Romantic Literature

Romantic Literature ?

I could not find any places called “Romantic Literature” in Vasai-Virar.

However, here is some information about romantic literature that I found on the web:

• Romantic literature was a literary movement that began in the late 18th century and ended around the middle of the 19th century.
• It was characterized by a celebration of nature and the common man, a focus on individual experience, an idealization of women, and an embrace of isolation and melancholy.
• Prominent Romantic writers include John Keats, William Wordsworth, Percy Bysshe Shelley, and Mary Shelley.  
• Some of the most famous works of Romantic literature include Pride and Prejudice, Frankenstein, and The Rime of the Ancient Mariner.

I hope this helps!

What is Romantic Literature ?

Romantic literature was a literary movement that flourished roughly from the late 18th century to the mid-19th century. It emphasized strong emotion, imagination, freedom from classical notions of form in art, and exaltation of nature.  

Here are some key characteristics of Romantic literature:

• Emphasis on Emotion and Individualism: Romantic writers prioritized feeling and subjective experience over logic and reason. They explored themes of love, loss, fear, and awe, often through the lens of individual characters.  
• Glorification of Nature: Nature was seen as a source of spiritual truth and inspiration, a refuge from the ills of society. Romantic writers often depicted nature in its wild and untamed forms, emphasizing its power and beauty.  
• Imagination and the Supernatural: Romantic literature embraced the power of imagination and often explored supernatural or fantastical themes. This allowed writers to delve into the depths of human psychology and explore the boundaries of reality.  
• Focus on the Common Man: In contrast to the aristocratic focus of earlier literature, Romantic writers often focused on the lives and experiences of ordinary people, particularly those living in rural settings.  
• Nostalgia for the Past: Many Romantic writers expressed a longing for the past, particularly the medieval period, which they saw as a time of greater simplicity, spirituality, and heroism.  

Some of the most prominent figures of Romantic literature include:

• William Wordsworth: Known for his poetry celebrating nature and the common man.  
• Samuel Taylor Coleridge: Famous for his poems exploring the supernatural and the exotic.
• John Keats: Celebrated for his odes and poems filled with intense emotion and sensory imagery.  
• Percy Bysshe Shelley: Known for his radical political views and his poetry championing freedom and individual expression.  
• Mary Shelley: Author of “Frankenstein,” a groundbreaking work of Gothic and Romantic literature.  

Romantic literature had a profound impact on subsequent literary movements and continues to resonate with readers today. Its emphasis on emotion, imagination, and the individual has left a lasting legacy on our cultural landscape.   Sources and related content

Who is required Romantic Literature ?

I could not find any places called “required Romantic Literature” in Vasai-Virar.

However, here is some information about Romantic literature that I found on the web:

Some of the most famous works of Romantic literature include Pride and Prejudice, Frankenstein, and The Rime of the Ancient Mariner.

Romantic literature was a literary movement that began in the late 18th century and ended around the middle of the 19th century.

It was characterized by a celebration of nature and the common man, a focus on individual experience, an idealization of women, and an embrace of isolation and melancholy.  

Prominent Romantic writers include John Keats, William Wordsworth, Percy Bysshe Shelley, and Mary Shelley.  

When is required Romantic Literature ?

The Romantic period in literature is generally considered to have taken place from the late 18th century to the mid-19th century. More specifically, it’s often dated from roughly 1790 to 1850.  

Here are some factors that contributed to the rise of Romanticism during this time:

• Social and Political Upheaval: The French Revolution (1789-1799) and the subsequent Napoleonic Wars had a profound impact on European society. These events challenged traditional hierarchies and sparked new ideas about individual freedom and social justice, which were reflected in Romantic literature.  
• Reaction Against the Enlightenment: The Enlightenment, with its emphasis on reason and logic, had dominated intellectual thought in the 18th century. Romanticism emerged as a reaction against this emphasis, prioritizing emotion, imagination, and individual experience.  
• Industrial Revolution: The Industrial Revolution brought about significant social and economic changes, including urbanization and the rise of factories. Many Romantic writers were critical of the negative effects of industrialization, such as pollution and the alienation of workers, and they often idealized rural life and nature as a contrast.  

While the core period of Romanticism is generally considered to be 1790-1850, it’s important to note that:

• Influences and Overlaps: Romantic ideas and themes can be found in earlier and later works, and there were overlaps with other literary movements.
• Variations Across Countries: Romanticism developed differently in different countries, with variations in its specific characteristics and timelines.

In conclusion, while there’s no single definitive “required” time for Romantic literature, the movement flourished primarily between the late 18th and mid-19th centuries, shaped by significant social, political, and intellectual changes of the era.   Sources and related content

COURTESY : Michael Sugrue

Where is required Romantic Literature ?

