burghers of Early Modern times. But first of all, the artists of the Romantic era praised Dürer as the embodiment of the national idea and the direct predecessor of modern German painters.
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BRECKMAN, WARREN. "POLITICS IN A SYMBOLIC KEY: PIERRE LEROUX, ROMANTIC SOCIALISM, AND THE SCHELLING AFFAIR." Modern Intellectual History 2, no. 1 (April 2005): 61–86. http://dx.doi.org/10.1017/s1479244304000320.
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Pierre Leroux founded the liberal journal Le Globe in the 1820s, moved briefly into the Saint-Simonian camp, and then emerged as one of the most important, independent and philosophically ambitious Romantic socialists of the period before 1848. This essay examines the conflict that erupted between Leroux and German Left Hegelians when Leroux chose to endorse the Berlin lectures of F. W. J. Schelling in 1841. Whereas German radicals like Marx believed Leroux simply did not understand Schelling, the article argues that Leroux's support of Schelling was consistent with the political project that he had pursued since his break with the Saint-Simonians. Leroux's attempt to create a third-way politics between the “socialisme absolu” of the Saint-Simonians and the “individualité absolu” of liberalism was strongly influenced by his long-standing engagement with Romantic poetics, most importantly with what he called Romanticism's “style symbolique.” The Romantic notion that the symbol is a visible representation of the invisible and fundamentally unrepresentable connected Leroux's aesthetics and his politics, for the symbolic mode suggested a way to think of social relationships without reifying them; the gap between representation and objects such as “individual”, “society”, “humanity”, and “God” seemed to open up a space for artistic and political creativity. This commitment to a politics based on the role of the symbolic created an affinity with Schelling that was not acknowledged in the polemics that followed from Leroux's defense of the Left Hegelians' arch-enemy. Recovering the terms of that affinity casts a new and different light on the intersection of aesthetics and politics in Romanticism, and it illuminates paths in the early history of socialism that later developments closed down.
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Konovalov, Andrei Anatol'evich, Anzhela Arikovna Zhurtova, and Zalim Arsenovich Kugotov. "Doctrinal grounds of ideology of Slavophiles: European intellectual tradition and its Russian modification." Genesis: исторические исследования, no. 4 (April 2020): 59–70. http://dx.doi.org/10.25136/2409-868x.2020.4.32726.
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The subject of this research is the conceptual grounds of Slavophilic ideology that formed under the influence of European sociopolitical thought of the late XVIII – early XIX centuries, and undergone substantial transformation in the process of adaptation to the Russian sociocultural reality. The article analyzes such concepts as nation, collective subject, national spirit (Volksgeist), special path (Sonderweg), etc., which were partially borrowed by Slavophiles from intellectual production of the German national romanticism, and gained further development having become the theoretical framework for studying different problems of Russian society and the state. Methodology is based on the comparative and historical-genetic methods, which allowed determining and examining the elements of similarity between the ideas of European and sociopolitical thought and Slavophilic conceptual ground, as well as their modification within the Russian intellectual environment. The main conclusion consists in the thesis that Slavophilism cannot be unequivocally attributed to liberal or conservative ideology. It combined the principles and postulates of both philosophical systems that acquired new synthesized content within the framework of Russian intellectual space. Slavophilic attitude toward Russian society, which marked the defining meaning of spiritual beginning of social life, also drastically differed from the national patriotism in the context of the theory of official nationalism, with its vividly expressed statist principle.
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Ivaniuk, O., and Y. Bilodid. "WHILE SAILING ALONG THE RHINE, I HELD IN MY HANDS THE 'RHENISH SAGAS' BOUGHT IN COLOGNE AND READ THEM, CHECKING THE PLACES MENTIONED IN THEM IN NATURE ITSELF." THE VIEWS OF TRAVELLERS FROM THE NADDNIPRIANS ON GERMAN LANDS IN THE NINETEENTH AND EARLY TWENTIETH CENTURIES." Bulletin of Mariupol State University Series History Political Studies 13, no. 35-36 (2023): 34–49. http://dx.doi.org/10.34079/2226-2830-2023-13-35-36-34-49.
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The article considers a range of issues related to travel to Germany in the 19 th – the beginning of the 20th century. Attention is drawn to the purpose of travel, routes, choice of objects for review, interethnic cultural contacts. It was established that the purpose of the trips to Germany were rest, treatment and education. Travelers got to Germany in different ways: by steamboat from Saint Petersburg through Sweden or overland through Radzivyliv, Lemberg and the Czech or Polish lands. Guidebooks printed in Germany became useful for travelers. They helped to develop of the travel route, choose the residence, objects for review and decide on means of transportation. The cities that attracted travelers the most were Berlin, Heidelberg, Leipzig, Munich, as well as the resorts of Baden-Baden and Kissingen. During of the 19th century, under the influence of changes in movement in European art – from romanticism to modernism, accents shifted, and interest arosed to various monuments and artistic masterpieces. While in the first half of the 19th century travelers were admired by Gothic architecture, works of the Renaissance, classical opera, ethnographic customs of the local population, in the second half of the 19 th century, attention was paid to modern art, achievements of science and technology, lifestyle, shops, cafes, etc. People, who traveled to Germany, expanded of social circle. There travelers were able to get to know representatives of European elites, leading scientists and practitioners, compatriots. Established contacts were usually long-lasting and multi-year. Sometimes under the influence of new acquaintances and European culture, imperial ideological stereotypes were destroyed and self-identification of travelers from Dnieper Ukraine took place. Keywords: travels, Germany, architectural monuments, memories, M. Rigelman, M. Kostomarov, Dresden Gallery, Cologne Cathedral.
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Zhuk, Alexandra D. "The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore." Imagologiya i komparativistika, no. 15 (2021): 7–30. http://dx.doi.org/10.17223/24099554/15/1.
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Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.
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Domínguez Rubio, Lucas. "Sobre los inicios de un revisionismo filosófico en Argentina y sus derivas políticas: Homero Guglielmini, Saúl Taborda y Carlos Astrada." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 14 (August 7, 2020): 60–87. http://dx.doi.org/10.5195/ct/2020.420.
