scholarly journals Torquato Tasso på (kryds og) tværs

2019 ◽  
Vol 47 (127) ◽  
pp. 131-152
Author(s):  
Lasse Raaby Gammelgaard
Keyword(s):  
Instrumental Music ◽  
Life Story ◽  
Lord Byron ◽  
Franz Liszt ◽  
Torquato Tasso ◽  
Romantic Period ◽  
Eugene Delacroix ◽  
Art Forms

The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium affect the depiction and how intermedial references and transpositions are in play. In addition to intermediality theory, the transmedial narratology of Werner Wolf is introduced and employed to compare to what degree the different media and art forms can convey prototypical aspects of narrativity. Moving from the most prototypical to the least prototypical narrative genre, the article finds that the more representations of Tasso focus on his time spent in a madhouse, the more the narrative stresses experientiality at the expense of investment in plot development. The affordances of strong narrative media and strong and weak narrative-inducing media may highlight different aspects of the experientiality of furor poeticus, but in all cases the representation of Tasso is performed in an innovative romantic style.

The History of Missed Opportunities

2017 ◽  
Author(s):  
William H. Galperin
Keyword(s):  
Eighteenth Century ◽  
William Wordsworth ◽  
Jane Austen ◽  
Lord Byron ◽  
Missed Opportunities ◽  
Romantic Period ◽  
The Everyday ◽  
Everyday World ◽  
History Of ◽  
Multiple Levels

This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” of the missed, the unappreciated, the overlooked. Prior to this moment everyday life was both unchanging and paradoxically unpredictable. By the late eighteenth century, however, as life became more predictable and change on a technological and political scale more rapid, the present came into unprecedented focus, yielding a world answerable to neither precedent nor futurity. This alternative world soon appears in literature of the period: in the double takes by which the poet William Wordsworth disencumbers history of memory in demonstrating what subjective or “poetic” experience typically overlooks; in Jane Austen, whose practice of revision returns her to a milieu that time and progress have erased and that reemerges, by previous documentation, as something different. It is observable in Lord Byron, thanks to the “history” to which marriage and domesticity are consigned not only in the wake of his separation from Lady Byron but during their earlier epistolary courtship, where the conjugal present came to consciousness (and prestige) as foredoomed but an opportunity nonetheless. The everyday world that history focalizes in the romantic period and the conceptual void it exposes in so doing remains a recovery on multiple levels: the present is both “a retrospect of what might have been” (Austen) and a “sense,” as Wordsworth put it, “of something ever more about to be.”

Augustan Romantics

2019 ◽  
pp. 227-246
Author(s):  
Matthew Scott
Keyword(s):  
Lord Byron ◽  
Romantic Period ◽  
Pastoral Tradition

This chapter examines the influence and persistence of the Augustan tradition upon Romanticism. The role of Horace as an occasionally rather vexed model for both movements is used as a lens to view their complex interrelations. It begins with an account of the role of Horatian satire in framing the Romantic critique of imperialism, before moving on to discuss the Romantic pastoral tradition and its debt to Augustanism. The essay ends with an account of the satirical tradition in the Romantic period, focusing in particular on the writers in the Shelley circle and finding, in the later work of Lord Byron, the quintessential Romantic Augustan.

scholarly journals The Moor's Last Sight : Spanish-Moorish exoticism and the gender of history in British Romantic poetry

2002 ◽  
Vol 3 ◽  
pp. 193
Author(s):  
Diego Saglia
Keyword(s):  
Lord Byron ◽  
Washington Irving ◽  
Felicia Hemans ◽  
Romantic Literature ◽  
Romantic Period ◽  
Romantic Poetry ◽  
Letitia Landon ◽  
New States ◽  
Joanna Baillie ◽  
Poetic Texts

Legends and tales of Islamic Granada were among the most frequently re-elaborated exotic subjects in British Romantic literature. A popular theme in the early decades of the nineteenth century, Spanish Orientalism attracted both famous writers such as Lord Byron, Joanna Baillie, Washington Irving, Felicia Hemans or Letitia Landon, and less familiar ones such as Lord Porchester, George Moir and Lady Dacre. This essay concentrates on one component of the myth of Granada which enjoyed great diffusion in Romantic-period literature, the tale of the Moor's Last Sigh and the tears shed by the last Muslim monarch on leaving his capital forever after the Christian conquest in 1492. The aim is to illustrate how, in migrating from its original context, this tale comes to signify and emblematize issues of gender and notions of history as progress specific to British culture. The poetic texts examined here employ the Spanish-Orientalist myth to elaborate ideas of masculinity and femininity, as well as reflections on power and its extinction, the fall of empires and the emergence of new states. Thus King Boabdil's tears were exotically popular also because they were removed from their original meaning and import, and refashioned into vehicles for ideological concerns proper to British Romantic-period culture