The Romantic movement didn’t originate in one specific place, but rather spread across Europe and beyond. However, some key locations were particularly influential in its development:  

• Germany: Germany is often considered the birthplace of Romanticism, with figures like Johann Wolfgang von Goethe and the early Romantic philosophers and writers of the “Sturm und Drang” (Storm and Stress) movement paving the way. Cities like Weimar and Jena were important centers of early Romantic thought.  
• Great Britain: England and Scotland were also crucial to the development of Romantic literature. The Lake District in England, with its stunning natural scenery, inspired many Romantic poets like William Wordsworth and Samuel Taylor Coleridge. Edinburgh also became a significant center for Romantic writers and thinkers.  
• France: While initially resistant to some aspects of Romanticism, France eventually embraced the movement, with writers like Victor Hugo and Chateaubriand making significant contributions. Paris became a hub for Romantic artists and intellectuals.  
• Other European Countries: Romanticism also spread to other parts of Europe, including Italy, Spain, and Russia, with each country developing its own unique expressions of the movement.  
• United States: Romantic ideas crossed the Atlantic and influenced American literature, with writers like Ralph Waldo Emerson, Henry David Thoreau, and Edgar Allan Poe embracing Romantic themes and ideas.  

In summary, while Romanticism wasn’t confined to a single location, it flourished in various centers across Europe and the United States. Germany and Great Britain played particularly important roles in its early development, with specific cities and regions within these countries becoming hubs for Romantic writers, artists, and thinkers.  

How is required Romantic Literature ?

It seems like you’re asking about the characteristics or features that define Romantic literature. Here’s a breakdown of how Romantic literature distinguishes itself:

1. Emphasis on Emotion and Individualism:  

• Feelings over Reason: Romantic writers prioritized emotions like love, awe, fear, and melancholy over logic and rational thought. They explored the full spectrum of human experience, often in intense and dramatic ways.  
• The Individual’s Perspective: They focused on the individual’s unique experiences and inner world, emphasizing subjectivity and personal expression. This often led to introspective narratives and explorations of the self.  

2. Glorification of Nature:  

• Nature as Inspiration: Nature was seen as a source of spiritual truth, beauty, and inspiration. Romantic writers often depicted nature in its wild and untamed forms, emphasizing its power and grandeur.  
• Escape from Industrialization: Nature also served as a refuge from the negative effects of industrialization and urbanization, offering a sense of peace and connection to something larger than oneself.  

3. Imagination and the Supernatural:

• Power of Imagination: Romantic writers valued imagination as a creative force that could transcend the limitations of reality. They often explored fantastical or supernatural themes, blurring the lines between the real and the imagined.  
• Exploring the Unknown: This interest in the supernatural allowed them to delve into the depths of human psychology, explore the mysteries of the universe, and challenge conventional ways of thinking.  

4. Focus on the Common Man:

• Ordinary People as Subjects: In contrast to earlier literature that often focused on aristocratic figures, Romantic writers often depicted the lives and experiences of ordinary people, particularly those living in rural settings.  
• Celebrating Simplicity: They often idealized rural life and the simplicity of nature, contrasting it with the perceived corruption and artificiality of urban society.  

5. Nostalgia for the Past:

• Idealizing the Medieval Period: Many Romantic writers expressed a longing for the past, particularly the medieval period, which they saw as a time of greater spirituality, heroism, and connection to nature.  
• Rejecting Modernity: This nostalgia was often linked to a critique of modernity and the rapid social and economic changes brought about by industrialization.  

In essence, Romantic literature is characterized by its emphasis on emotion, imagination, nature, individualism, and a fascination with the past. These elements combine to create works that are often passionate, evocative, and deeply personal.   Sources and related content

Case study is Romantic Literature ?

It appears you’re asking if a “case study” can be considered Romantic Literature. In the traditional sense of a scientific or academic “case study,” the answer is generally no. Here’s why:

• Case studies are focused on detailed analysis of a specific instance or phenomenon, often with the goal of drawing conclusions or making generalizations. They prioritize objectivity, evidence, and logical reasoning.  
• Romantic literature, as we’ve discussed, emphasizes emotion, imagination, subjectivity, and often explores themes of nature, the individual, and the past.  

However, there are some nuances to consider:

• Literary Analysis as Case Study: You could use a work of Romantic literature as a case study to analyze specific themes, characters, or literary techniques. For example, you might conduct a case study on “The Byronic Hero in Romantic Literature,” using characters like Heathcliff from “Wuthering Heights” or Lord Byron’s own persona as examples.
• “Case Study” in a Broader Sense: If we interpret “case study” more loosely to mean an in-depth exploration of a particular subject, then some Romantic works could be seen as case studies of:
  • Individual psychology: Works like “Frankenstein” delve into the psychological consequences of ambition, isolation, and guilt.  
  • Social issues: Some Romantic novels explored social problems like poverty, injustice, and the impact of industrialization.
  • Emotional experiences: Poems and novels often served as case studies of intense emotions like love, grief, and despair.