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This article analyzes the theoretical and ideological interests of the first philosophical essays in Argentina from an intellectual-history perspective. Saúl Taborda (1885-1943), Homero Guglielmini (1903-1968) and Carlos Astrada (1894-1971) had similar theoretical and political trajectories. From the 1920s, when they were in charge of incipient philosophical and avant-garde magazines, they were influenced by the writings of Nietzsche and Sorel. Later, they were interested in German romanticism and Heidegger's work, in the moment when Astrada and Guglielmini became two of the most important intellectuals of Juan Domingo Perón's government. While the so-called historical revisionism has received a remarkable attention, we only have a few works on this philosophical revisionism in Argentina. It is necessary, thus, to differentiate these early revisionist writings from their counterparts dedicated to history. The philosophers did not react to the continuous waves of immigration but rather to liberal political innovations taken as "foreign ideas". They focused especially on the figure of the gaucho and proposed a non-Catholic reading of Hispanicism. In a nutshell, they argued against individualism and forth theoretical tools to think a collective subject. Therefore, this work describes a theoretical trajectory that is well known at the European level, ranging from vitalist and aestheticist irrationalism to nationalist and strongly anti-individualist organisationalist positions.
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Sartakov, Egor V. "The first translations of Gogol’s works in Serbia (1849–1860)." Vestnik of Saint Petersburg University. Language and Literature 21, no. 3 (2024): 566–80. https://doi.org/10.21638/spbu09.2024.303.
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The article deals with the all early translations of Gogol’s works into Serbian (1849–1860). The lower chronological limit is explained by the discovery of the first known translation of Gogol into Serbian, the upper one by the release of the first Serbian realistic novel by Yakov Ignatovich, focused on “Dead Souls”, which indicated the transition of Gogol’s influence to a qualitatively new level. The article also establishes the precedent texts of translations, since the first translations were made from intermediary languages, primarily German. The names of the first translators of Gogol’s stories have been established based on the archive of Matitsa serbskaya in Novi Sad (Serbia). It is revealed that the acquaintance of Serbian readers with Gogol began with the romantic works of the Ukrainian cycle. This can be explained by the fact that foreign readers saw the national Russian flavor in these stories and, although Gogol depicted the romantic world of Little Russia in them, foreign readers perceived him as a source of information about an unknown and fabulous country — Russia. In addition, these translations are considered in the broad context of the Serbian newspaper and magazine discourse of the era. It is found that the early translations of Gogol were made at a time of heightened interest in the Balkans to Russia and its culture, when the Crimean War (1853–1856) marked the anti-Turkish vector of Russian policy, which was enthusiastically received in the Yugoslav countries, still dependent on Turkey. Moreover, the first translations of Gogol not only introduced the Serbian cultural community to the work of the Russian writer, but also contributed to a qualitative change in Serbian literature from romanticism to realism, which once again confirmed the thesis about the genetic relationship of Slavic literatures and the emergence of “hybrid cultures” (Roman Jakobson) in the history of the Slavic languages.
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Ермишина, К. Б. "Spengler’s “The Decline of the West” and the Eurasian “Turn to the East”: dialogue, borrowing, dispute or conflict of worldviews?" Русско-Византийский вестник, no. 1(16) (March 1, 2024): 65–88. http://dx.doi.org/10.47132/2588-0276_2024_1_65.
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В настоящей статье рассмотрены вопросы идейных основ историософских концепций О. Шпенглера и евразийцев, а также реакция русских мыслителей-эмигрантов на евразийство и немецкого мыслителя. Анализируются идеи Н. С. Трубецкого, П. Н. Савицкого, Г. В. Вернадского, П. П. Сувчинского, упомянуты также Г. В. Флоровский и П. М. Бицилли, участвовавшие в движении на ранних этапах. В статье доказывается, что не существовало преемства или заимствования идей О. Шпенглера евразийцами, несмотря на то что их концепции появляются с разницей в несколько лет и имеют много общего. Рабочими терминами историософской концепции евразийцев являются «личность» и «месторазвитие», у Шпенглера — «душа» и «ландшафт». В статье показано, что философской основой концепции Шпенглера становится немецкий романтизм и интуитивизм, а также арелигиозный пантеизм, в то время как евразийцы во главу угла поставили христианский персонализм. В статье проанализированы взгляды Шпенглера на русских и Россию, а также «прасимвол» степи, оказавший, с его точки зрения, ключевое влияние на становление души русского народа. Показано несоответствие реального географического ландшафта России «прасимволу» степи Шпенглера. This article examines the issues of the ideological foundations of the historiosophical concept of O. Spengler and the Eurasians, as well as the reaction of Russian emigrant thinkers to the Eurasians and the German thinker. The ideas of N. S. Trubetskoy, P. N. Savitsky, G. V. Vernadsky, P. P. Suvchinsky are analyzed, G. V. Florovsky and P. M. Bicilli, who participated in the movement at the early stages, are also mentioned. The article proves that there was no continuity or borrowing of O. Spengler’s ideas by the Eurasians, despite the fact that their concepts appear with a difference of several years and have much in common. The working terms of the historiosophical concept of the Eurasians are “personality” and “locality”, in Spengler — “soul” and “landscape”. The article shows that the philosophical basis of Spengler’s concept is German Romanticism and intuitionism, as well as religious pantheism, while the Eurasians put Christian personalism at the forefront. Russian Russian and Russian views are analyzed in the article, as well as the “prasymbol” of the steppe, which, from his point of view, had a key influence on the formation of the soul of the Russian people. The discrepancy between the real geographical landscape of Russia and the “prasymbol” of the Spengler steppe is shown.
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Vinogradov, Igor. "THE “ARABESQUES” CYCLE BY N. V. GOGOL: UNITY OF COMPOSITION AND PROBLEMS." Проблемы исторической поэтики 19, no. 4 (December 2021): 234–304. http://dx.doi.org/10.15393/j9.art.2021.10262.