Examples:

• “Frankenstein” by Mary Shelley: Could be considered a case study on the dangers of unchecked ambition, the consequences of playing God, and the nature of humanity and monstrosity.
• Poems by William Wordsworth: Could be seen as case studies on the relationship between humans and nature, the power of memory, and the importance of individual experience.

In conclusion, while a traditional case study is not Romantic literature, Romantic works can be used as subjects of analysis in case studies, or they can be seen as in-depth explorations of specific themes or experiences, functioning as a kind of “case study” in a broader sense.Sources and related content

COURTESY : Jen Chan

White paper on Romantic Literature ?

While there isn’t a single, definitive “white paper” solely dedicated to Romantic Literature in the way that term is used in business or technology, there are numerous academic resources and scholarly works that serve a similar purpose. They provide in-depth analysis, background, and insights into the movement. Here are some categories and examples of what could be considered “white papers” on Romantic Literature:

1. Academic Books and Monographs:

• These are often in-depth studies of specific aspects of Romanticism, such as:
  • “The Romantic Imagination” by Maurice Bowra: Explores the central role of imagination in Romantic thought and literature.  
  • “English Romantic Writers” by David Perkins: Provides a comprehensive overview of major Romantic writers and their works.  
  • “Romanticism and Revolution” by David Aers: Examines the relationship between Romanticism and the political and social upheavals of the late 18th and early 19th centuries.  

2. Scholarly Articles and Essays:

• Academic journals and edited collections feature numerous articles that delve into specific themes, authors, or works of Romantic literature. These often involve original research and critical analysis. Examples include:
  • Articles in journals like “The Wordsworth Circle,” “The Keats-Shelley Journal,” and “Studies in Romanticism.”  
  • Essays in edited collections on topics like “Romantic Poetry,” “The Gothic in Romantic Literature,” or “Women Romantic Writers.”

3. Literary Criticism and Theory:

• Works of literary criticism and theory that focus on Romanticism provide frameworks for understanding the movement and its key concepts. Examples include:
  • “Preface to Lyrical Ballads” by William Wordsworth: A foundational text of English Romanticism, outlining Wordsworth’s poetic principles.  
  • “Biographia Literaria” by Samuel Taylor Coleridge: Explores Romantic ideas about imagination, poetry, and the nature of art.  

4. Online Resources and Databases:

• Websites and online databases offer valuable resources for studying Romantic literature, including:
  • The British Library’s Romanticism pages: Provides information on Romantic manuscripts, authors, and themes.  
  • Project Gutenberg: Offers free access to digitized versions of many Romantic works.

What Makes These Resources Similar to a “White Paper”?

• In-depth Analysis: They provide detailed explanations and analysis of complex topics.
• Authoritative Sources: They are written by experts in the field and based on scholarly research.  
• Clear and Organized Presentation: They present information in a structured and accessible way.
• Focus on Specific Issues: They often focus on specific aspects of Romanticism, providing in-depth coverage of those areas.

While not called “white papers” in the traditional sense, these resources serve a similar function by providing comprehensive and authoritative information on Romantic literature. They are essential for anyone seeking a deeper understanding of this important literary movement.

Industrial application of Romantic Literature ?

While Romantic literature wasn’t directly designed for industrial applications in the way we think of technology or engineering, its core themes and values have found relevance and application in various modern industries. Here are some key connections:

1. Inspiring Creativity and Innovation:

• Emphasis on Imagination: Romanticism’s focus on imagination and individual expression is highly relevant to creative industries like design, advertising, and content creation. It encourages thinking outside the box, exploring new ideas, and pushing boundaries.  
• Emotional Connection: The emphasis on emotion and human experience is crucial in fields like marketing and user experience (UX) design, where understanding and appealing to consumer emotions is essential.

2. Promoting Environmental Consciousness:

• Love of Nature: Romanticism’s deep appreciation for nature and its critique of industrialization have resonated strongly with the environmental movement and industries focused on sustainability.  
• Sustainable Practices: This translates into a focus on eco-friendly practices, renewable energy, and responsible resource management in various sectors.

3. Humanizing Technology:

• Focus on the Individual: In today’s technology-driven world, Romanticism’s emphasis on the individual and human experience is essential for ensuring that technology serves human needs and enhances human lives.
• Ethical Considerations: This translates to a focus on user-centered design, ethical AI development, and addressing the social impact of technology.

4. Fostering a Sense of Purpose and Meaning:

• Search for Meaning: Romantic literature often explores themes of purpose, meaning, and the search for something beyond the material world. This can be relevant in industries focused on personal development, wellness, and social impact.  
• Values-Driven Organizations: Many modern companies are increasingly focused on creating a positive impact on society and aligning their business practices with strong ethical values, echoing the Romantic emphasis on individual and social responsibility.