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The unity of the problematics and the author’s principles of composition of the collection of N. V. Gogol “Arabesques” (1835) are investigated. The unobvious unity and integrity of the writer’s poetic encyclopedia — “Arabesque” — become apparent through the coverage of the cross-cutting themes and motives of the cycle, the numerous interconnections and overlaps between the articles, essays and stories included in the collection. It is established that the organizing beginning of the cycle is the writer’s reflections of a religious and political nature. From the point of view of this main component, all eighteen works of the collection are analyzed in detail. For the first time, the influence of spiritual literature — the lives of saints, patristic works, the significance of the articles of “Philokalia” — a well-known collection of works on the prayer-contemplative experience of monastic life — is highlighted in the early works of Gogol. The spiritual aspect of the writer’s reflections on history, arts, folk art, world literature, poetry of A. S. Pushkin is noted. Gogol’s polemic with the positions of one of the founders of German romanticism, V. G. Wackenroder, is touched upon. The problems posed in the collection of the opposition of old age and youth, “sensual” life and the poetry of spirituality are analyzed, the image of the “fragmentation” of life as a distinctive feature of modernity is traced. The organic correlation of “Arabesques” with the previous and subsequent works of the writer is revealed — with the youthful poem “Ganz Kuchelgarten,” with the cycle “Mirgorod,” with “Dead Souls,” “Theatrical tour after the presentation of a new comedy,” “Selected passages from correspondence with friends” and etc. The author emphasizes the consistency of the writer’s creative path and the integral spiritual and moral character of his legacy.
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Rajavee, Holger. "The Magus of the North: Johann Georg Hamann’s Treatment of the Artistic Genius." Baltic Journal of Art History 21 (August 20, 2021): 7–30. http://dx.doi.org/10.12697/bjah.2021.21.01.
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In the 18th century, questions abound on the new branch of sciencethat is the discipline of aesthetics. In connection with this, first inFrance and England, then also in the German sphere of thought,artistic genius as the producer of an aesthetically valued artworkbecomes an object of interest. The term ‘genius’ enters Germanvernacular in the middle of the 18th century, when the scholarand philosopher Johann Georg Hamann commences his life work.Interpretations of the works of Hamann, an influential irrationalistor anti-rationalist of the Enlightenment era, are topical even today.At the time, the Enlightenment-inspired, nascent German geniustheory is greatly influenced by the French tradition. However,Hamann becomes a radical changer of the concept of genius. Duringhis sojourn in London (1757–1758), Hamann undergoes a religiousconversion, which subsequently becomes a catalyst for his entireworks and philosophy. Influenced by the British empiricist geniustradition, from his first writings (Socratic Memorabilia and Aestheticsin a Nutshell), Hamann enters into dispute with the spirit of theEnlightenment that dominates German aesthetics, represented byGottsched, Mendelssohn, Lessing, etc., remaining in oppositionthroughout his creative career. In his innovative literary works, richin metaphors, he proposes his own holistic idea of genius, whichcentres around an artistic genius with a God-given talent, whosecreativity is directly connected to his faith in God and the perfectnature he created. Hamann’s poetic artist, who creates his worksthrough divine sensation, is not limited by a single rule or law, noris he bound by the taste preferences of his audience. Hamann doesnot see artistic creation as a pleasurable artefact which enhancesnature by rational rules, which has to adhere to the limits of goodtaste – that view was prevalent and dominant at the time, especiallyin the French and German Enlightenment ideology. He highlightsthe idea of art as a metaphysical creative process which stems fromfeelings and sensations through faith, which has a deep spiritual meaning. Hamann’s works, in which he addresses the questions ofart and genius, are not dry postulations, but the author’s originalvisions of ingenious creation, which stand out by their intriguinginnovative structure, and often by ironic and humorous undertones.Hamann’s concept of the artistic genius is one of the cornerstonesof German early romanticism, it has influenced numerous authorsin the 19th century and extended into the 20th century throughexistentialist literature. Hamann’s vision of genius does not haveequivalents in the list of genius treatments, it is unique in both contentand form. Hamann’s ideas of genius will remain topical in every erawhen subjective views of art are in focus, which stem from the innercreative freedom of the artist, a creative who crosses boundaries andignores conventions, whose aspiration is guided by something thatcannot be subjected to ordinary explanations. The time has arrivedon the spiral of history today when the phenomenon of the artist isyet again at the centre of discussions, and there is no reason to doubtthat artistic genius will continue revealing itself in times to come.
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Chernyaev, Anatoly V., and Aleksandra Yu Berdnikova. "CRISIS OF RENAISSANCE TYPE OF CULTURE IN RUSSIAN AND FOREIGN THOUGHT: IDEOLOGICAL SOURCES OF N. A. BERDYAEV'S “NEW MIDDLE AGES”." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 72–83. http://dx.doi.org/10.37816/2073-9567-2020-58-72-83.
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The paper undertakes an analysis of the “New Middle Ages” concept articulated by N. A. Berdyaev. It is to show that this concept emerged as a result of Berdyaev's reinterpretation of a number of foreign and domestic thought traditions. To clarify the genesis and specifics of Berdyaev's historiosophical conception, the author provides a reconstruction of its prehistory in a broad cultural and historical context: starting from the origin of those ideas among representatives of German romanticism (and, in particular, the teachings of Novalis), Russian religious philosophy (the concept of “free theocracy” by V. S. Solovyov) up until the development of those ideas in the works of Russian 20th century thinkers (P. A. Florensky, S. N. Bulgakov, D. S. Merezhkovsky). In addition to that the paper renders the reconstruction of ideological evolution of Berdyaev himself. This reconstruction identifies the development of the concept of “New Middle Ages”; in particular, Berdyaev's appeal to such problems and questions as: revolution and reformation, idea of “theocratic socialism”, etc. The paper also highlights the biographical context of Berdyaev's concept of “New Middle Ages”. In particular the paper focuses on the analysis of an episode of the criticism of Berdyaev's early idealistic Marxist ideas brought about by A. A. Bogdanov and A.V. Lunacharsky [a direct consequence of which was Bogdanov's article “New Middle Ages. On “problems of idealism” (1903) ]; and also with Berdyaev's practical understanding of the phenomenon of the Reformation, which occurred in connection with the conflict between G. Fedotov and the leadership of the St. Sergius Orthodox Theological Institute in Paris in 1939. Special attention is paid to the influence exerted on the development and shaping of this concept in Berdyaev's work by the ideas of Western thinkers — J. de Maistre and O. Spengler. The paper comes to the conclusion about the "inclusion" of Berdyaev's reasoning into the General trends of understanding the phenomenon of secularization in Russian religious thought at the turn of the 20th century.