Examples:

• Advertising campaigns that evoke strong emotions or connect to nature: These draw on Romantic principles to create impactful messages.
• Sustainable businesses that prioritize environmental protection: These reflect the Romantic ideal of harmony between humans and nature.
• Technology companies that focus on user-centered design and ethical AI: These demonstrate a commitment to humanizing technology, in line with Romantic values.

In conclusion, while not a direct “tool” for industrial processes, Romantic literature’s enduring themes and values have found significant application in modern industries by inspiring creativity, promoting environmental consciousness, humanizing technology, and fostering a sense of purpose and meaning.

Research and development of Romantic Literature ?

You’re right to think about Romantic literature in terms of ongoing research and development! While the core period of Romanticism is in the past, its study continues to evolve and expand. Here’s how “research and development” applies to this field:

1. Discovering New Materials and Perspectives:

• Archival Research: Scholars constantly delve into archives, libraries, and private collections to uncover new manuscripts, letters, and other materials related to Romantic writers and their circles. This can lead to new insights into their lives, works, and influences.
• Interdisciplinary Approaches: Researchers are increasingly using interdisciplinary approaches, combining literary analysis with fields like history, philosophy, art history, and science to gain a more comprehensive understanding of Romanticism.  

2. Reinterpreting Existing Works:

• New Critical Lenses: As society changes, new critical theories and perspectives emerge, leading to fresh interpretations of classic Romantic texts. For example, feminist, postcolonial, and ecocritical approaches have shed new light on familiar works.
• Digital Humanities: The use of digital tools and methods, such as text analysis and data visualization, allows researchers to analyze large amounts of text and identify patterns and trends that might not be apparent through traditional methods.  

3. Expanding the Canon:

• Recovering Forgotten Voices: Research is being done to recover and promote the works of lesser-known Romantic writers, particularly women and writers from marginalized communities, who have historically been excluded from the literary canon.  
• Global Romanticism: Scholars are also exploring the spread of Romantic ideas and themes beyond Europe and the United States, examining how they were adapted and reinterpreted in different cultural contexts.

4. Exploring the Legacy of Romanticism:

• Influence on Later Movements: Research continues to investigate the lasting impact of Romanticism on subsequent literary movements, such as Victorianism, Modernism, and Postmodernism.
• Contemporary Relevance: Scholars are also exploring the relevance of Romantic ideas and values to contemporary issues, such as environmentalism, social justice, and the role of technology in society.

Examples of Ongoing Research and Development:

• Studies on the relationship between Romanticism and science: Examining how scientific discoveries and ideas influenced Romantic writers and their works.
• Research on the role of women in Romanticism: Uncovering the contributions of women writers, artists, and intellectuals to the movement.  
• Digital projects that create online archives and databases of Romantic materials: Making these resources more accessible to researchers and the public.

In essence, the field of Romantic literature is constantly evolving through ongoing research and development. By uncovering new materials, reinterpreting existing works, expanding the canon, and exploring the legacy of Romanticism, scholars are continually deepening our understanding of this important literary movement and its enduring relevance.Sources and related content

COURTESY : The School of Life

References

1. ^ Hamilton, Paul (2016). The Oxford Handbook of European Romanticism. Oxford: Oxford University Press. p. 170. ISBN 978-0-19-969638-3.
2. ^ Blechman, Max (1999). Revolutionary Romanticism: A Drunken Boat Anthology. San Francisco, CA: City Lights Books. pp. 84–85. ISBN 0-87286-351-4.
3. ^ Encyclopædia Britannica. “Romanticism. Retrieved 30 January 2008, from Encyclopædia Britannica Online”. Britannica.com. Archived from the original on 13 October 2005. Retrieved 2010-08-24.
4. ^ Casey, Christopher (October 30, 2008). “”Grecian Grandeurs and the Rude Wasting of Old Time”: Britain, the Elgin Marbles, and Post-Revolutionary Hellenism”. Foundations. Volume III, Number 1. Archived from the original on May 13, 2009. Retrieved 2014-05-14.
5. ^ David Levin, History as Romantic Art: Bancroft, Prescott, and Parkman (1967)
6. ^ Gerald Lee Gutek, A history of the Western educational experience (1987) ch. 12 on Johann Heinrich Pestalozzi
7. ^ Ashton Nichols, “Roaring Alligators and Burning Tygers: Poetry and Science from William Bartram to Charles Darwin”, Proceedings of the American Philosophical Society 2005 149(3): 304–15
8. ^ Morrow, John (2011). “Romanticism and political thought in the early 19th century” (PDF). In Stedman Jones, Gareth; Claeys, Gregory (eds.). The Cambridge History of Nineteenth-Century Political Thought. The Cambridge History of Political Thought. Cambridge, United Kingdom: Cambridge University. pp. 39–76. doi:10.1017/CHOL9780521430562. ISBN 978-0-511-97358-1. Retrieved 10 September 2017.
9. ^ Guliyeva, Gunesh (2022-12-15). “Traces of Romanticism in the Creativity of Bahtiyar Vahabzade” (PDF). Metafizika (in Azerbaijani). 5 (4): 77–87. eISSN 2617-751X. ISSN 2616-6879. OCLC 1117709579. Archived from the original (PDF) on 2022-11-14. Retrieved 2022-10-14.
10. ^ Coleman, Jon T. (2020). Nature Shock: Getting Lost in America. Yale University Press. p. 214. ISBN 978-0-300-22714-7.
11. ^ Barnes, Barbara A. (2006). Global Extremes: Spectacles of Wilderness Adventure, Endless Frontiers, and American Dreams. Santa Cruz: University of California Press. p. 51.
12. ^ Perpinya, Núria. Ruins, Nostalgia and Ugliness. Five Romantic perceptions of Middle Ages and a spoon of Game of Thrones and Avant-garde oddity Archived 2016-03-13 at the Wayback Machine. Berlin: Logos Verlag. 2014
13. ^ Novotny, 96
14. ^ From the Preface to the 2nd edition of Lyrical Ballads, quoted Day, 2
15. ^ Day, 3
16. ^ Ruthven (2001) p. 40 quote: “Romantic ideology of literary authorship, which conceives of the text as an autonomous object produced by an individual genius.”
17. ^ Spearing (1987) quote: “Surprising as it may seem to us, living after the Romantic movement has transformed older ideas about literature, in the Middle Ages authority was prized more highly than originality.”
18. ^ Eco (1994) p. 95 quote: Much art has been and is repetitive. The concept of absolute originality is a contemporary one, born with Romanticism; classical art was in vast measure serial, and the “modern” avant-garde (at the beginning of this century) challenged the Romantic idea of “creation from nothingness”, with its techniques of collage, mustachios on the Mona Lisa, art about art, and so on.
19. ^ Waterhouse (1926), throughout; Smith (1924); Millen, Jessica Romantic Creativity and the Ideal of Originality: A Contextual Analysis, in Cross-sections, The Bruce Hall Academic Journal – Volume VI, 2010 PDF Archived 2016-03-14 at the Wayback Machine; Forest Pyle, The Ideology of Imagination: Subject and Society in the Discourse of Romanticism (Stanford University Press, 1995) p. 28.
20. ^ Breckman, Warren (2008). European Romanticism: A Brief History with Documents. Rogers D. Spotswood Collection. (1st ed.). Boston: Bedford/St. Martins. ISBN 978-0-312-45023-6. OCLC 148859077.
21. ^ Berlin, 92
22. ^ Day 3–4; quotation from M.H. Abrams, quoted in Day, 4
23. ^ Jump up to:^a b Schellinger, Paul (8 April 2014). “Novel and Romance: Etymologies”. Encyclopedia of the Novel. Routledge. p. 942. ISBN 978-1-135-91826-2.
24. ^ Saul, Nicholas (9 July 2009). The Cambridge Companion to German Romanticism. Cambridge University Press. pp. 1–. ISBN 978-0-521-84891-6.
25. ^ Ferber, 6–7