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Holland, Jocelyn, and Elizabeth Millán. "Uncertainty in Early German Romanticism." Germanic Review: Literature, Culture, Theory 98, no. 1 (January 2, 2023): 67–79. http://dx.doi.org/10.1080/00168890.2022.2158719.
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Stone, Alison. "Alienation from Nature and Early German Romanticism." Ethical Theory and Moral Practice 17, no. 1 (September 19, 2013): 41–54. http://dx.doi.org/10.1007/s10677-013-9467-7.
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Rerup, Lorenz. "Grundtvigs indflydelse på den tidlige danske nationalisme." Grundtvig-Studier 43, no. 1 (January 1, 1992): 20–32. http://dx.doi.org/10.7146/grs.v43i1.16073.
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Grundtvig’s Position in Early Danish NationalismBy Lorenz RerupThe article deals with Grundtvig’s important position in Early Danish nationalism, i.e., in the decades from about 1800 to 1830. The background is the Danish Monarchy from the prosperous years at the turn of the century to the disastrous war 1807-1814, the loss of Norway in 1814, and the following needy postwar time. After 1814 the Danish Monarchy consisted of the Kingdom of Denmark, the Duchies of Schleswig and Holstein, the North-Atlantic Islands (the Faeroes and Greenland) and some minor colonies. The ideology which integrated the higher ranks of these heterogeneous ethnic groups of the Monarchy into one society was a patriotism underlining peace and order in the realm, the importance of just government and - before 1807 - the protection provided by the Danish navy.The patriotism of the Monarchy was compatible with various feelings of identity which bred in different parts of it from about 1750. The Danes, living in an old kingdom, equipped with a written language, with a complete educational system, and with a history of their own, of course, had a feeling of a Danish identiy, as the German speaking population of the Duchies had a corresponding feeling of an identity of their own. Clashes of these different identities might happen but were not connected with political ideas. The state was run by the king, not by the people, and a public opinion about politics was not allowed - and was almost non-existent - before the announcement of the Advisory Estates Assemblies in 1831. Now nationalism spread and soon undermined the supranational Monarchy, which finally disintegrated in 1864.However, in the first decades of the 18th century and influenced by the ideas of Romanticism a few poets, first of all Grundtvig, developed a literary national movement without political aims. In the writings of these poets the Danes - the whole people - have a real chance to make history if they abandon their superficial life and revive the virtues and piety of the great periods in Danish history. Like political nationalists these poets propagate this kind of revival. Their attempt failed. People were still divided into a ’high’ and a ’broad’ culture and some decades had to pass until the latter one felt the need of an ideology in order to be integrated into society. Nevertheless, Grundtvig seems to be a kind of link between the patriotic ideology of the 18th and the political nationalism of the 19th century.
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Bruns, Gerald L. "The Invention of Poetry in Early German Romanticism." Wordsworth Circle 47, no. 2 (March 2016): 110–14. http://dx.doi.org/10.1086/twc47020110.
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Frie, Roger. "Subjectivity Revisited Sartre, Lacan, and Early German Romanticism." Journal of Phenomenological Psychology 30, no. 2 (1999): 1–13. http://dx.doi.org/10.1163/156916299x00075.
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AbstractThis article examines and elaborates the nature of subjective experience by drawing on a variety of perspectives in recent philosophy, psychology, and psychoanalysis. The question of subjectivity has been much debated in each of these disciplines. In contrast with postmodern thinkers who wish to discard subjectivity altogether, I discuss alternative ways to understand and conceptualize subjectivity, or self-consciousness. I consider a tradition of thinkers that includes Sartre, Fichte, and the early German Romantics, who conceptualize self-consciousness as a "being-familiar-with-oneself" that is prior to all reflection. I argue that a developmental corollary to this approach can be found in the psychological research of Daniel Stern, who attributes to infants a "simple non-self-reflexive awareness," while Jacques Lacan's discussion of the specular misrecognitions of the self complicates any simply rendering of "mirroring." By thus combining epistemological, developmental, and phenomenological treatments of the self, I believe it is possible to achieve a conception of subjectivity that avoids the snares of Cartesian essentialism.
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Lomako, Olga M. "The social philosophy of German romanticism." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 24, no. 4 (December 18, 2024): 373–79. https://doi.org/10.18500/1819-7671-2024-24-4-373-379.
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Introducton. The article is devoted to the analysis of German Romanticism through a social philosophical examination of its origin, features and methodological foundations in the historical and cultural context. Theoretical analysis. It is proposed to consider the analysis and methodology of German Romanticism using the philosophical method of genealogy. The genealogical procedure is heterogeneous in its essence, since it involves the identification of the duality of the beginning, the source of sociality. In the romantic worldview, this is the fusion of aesthetic perception and conceptual thinking. It is established that the philosophical methodological foundations of German Romanticism are laid by the German idealistic transcendental philosophy (Kant and Schelling) in the unity of epistemological, aesthetic and anthropological aspects. Empirical analysis. Genealogical understanding of the specific social conditions in Germany at the end of the XVIII-early XIX centuries allowed us to identify the primary concept of the German romantic worldview as the source of sociality – free sociability – and to define its multidimensional nature as understanding and recognition of the Other (rules of conduct and communication, creation of programs of eternal peace, interest in history and folk language). The foundation of the University of Berlin becomes the academic realization of the concept of free sociability. Conclusion. It is concluded that the goal of early German Romanticism – free sociability as a new form of human solidarity – long determined the humanistic orientation of the romantic worldview.