26. ^ Athenaeum. Bey F. Vieweg dem Älteren. 1800. p. 122. Ich habe ein bestimmtes Merkmahl des Gegensatzes zwischen dem Antiken und dem Romantischen aufgestellt. Indessen bitte ich Sie doch, nun nicht sogleich anzunehmen, daß mir das Romantische und das Moderne völlig gleich gelte. Ich denke es ist etwa ebenso verschieden, wie die Gemählde des Raphael und Correggio von den Kupferstichen die jetzt Mode sind. Wollen Sie sich den Unterschied völlig klar machen, so lesen Sie gefälligst etwa die Emilia Galotti die so unaussprechlich modern und doch im geringsten nicht romantisch ist, und erinnern sich dann an Shakspeare, in den ich das eigentliche Zentrum, den Kern der romantischen Fantasie setzen möchte. Da suche und finde ich das Romantische, bey den ältern Modernen, bey Shakspeare, Cervantes, in der italiänischen Poesie, in jenem Zeitalter der Ritter, der Liebe und der Mährchen, aus welchem die Sache und das Wort selbst herstammt. Dieses ist bis jetzt das einzige, was einen Gegensatz zu den classischen Dichtungen des Alterthums abgeben kann; nur diese ewig frischen Blüthen der Fantasie sind würdig die alten Götterbilder zu umkränzen. Und gewiß ist es, daß alles Vorzüglichste der modernen Poesie dem Geist und selbst der Art nach dahinneigt; es müßte denn eine Rückkehr zum Antiken seyn sollen. Wie unsre Dichtkunst mit dem Roman, so fing die der Griechen mit dem Epos an und löste sich wieder darin auf.
27. ^ Jump up to:^a b Ferber, 7
28. ^ Christiansen, 241.
29. ^ Christiansen, 242.
30. ^ in her Oxford Companion article, quoted by Day, 1
31. ^ Day, 1–5
32. ^ Mellor, Anne; Matlak, Richard (1996). British Literature 1780–1830. NY: Harcourt Brace & Co./Wadsworth. ISBN 978-1-4130-2253-7.
33. ^ Edward F. Kravitt, The Lied: Mirror of Late Romanticism Archived 2022-12-04 at the Wayback Machine (New Haven and London: Yale University Press, 1996): 47. ISBN 0-300-06365-2.
34. ^ Jump up to:^a b Greenblatt et al., Norton Anthology of English Literature, eighth edition, “The Romantic Period – Volume D” (New York: W.W. Norton & Company Inc., 2006): ^{[page needed]}
35. ^ Johnson, 147, inc. quotation
36. ^ Barzun, 469
37. ^ Day, 1–3; the arch-conservative and Romantic is Joseph de Maistre, but many Romantics swung from youthful radicalism to conservative views in middle age, for example Wordsworth. Samuel Palmer‘s only published text was a short piece opposing the Repeal of the corn laws.
38. ^ Berlin, 57
39. ^ Several of Berlin’s pieces dealing with this theme are collected in the work referenced. See in particular: Berlin, 34–47, 57–59, 183–206, 207–37.
40. ^ Berlin, 57–58
41. ^ “Linda Simon The Sleep of Reason by Robert Hughes”. 12 July 2021.
42. ^ Three Critics of the Enlightenment: Vico, Hamann, Herder, Pimlico, 2000 ISBN 0-7126-6492-0 was one of Isaiah Berlin‘s many publications on the Enlightenment and its enemies that did much to popularise the concept of a Counter-Enlightenment movement that he characterised as relativist, anti-rationalist, vitalist and organic,
43. ^ Darrin M. McMahon, “The Counter-Enlightenment and the Low-Life of Literature in Pre-Revolutionary France” Past and Present No. 159 (May 1998:77–112) p. 79 note 7.
44. ^ “Baudelaire’s speech at the “Salon des curiosités Estethiques” (in French). Fr.wikisource.org. Retrieved 2010-08-24.
45. ^ Sutherland, James (1958) English Satire Archived 2022-12-04 at the Wayback Machine p. 1. There were a few exceptions, notably Byron, who integrated satire into some of his greatest works, yet shared much in common with his Romantic contemporaries. Bloom, p. 18.
46. ^ John Keats. By Sidney Colvin, p. 106. Elibron Classics
47. ^ Thomas Chatterton, Grevel Lindop, 1972, Fyffield Books, p. 11
48. ^ Zipes, Jack (1988). The Brothers Grimm: From Enchanted Forests to the Modern World (1st ed.). Routledge. pp. 7–8. ISBN 978-0-415-90081-2.
49. ^ Zipes, Jack (2000). The Oxford Companion to Fairy Tales. Oxford University Press. pp. 13–14, 218–19. ISBN 978-0-19-860115-9.
50. ^ Oliver, Susan. Scott, Byron and the Poetics of Cultural Encounter Archived 2022-05-23 at the Wayback Machine (Palgrave Macmillan, 2005)241pp.ISBN 978-0-230-55500-6
51. ^ Christiansen, 215.
52. ^ Christiansen, 192–96.
53. ^ Christiansen, 197–200.
54. ^ Christiansen, 213–20.
55. ^ Christiansen, 188–89.
56. ^ Or at least he tried to; Kean played the tragic Lear for a few performances. They were not well received, and with regret, he reverted to Nahum Tate‘s version with a comic ending, which had been standard since 1689. See Stanley Wells, “Introduction” from King Lear, Oxford University Press (2000), p. 69.
57. ^ Coleridge, Samuel Taylor, Table Talk, 27 April 1823 in Coleridge, Samuel Taylor; Morley, Henry (1884). Table Talk of Samuel Taylor Coleridge and The Rime of the Ancient Mariner, Christobel, &c. New York: Routledge. p. 38.
58. ^ J. Buchan, Crowded with Genius (London: Harper Collins, 2003), ISBN 0-06-055888-1, p. 311.
59. ^ J. Buchan, Crowded with Genius (London: Harper Collins, 2003), ISBN 0-06-055888-1, p. 163.
60. ^ H. Gaskill, The Reception of Ossian in Europe (Continuum, 2004), ISBN 0-8264-6135-2, p. 140.
61. ^ D. Thomson, The Gaelic Sources of Macpherson’s “Ossian” (Aberdeen: Oliver & Boyd, 1952).
62. ^ L. McIlvanney, “Hugh Blair, Robert Burns, and the Invention of Scottish Literature”, Eighteenth-Century Life, vol. 29 (2), Spring 2005, pp. 25–46.
63. ^ K. S. Whetter, Understanding Genre and Medieval Romance (Aldershot: Ashgate, 2008), ISBN 0-7546-6142-3, p. 28.
64. ^ N. Davidson, The Origins of Scottish Nationhood (Pluto Press, 2008), ISBN 0-7453-1608-5, p. 136.
65. ^ A. Maunder, FOF Companion to the British Short Story (Infobase Publishing, 2007), ISBN 0-8160-7496-8, p. 374.
66. ^ A. Jarrels, “‘Associations respect[ing] the past’: Enlightenment and Romantic historicism”, in J. P. Klancher, A Concise Companion to the Romantic Age (Oxford: John Wiley & Sons, 2009), ISBN 0-631-23355-5, p. 60.
67. ^ A. Benchimol, ed., Intellectual Politics and Cultural Conflict in the Romantic Period: Scottish Whigs, English Radicals and the Making of the British Public Sphere (Aldershot: Ashgate, 2010), ISBN 0-7546-6446-5, p. 210.
68. ^ A. Benchimol, ed., Intellectual Politics and Cultural Conflict in the Romantic Period: Scottish Whigs, English Radicals and the Making of the British Public Sphere (Aldershot: Ashgate, 2010), ISBN 0-7546-6446-5, p. 209.
69. ^ I. Brown, The Edinburgh History of Scottish Literature: Enlightenment, Britain and Empire (1707–1918) (Edinburgh: Edinburgh University Press, 2007), ISBN 0-7486-2481-3, pp. 229–30.
70. ^ Christiansen, 202–03, 241–42.
71. ^ Christiansen, 239–46, 240 quoted.
72. ^ Christiansen, 244–46.
73. ^ Christiansen
74. ^ Leon Dyczewski, Values in the Polish cultural tradition (2002) p. 183
75. ^ Christopher J. Murray, Encyclopedia of the romantic era, 1760–1850 (2004) vol. 2. p. 742
76. ^ “Alexander Sergeevich Pushkin (1799–1837)”. University of Virginia Slavic Department. Archived from the original on 1 April 2019. Retrieved 1 August 2011.
77. ^ “El escritor José de Espronceda”. Museo del Prado (in Spanish). Madrid. Retrieved March 27, 2013.
78. ^ Philip W. Silver, Ruin and restitution: reinterpreting romanticism in Spain (1997) p. 13
79. ^ Gerald Brenan, The literature of the Spanish people: from Roman times to the present (1965) p. 364
80. ^ Foster, David; Altamiranda, Daniel; de Urioste, Carmen (2001). Spanish Literature : Current debates on Hispanism. New York: Garland Publishing, Inc. p. 78. ISBN 978-0-8153-3563-4.
81. ^ Caldwell, Richard (1970). “The Persistence of Romantic Thought in Spain”. Modern Language Review. 65 (4): 803–12. doi:10.2307/3722555. ISSN 0026-7937. JSTOR 3722555.
82. ^ Sebold, Russell (1974). El primer romantico ‘europeo’ de España. Madrid: Editorial Gredos. ISBN 978-84-249-0591-0.
83. ^ Shaw, Donald (1963). “Towards an Understanding of Spanish Romanticism”. Modern Language Review. 58 (2): 190–95. doi:10.2307/3721247. JSTOR 3721247.
84. ^ Almeida Garrett, João Baptista (1990). Obras Completas de Almeida Garrett – 2 Volumes. Porto: Lello Editores. ISBN 978-972-48-0192-6.
85. ^ “Artigo de apoio Infopédia – Almeida Garrett”. Infopédia – Dicionários Porto Editora (in European Portuguese). Retrieved 2018-04-03.
86. ^ Jump up to:^a b c Saraiva, António José; Lopes, Oscar (1996). História da literatura portuguesa (17a ed.). Porto, Portugal: Porto Editora. ISBN 978-972-0-30170-3. OCLC 35124986.
87. ^ “Artigo de apoio Infopédia – Alexandre Herculano”. Infopédia – Dicionários Porto Editora (in European Portuguese). Retrieved 2018-04-03.
88. ^ Gaetana Marrone, Paolo Puppa, Encyclopedia of Italian Literary Studies: A–J, Taylor & Francis, 2007, p. 1242