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Karasoy, Murad. "Effects of German Romanticism on National Socialist Education Policies: “Steely Romanticism”." Journal of Education and Learning 9, no. 1 (January 6, 2020): 69. http://dx.doi.org/10.5539/jel.v9n1p69.
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National socialist education policies put into practice between 1933–1945 in Germany, has been under the influence of romanticism, which is one of the important currents in the history of German thought that began in the middle of the 19th century. Such “being under the influence” does not refer to a passive situation, but it rather means intentional “exposure” by Nazi ideologues. The meeting of Romanticism with National Socialism led to the most dramatic scenes of the history. Educational institutions, where the victims of war were trained, bipartitely fulfilled the task assigned to them regarding to ideological instrumentalism: to destroy and to be destroyed. Putting an end to both their lives own and the lives of others due to this romantic exposure, primary, secondary and higher education students have been the objects of the great catastrophe in the first half of the twentieth century. It will be possible to see the effects of German romanticism, through getting to the bottom of the intellectual foundations of the period’s tragic actions, such as burning books, redesigning the curriculum on the line of National Socialism, and preventing the dissemination of dissenting opinions by monopolizing the press.
This historical research, which is conducted by examining sources like Arendt (1973), Fest (1973), Giles (1985), Bartoletti (2005), Herf (1998), Heidegger (2002), Hitler (1938), Huch (2005), Hühnerfeld (1961), Schirach (1967), Pöggeler (2002), Thomese (1923), Zimmerman (1990) aims to reveal in a scientific way that it is necessary to be careful against the extreme romantic elements in the practices of education.
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임금희. "Politics and Aesthetics: Implications from the Early German Romanticism." Korean Political Science Review 47, no. 5 (December 2013): 51–70. http://dx.doi.org/10.18854/kpsr.2013.47.5.003.
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Gardner, Sebastian. "The Romantic Imperative: The Concept of Early German Romanticism." British Journal of Aesthetics 46, no. 2 (April 1, 2006): 212–13. http://dx.doi.org/10.1093/aesthj/ayj027.
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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.
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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.
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Kodenko, I. I. "Concepts of Early Music Re-creation in Wanda Landowska’s Work." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 261–79. http://dx.doi.org/10.34064/khnum2-17.17.
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Background. The XIX century presented the world with many wonderful musicians, among them there is Wanda Landowska (1879–1959), a researcher of the musical culture of the past. She is considered as one of the founders of the authentic movement in academic musical art, a representative of the first generation of “historical performers” who returned long-forgotten ancient music to their contemporaries. Landowska’s creativity, whose concerts with historical programs in the early XX century enjoyed extreme popularity, was covered in the press of that time, and, after, in special literature, although, given the world fame of the artist, clearly not enough. The name of W. Landowska is mentioned in passing by her contemporary A. Schweitzer in his famous monograph “J. S. Bach” (Schweitzer, 1965, transl. from German Ya. Druskin, p. 259); the review articles by famous Russian musicians and scientists A. V. Ossovsky (1971) and A. Maikapar (1991) are devoted to her. However, the fundamental studies of all aspects of W. Landowska’s activity are still lacking both in foreign and in domestic musicology. Ukrainian scientists have already taken certain steps in the study of the work of an outstanding Polish artist. G. Kurkovsky (1983) highlights the performances of a harpsichordist in Kiev, analyzing her repertoire. As a participant in concerts of the Imperial Russian Music Society, between 1907 and 1911 W. Landowska performed with constant success in Ukraine, not only in Kiev, but also in Odessa and Kharkiv. The researches by N. Svyrydenko, which appeared in the last decade (2010a, 2010b, 2017), gives a due assessment of the activity of the outstanding Polish musician in promoting ancient music. However, in general, in publications devoted to the artist, an analysis of the features of her performing style was not given enough attention, as well as her research works and notes. Objectives. This article aims to identify features of the concepts of W. Landowska regarding the performance of ancient music. The research material was, first of all, the notes of the outstanding harpsichordist collected by her student D. Restout; Russian translation by A. Maikapar (Landowska, W., 1991). The results of the study. Landowska is one of the firsts who was involved in the formation of the phenomenon of “early music”. She draws attention to the fact that few of her contemporaries carefully studied the music of the Middle Ages, Renaissance, Baroque. Meanwhile, the musical practice of these eras lays the foundation for the formation of styles and Viennese classicism, and Romanticism, and new music. Working on the interpretation of ancient works, Landowska, first of all, proceeded from the historical context of the era and the general musical meaning. She emphasized the importance of playing music on the instruments of the exact era for which they were written. In her works, Landowska focused on the problems of reproducing ancient music on the harpsichord, namely, on such performance parameters as tempo, dynamics, registration, phrasing, ornamentation. In particular, Landowska presents and parses the tables of F. Couperin, J. Ph. Rameau and J. S. Bach with decipherments of ornamentations, touching in this connection also to issues of improvisation. Landowska laid the foundations of historically informed performing, emphasizing the need for musicians to study the treatises of Р. F. Tosi-J. F.Agricola, J.J. Quantz, F. Couperin, J. Ph. Rameau, L. Mozart, G. Frescobaldi, F. W. Marpurg, С. Ph. E. Bach. Relying on the old treatises, she sought to find a practical solution to the problems of interpreting ancient music precisely on authentic instruments, since the technique and character of the performance largely depend on the construction of the latter. Landowska studied in detail the clavier works of the outstanding harpsichordists F. Couperin and J. Ph. Rameau, and also paid great attention to the issue of the influence of French music on German music. Landowska believed that in order to find the right tempo, high-quality sound, it is necessary to thoroughly study the mechanism of the instrument. We can talk about the “sense of rhythm”, “accuracy and articulation of sound” about “spatial representations” only from the position of the harpsichordist, since the latter can have just different principles of intonation on the instrument and completely different decisions for fingering, than