89. ^ Garofalo, Piero (2005). “Italian Romanticisms”. In Ferber, Michael (ed.). Companion to European Romanticism. London: Blackwell. pp. 238–255.
90. ^ La nuova enciclopedia della letteratura. Milan: Garzanti. 1985. p. 829.
91. ^ Marci, Giuseppe (December 2013). Scrittori Sardi (in Italian). Autonomous Region of Sardinia, Italy: Center for Sardinian Philological Studies / CUEC. p. 183. ISBN 978-88-8467-859-1. Archived from the original on 19 March 2022. Retrieved 14 July 2022.
92. ^ Roberto González Echevarría and Enrique Pupo-Walker, The Cambridge History of Latin American Literature: Brazilian Literature (1996) vol. 2 p. 367
93. ^ Jump up to:^a b George L. McMichael and Frederick C. Crews, eds. Anthology of American Literature: Colonial through romantic (6th ed. 1997) p. 613
94. ^ “Romanticism, American”, in The Oxford Dictionary of American Art and Artists ed by Ann Lee Morgan (Oxford University Press, 2007) online Archived 2020-07-28 at the Wayback Machine
95. ^ The relationship of the American poet Wallace Stevens to Romanticism is raised in the poem “Another Weeping Woman” and its commentary.
96. ^ Weber, Patrick, Histoire de l’Architecture (2008), p. 63
97. ^ Jump up to:^a b Weber, Patrick, Histoire de l’Architecture (2008), pp. 64
98. ^ Jump up to:^a b Weber, Patrick, Histoire de l’Architecture (2008), pp. 64–65
99. ^ Saule & Meyer 2014, p. 92.
100. ^ Poisson & Poisson 2014.
101. ^ Novotny, 96–101, 99 quoted
102. ^ Novotny, 112–21
103. ^ Honour, 184–190, 187 quoted
104. ^ Walter Friedlaender, From David to Delacroix, 1974, remains the best available account of the subject.
105. ^ “Romanticism”. metmuseum.org.
106. ^ Novotny, 142
107. ^ Novotny, 133–42
108. ^ Hughes, 279–80
109. ^ McKay, James, The Dictionary of Sculptors in Bronze, Antique Collectors Club, London, 1995
110. ^ Novotny, 397, 379–84
111. ^ Dizionario di arte e letteratura. Bologna: Zanichelli. 2002. p. 544.
112. ^ Noon, throughout, especially pp. 124–155
113. ^ (in Polish) Masłowski, Maciej, Piotr Michałowski, Warsaw, 1957, Arkady Publishers, p. 6.
114. ^ Boyer 1961, 585.
115. ^ Lefebvre, Henri (1995). Introduction to Modernity: Twelve Preludes September 1959 – May 1961. London: Verso. p. 304. ISBN 1-85984-056-6.
116. ^ Ferchault 1957.
117. ^ Christiansen, 176–78.
118. ^ Grétre 1789.
119. ^ Jump up to:^a b c Samson 2001.
120. ^ Hoffmann 1810, col. 632.
121. ^ Boyer 1961, 585–86.
122. ^ Wagner 1995, 77.
123. ^ Einstein 1947.
124. ^ Warrack 2002.
125. ^ Grout 1960, 492.
126. ^ Blume 1970; Samson 2001.
127. ^ Wehnert 1998.
128. ^ Cunningham, A., and Jardine, N., ed. Romanticism and the Sciences, p. 15.
129. ^ Bossi, M., and Poggi, S., ed. Romanticism in Science: Science in Europe, 1790–1840, p.xiv; Cunningham, A., and Jardine, N., ed. Romanticism and the Sciences, p. 2.
130. ^ E. Sreedharan (2004). A Textbook of Historiography, 500 B.C. to A.D. 2000. Orient Blackswan. pp. 128–68. ISBN 978-81-250-2657-0.
131. ^ in his published lectures On Heroes, Hero-Worship, and The Heroic in History of 1841
132. ^ Ceri Crossley (2002). French Historians and Romanticism: Thierry, Guizot, the Saint-Simonians, Quinet, Michelet. Routledge. ISBN 978-1-134-97668-3.
133. ^ Philip Clayton and Zachary Simpson, eds. The Oxford Handbook of Religion and Science (2006) p. 161
134. ^ David Shenk (2007). The Immortal Game: A History of Chess. Knopf Doubleday. p. 99. ISBN 978-0-307-38766-0.
135. ^ Swaner, Billy (2021-01-08). “Chess History Guide : Chess Style Evolution”. Chess Game Strategies. Retrieved 2021-04-20.
136. ^ Hartston, Bill (1996). Teach Yourself Chess. Hodder & Stoughton. p. 150. ISBN 978-0-340-67039-2.
137. ^ Hayes, Carlton (July 1927). “Contributions of Herder to the Doctrine of Nationalism”. The American Historical Review. 32 (4): 722–723. doi:10.2307/1837852. JSTOR 1837852.
138. ^ Fichte, Johann (1806). “Address to the German Nation”. Fordham University. Archived from the original on August 14, 2014. Retrieved October 1, 2013.
139. ^ Maria Tatar, The Hard Facts of the Grimms’ Fairy Tales, p. 31 ISBN 0-691-06722-8
140. ^ Prilozi za književnost, jezik, istoriju i folklor (in Serbian). Државна штампарија Краљевине Срба, Хрвата и Словенаца. 1965. p. 264. Retrieved 19 January 2012.
141. ^ Jack Zipes, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p. 846, ISBN 0-393-97636-X
142. ^ Vaughan 2004, p. 203.