the pianist, due to the different construction of the harpsichord and piano (for example, without the passing of one finger under another). Landowska deals with the main key to ancient music – rhetoric. Increased attention in interpretation should be given to phrasing and breathing, which plays a major role, since each pause, caesura logically share a melodic line. At the same time, rhythmic freedom should not become synonymous with arbitrariness – Landowska’s playing was always distinguished by rhythmic accuracy, with which it conveyed the duration of sounds. “Some phrases within the play require rhythmic changes, while others – do not,” notes the artist (1991, p. 373). Thus, Landowska insisted on a completely different approach to the interpretation of music of past eras compared to what reigned in her time. She believed that turning to the music of masters of the past gives the musician the opportunity to develop a good musical taste and aesthetic feeling, and studying of the theoretical sources of ancient eras – to create a full-fledged idea of ancient music. In order to embody his vision of music in sounds, the performer should have good taste, Landowska insists on this, but it must be connected with knowledge of the material, styles of the past and historical context. Studying old treatises, Landowska made certain conclusions: the technology of playing an instrument is more complex and multifaceted than simply polishing “complex passages”, as it is considered today, and “coordination of thought and fingers” was called “technology” in that time (ibid., p. 150). In general, the artist puts “ears” and “consciousness” above just good finger coordination. The task of an authenticist is more difficult – it’s not enough to have good technique, you need to be able to combine all other performance components: touché, rhythm, breath, agogics, ornamentation, rhetoric, symbolism, sound, timbre, etc. Conclusions. W. Landowska positioned herself primarily as a harpsichordist, popularizing this instrument, although the sound of her harpsichord is still quite far from the sound of a “historical harpsichord”, for example, G. Leonhardt. Nevertheless, the sound of the harpsichord recreated by Landowska made a stunning impression on his contemporaries. As a result, it completely changed the then performer’s and listener’s ideas about ancient music, giving a powerful impetus to a complete revision and rethinking of generally accepted manners of performing and romantic cliché of hearing. Fifty-year-old practical experience of Landowska-harpsichordist is very important for modern performers of ancient music, who strive for its most accurate reproduction, that open the perspectives for further in-depth study of the creative heritage of an outstanding artist.
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Engel, Amir. "Hans Jonas's Gnostic Myth: An Existentialist Worldview Between Romanticism and Christianity." German Studies Review 46, no. 3 (October 2023): 409–26. http://dx.doi.org/10.1353/gsr.2023.a910188.
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abstract: The essay examines the historical role of an important yet largely forgotten work, namely, Hans Jonas's 1934 Gnosticism and the Spirit of Late Antiquity, Part 1: Mythological Gnosticism , the major project of his early philosophical career. The essay suggests that this early work should be understood not only as a preliminary stage of a debate that will reach fruition later, but as it addresses some of the fundamental problems in nineteenth-century German thought, namely the problem of dualism. More specifically, the essay suggests seeing Jonas's early work as part of the history of German thought as it depicts a transition from German Romanticism to Existentialism, making innovative use of two of the most salient terms of nineteenth-century German philosophy, the "symbol" and the "myth."
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Rush, Fred. "Review: The Romantic Imperative: The Concept of Early German Romanticism." Mind 114, no. 455 (July 1, 2005): 709–13. http://dx.doi.org/10.1093/mind/fzi709.
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Gottlieb, Gabriel A. "The Philosophical Foundations of Early German Romanticism, by Manfred Frank." Owl of Minerva 38, no. 1 (2006): 194–203. http://dx.doi.org/10.5840/owl2006/2007381/218.
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Kuśnierz-Krupa, Dominika, Olena Remizova, Lidia Shevchenko, and Oksana Kravchuk. "THE INFLUENCE OF CULTURAL AND ARTISTIC TRADITIONS OF CHINA ON THE IMAGE OF A RELIGIOUS BUILDING." Spatial development, no. 6 (December 26, 2023): 63–70. http://dx.doi.org/10.32347/2786-7269.2023.6.63-70.
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The Buddhist temple complex of Dunhuang can be named as the oldest example of the transformation of architectural and artistic canons of foreign religions when they were transferred to the territory of China. The artistic canons of the sanctuaries, which originated in India, underwent more and more transformations as local architectural and artistic skills developed. The same can be said about the transformation of the image of an Islamic religious building in the case of mosques, for example, in Shaanxi province, which acquired the architectural and artistic image of a Chinese temple of the traditional beliefs of Taoism and Confucianism. The influence of local traditions even on the image of a Christian church, namely the German Protestant church in Qingdao, was studied. In particular, it is quite bright for the German northern national romanticism, the polychromy of the facades, which contrasts with the ascetic interior.
Unlike traditional Protestant churches, the Protestant church in Qingdao has an irregular plan and the entrance to it is located not from the west, as usually, but from the south (Fig. 1). The asymmetry of the church composition is emphasized by the dominant tower with a height of 39 m.
This object is traditionally mentioned in the same row as other objects of northern national romanticism – the Residence of the Governor of Qingdao and the Japanese Girl’s High School. First of all, let’s analyze what signs of northern national romanticism are present here:
– large scale;
– an active silhouette with the presence of pseudo-Romanesque towers of different heights;
– the presence of “torn” stone cladding;
– lack of small details and decoration on the facades.
Now let's define the features that are not inherent in the typical German northern national romanticism:
– dominance of yellow tinted wall planes over planes faced with “torn” stone;
– the introduction of bright polychromy (red tiled roofs – yellow plastered walls – planes faced with “torn” granite – green tower’s roof not in the outlines of northern national romanticism).
An analysis of the appearance of the Protestant church in Qingdao led to the following conclusions.
An analysis of the appearance of the Protestant church in Qingdao led to the following conclusions.
The important role of this object in the planning structure of the settlement actually built on an empty site is evidenced by the following facts:
– the location is close to the government district;
– holding a competition in Berlin;
– funding by the Qingdao Governor's Office;
– the choice of the style of northern national romanticism.
However, despite the presence of some signs of northern national romanticism in its German version, the phenomenon of style transformation when transferred to Chinese soil should be noted. In particular, under the influence of the picturesque natural environment, other natural and climatic conditions and Chinese architectural and artistic traditions of bright colours, the Protestant church acquired features that are not characteristic of northern national romanticism.
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Gorokhov, Aleksandr Aleksandrovich. "Philosophical and historical-cultural context of establishment of the doctrine of creativity as the fundamentals of understanding the Early German Romanticism in philosophy." Философская мысль, no. 2 (February 2021): 33–44. http://dx.doi.org/10.25136/2409-8728.2021.2.32843.
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The subject of this article is the prerequisites for the establishment of the doctrine of creativity in the philosophy of Early German Romanticism. The source of the romantic concept on creativity is the I. Kant’s “Theory of Genius”, the meaning of which the Romanticists spread onto the entire human nature. The article highlights and analyzes the two groups of prerequisites for the establishment of the Romanticist doctrine of creativity as the fundamentals of understanding. The first group includes the elements of historical approach, which gained widespread in the German culture of the late XVIII century, while the second group includes the concepts of nature and emergence of the language that manifested during this period. The research leans on the principles of historicism and dialectics, method of historical and philosophical reconstruction, as well as elements of hermeneutical and comparative methods. The author considered not only philosophical works dedicated to Romanticism, but also literary, religious, and culturological works on Romanticism. An opinion is substantiated that the philosophical and historical-cultural context of establishment of the concept of creativity in philosophy of the Early German Romanticism indicates both, rational and non-rational components, which is especially evident in the Romanticist Theory of Language. In this field, the methods of scientific study of language and culture naturally align with the idea of “poetic” origin of the language, which has religious-mythological grounds.
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Kulichikhina, M. A. "Body Parts: Mechanisms and Monsters in the Late German Romanticism." Izvestiya of Saratov University. Philology. Journalism 9, no. 2 (2009): 72–76. http://dx.doi.org/10.18500/1817-7115-2009-9-2-72-76.
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The article singles out dominating concepts of body in German Romanticism: body as microcosm, body as machine, body as sign. L.A. von Arnim and E.T.A. Hoffmann’s texts are analyzed to illustrate the increasing role of body mechanism in late Romanticism, resulting in fragmentation of body representation, as well as the influence of physiognomy, used to compensate the lost harmony between body and soul and to define the correlations between the interior world of man and his appearance. Representations of monsters are analyzed as instances of bodies having lost harmony.
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Palmer, Peter. "OTHMAR SCHOECK'S SETTINGS OF GOTTFRIED KELLER." Tempo 64, no. 251 (January 2010): 28–37. http://dx.doi.org/10.1017/s0040298210000045.
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The Swiss author Gottfried Keller was 27 when he published his first volume of poems in 1846. His early poetry was partly influenced by the German battle for liberalism and the experience of those émigrés who, like Wagner, found their way to Switzerland. The main literary impulses came from Goethe and the German Romantics, impulses finding expression in subjective, even mystical verses. At the same time Keller never lost touch with the here-and-now: a feature that would earn him the description of a poetic realist.
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Feller, V. V. "Wilhelm Von Humboldt in the History of Historicism." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 11, no. 4 (2011): 49–52. http://dx.doi.org/10.18500/1819-7671-2011-11-4-49-52.
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The comparative anthropology of Wilhelm Von Humboldt was an important element of the German Historicism formation. At the same time with Friedrih Schlegel, Humboldt substantiated the ontological basis of Historicism. He concretized the Fichte’s concept of development. His doctrine linked metaphysical researches of Early Romanticism and historical method of German historical school.
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SEYHAN, AZADE. "Labours of Theory: The Quest for Representation in Early German Romanticism." Seminar: A Journal of Germanic Studies 25, no. 3 (September 1989): 187–204. http://dx.doi.org/10.3138/sem.v25.3.187.
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Vick, Brian. "Book Review: The Romantic Imperative: The Concept of Early German Romanticism." European History Quarterly 37, no. 2 (April 2007): 317–19. http://dx.doi.org/10.1177/026569140703700211.
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Landgraf, Edgar. "Comprehending Romantic Incomprehensibility. A Systems- Theoretical Perspective on Early German Romanticism." MLN 121, no. 3 (2006): 592–616. http://dx.doi.org/10.1353/mln.2006.0070.
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Pletinck, Karel. "Albert Béguin's Reception of German Romanticism in L'Âme romantique et le rêve (1937) and French Ontological Film Theory (1940s-1950s)." French Forum 48, no. 1 (2023): 49–63. http://dx.doi.org/10.1353/frf.2023.a932967.
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Abstract: In the late 1930s, literary critic Albert Béguin traced the poetics of Symbolism and Surrealism back to German Romanticism, in his influential doctoral dissertation L'Âme romantique et le rêve. Essai sur le romantisme allemand et la poésie française (1937). The understanding of poetry as a genuine means to acquire knowledge, as developed by the German Romantics, proved extremely influential in French poetics from the 19th century onwards. The central thread of this approach is its 'revelationism', i.e. the idea that the artwork does not merely copy exterior reality, but reveals its hidden sense. Due to the popularity of Béguin's work, and because of certain biographical details, it is interesting to examine the influence his doctoral dissertation had on French 1940s-1950s ontological film theory. The way in which, most eminently, the film critic André Bazin, yet also the filmmaker Robert Bresson, understood cinema has much in common with the revelationist poetics of German Romanticism. Furthermore, Béguin's review of Bresson's Journal d'un curé de campagne (1951) established an influential 'symbolist' reading of the filmmaker's oeuvre. This reading was not only adopted by Bazin, but seems to have left its mark on Bresson, too. The scope of this transfer can be better grasped by situating this movement within the legacy of German Romanticism.
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ETARYAN, Yelena. "The German View on Modernism and Postmodernism." WISDOM 15, no. 2 (August 23, 2020): 211–19. http://dx.doi.org/10.24234/wisdom.v15i2.336.
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This article examines the origins of modernism/postmodernism and their presentation in the light of aesthetic and philosophical treatises or literary works of Friedrich Schlegel, Heinrich Kleist, Friedrich Schiller, as well as in the triad model of the world history and the biblical story of the fall of the man. The common idea which lies at the basis of the works presented is the contrast between the principles of nature and reason and the search for opportunities for their synthesis. The main thesis of the article is to present the commonality between the maxims of modernism/ postmodernism and early German romanticism, as well as to consider postmodernism as late romanticism with its inherent manneristic features. The basic concepts of modernism and postmodernism are presented through the prism of works and theories of Friedrich Nietzsche, Wolfgang Welsch, Christoph Bode, Rolf Günter Renner, as well as Victor Žmega?. The central concept in the article is the concept of self-reflection of literature and art as the most vivid feature of modernism and postmodernism.
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Clark, Suzannah. "Schubert’s Lieder and the Philosophy of Early German Romanticism by Lisa Feuerzeig." Fontes Artis Musicae 63, no. 4 (2016): 319–21. http://dx.doi.org/10.1353/fam.2016.0044.
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Eldridge, Hannah V. "Schubert's Lieder and the Philosophy of Early German Romanticism by Lisa Feuerzeig." German Studies Review 40, no. 3 (2017): 640–42. http://dx.doi.org/10.1353/gsr.2017.0133.
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Brzozowski, Tomasz Tadeusz. "Stanisław Brzozowski wobec myśli filozoficznej romantyzmu polskiego." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 23 (January 1, 2010): 3–23. http://dx.doi.org/10.18778/0208-6107.23.01.
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Stanisław Brzozowski was under the influence of Romanticism in the area of philosophy and ethics as he says. He managed to cover a lot of topics in letters and theories. In this way deed philosophy and then work philosophy appeared. Although Brzozowski was a discursively receptive and changeable person. His "Legenda Młodej Polski" includes the intense analysis and widespread criticism of Polish Romanticism but the idea of romanticism was valued more than German philosophy. The attitude towards Polish Romanticism was used to change from the great period of fundamental changes in national movement to magical feelings. Having your head in the clouds at the same time. He was a great believer in a human being that acts through creative work. The effect of this not subjected world was the result of efforts, work and was equally basic to change the world. Work enabled the adequate recognition of himself and others.
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Reisener, Marius. "Die praxis der Übersetzung." Poetica 54, no. 3-4 (February 2, 2024): 301–20. http://dx.doi.org/10.30965/25890530-05434004.
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Abstract Around 1800, to be more precise, in Early German Romanticism, a decisive leap to an aesthetic imperative of form is being articulated. This new concept of form borrows its template from (empirical) life, where again in the concept of “vital force” (Lebenskraft) the origin for the drive of life is thought? to be found. This paper aims to investigate how this concept, emerging? in the life sciences, not only is being implemented into, but is also declared to be the motor of the life of literature. The initial observation of this investigation is the statement that (the) life (of literature) comes into being because force gives it form. Literature, in turn, can bring this process to view – this is its epistemological merit. Because literature in Early German Romanticism not only elevates itself to a form of life, but also sees the shaping of life as the result of an engagement with literature, the propaedeutic of which is in turn itself, literature – according to the hypothesis – becomes the vital force of life and thus praxis.
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Langbehn, Volker. "The Lacanian Gaze and the Role of the Eye in Early German Romanticism." European Romantic Review 16, no. 5 (December 2005): 613–26. http://dx.doi.org/10.1080/10509580500420506.
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Nivala, Asko. "Friedrich Schlegels early Romantic notion of religion in relation to two presuppositions of the Enlightenment." Approaching Religion 1, no. 2 (November 28, 2011): 33–45. http://dx.doi.org/10.30664/ar.67482.
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German early Romanticism was an intellectual movement that originated in the era between the great French Revolution of 1789 and the beginning of the Napoleonic Wars in 1803. Usually, it is defined in contrast to the Enlightenment. The Enlightenment is presented as the age of reason, criticism and scientific naturalism, while the Romantics are portrayed as its reactionary enemies. According to a still customary prejudice, Romanticism was the age of exaggerated emotions, authoritarian dogmatism and mystical superstition. However, our notion of the Enlightenment has undergone changes in recent decades. Because the traditional antagonism between Aufklärung and Frühromantik has become questionable, the Romantic revival of religion needs reconsideration. In this paper, Nivala proposes an argument why the Romantics did not fall into reactionary irrationalism. His discussion focuses on one person, Friedrich Schlegel (1772–1829). Nivala presents how two vital presuppositions of the Enlightenment, naturalism and criticism, were reinterpreted by Schlegel as pantheism and mysticism.
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Gorokhov, Aleksandr Aleksandrovich. "Personality as a subject of creation in the concepts of Novalis and F. Schlegel." Философия и культура, no. 5 (May 2020): 35–45. http://dx.doi.org/10.7256/2454-0757.2020.5.32536.
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The subject of this research is the doctrine of personality in philosophy of the early German romanticism. As the main source of establishment of the romantic concept of personality, the author examines I. Kant’s doctrine of the genius nature of creation. Detailed analysis is conducted on the artistic-philosophical fragments of Novalis and F. Schlegel, in which the concept of personality as a subject of creation is described most vividly. The article substantiates the fundamental significance of the concept of personality of all elements of the philosophy of romanticism, namely for the romanticists’ theory of understanding. The author analyzes not only the philosophical research on romanticism, but also literary, culturological, and religious publications on the topic. The article systematically substantiates the position, according to which creation in the philosophy of romanticism manifests as a universal substance of human spirit, which finds individual reflection in each person, and becomes the foundation for his growth and knowledge. The peculiarity of semantic theory of creative personality consists in the fact that in cannot be exhaustively cognized by the rational means; only artistic-aesthetic and religious consciousness allows approximating to comprehension of the nature of creation.