The Appearance of the Artist to the People: The Creativity, Personality and Malady of Alexander Ivanov (1806–58)

2005 ◽  
Vol 13 (1) ◽  
pp. 49-57 ◽  
Author(s):  
Vladimir Lerner ◽  
Eliezer Witztum
Keyword(s):  
Nineteenth Century ◽  
Creative Process ◽  
Life Story ◽  
Delusional Disorder ◽  
Major Work ◽  
Religious Conviction ◽  
Romantic Period ◽  
The People ◽  
Western European

Alexander Ivanov was an outstanding Russian painter who lived in the middle of the nineteenth century, during the romantic period. He did not accept romanticism but instead tried to create his own original style, an ambitious combination of spiritual profundity and a manner of execution unparalleled in Western European art. Ivanov's intention and style are best reflected in his major work The Appearance of Christ to the People, a picture on which he worked for over 20 years. He painted more than 400 sketches of the picture while attempting to bring his masterpiece to perfection. At the end of his life Ivanov became disillusioned, renounced his strong religious conviction and became suspicious. This study examines the influence of his background, life story and personality on the creative process. From a diagnostic perspective, Ivanov's personality featured obsessive, narcissistic and schizoid traits. In his final years he suffered from a delusional disorder.

Introduction

2020 ◽  
pp. 1-15
Author(s):  
Simon Bainbridge
Keyword(s):  
Samuel Taylor Coleridge ◽  
John Keats ◽  
Lord Byron ◽  
Ann Radcliffe ◽  
Literary Authority ◽  
Romantic Period ◽  
Romantic Era ◽  
The Creation ◽  
Walter Scott ◽  
Dorothy Wordsworth

This ‘Introduction’ establishes the importance of the activity Samuel Taylor Coleridge christened ‘mountaineering’ for the literature of the Romantic period. It discusses the etymologies of the words ‘mountaineering’ and ‘mountaineer’, showing how they indicated the creation of a new activity and identity. The chapter outlines the mountaineering pursuits and writings of a number of the period’s authors, including William and Dorothy Wordsworth, Ann Radcliffe, Coleridge, Percy Shelley, Lord Byron, Walter Scott, John Keats, and Ellen Weeton, exploring the emerging link between ascent and literary authority. The introduction situates the overall study in terms of current research in the fields of mountaineering and Romantic-era literature.

Early European Socialism

2011 ◽  
Author(s):  
Jonathan Beecher
Keyword(s):  
Twentieth Century ◽  
Early History ◽  
Victor Hugo ◽  
George Sand ◽  
Romantic Period ◽  
Eugene Delacroix ◽  
History Of ◽  
Utopian Socialism

As a self-conscious movement and ideology, socialism came into being in France and in the Romantic period. The first self-proclaimed socialists were contemporaries of Victor Hugo, Eugene Delacroix, and George Sand; and the word socialisme itself was first used in the early 1830s. This article focuses on the early history of socialism, beginning with the work of the romantic or “utopian” socialists and concluding with a consideration of four new forms of socialism that emerged during the pivotal years following the European revolutions of 1848 and continued to have resonance well into the twentieth century. It traces the early history of Marxism, one of these new forms of socialism. After considering the problem of utopian socialism, the article looks at the challenges posed to Marxism by anarchist socialism and Russian agrarian socialism during the 1860s.

Liszt and the Spirit of Weimar

2013 ◽  
Vol 54 (2) ◽  
pp. 165-176
Author(s):  
Detlef Altenburg
Keyword(s):  
Instrumental Music ◽  
German Literature ◽  
Franz Liszt ◽  
Holy Grail ◽  
The Past ◽  
Musical Compositions ◽  
Different Types ◽  
New Type ◽  
Musical Traditions ◽  
Aesthetic Ideas

Liszt’s activities and aesthetic ideas during the Weimar period were comprehensively inspired by the Golden Era of German literature and the parallel musical traditions. Not only the performances of Wagner, Schumann, and Berlioz, but also his literary publications and musical compositions pursued the idea of presenting a new type of synthesis of poetry and music. The key to his new aesthetic concept of instrumental music was his idea to create equivalents to the different types of poetry. Liszt’s ideas would have remained mere speculation without the Weimar traditions of memorial culture and the activities of his “Fortschrittspartei.” As fruitful as Liszt’s regeneration of the spirit of Weimar was, there was no bridge between the mental confrontation of two different worlds: between the European Franz Liszt and the keepers of the holy Grail of the past.

Free Speech Beyond Words: The Suprising Reach of the First Amendment by Mark V. Tushnet, Alan K. Chen, and Joseph Blocher

2018 ◽  
Vol 3 (1) ◽  
pp. 22
Author(s):  
Wade Franklin Richardson
Keyword(s):  
Supreme Court ◽  
First Amendment ◽  
Free Speech ◽  
Instrumental Music ◽  
Legal Scholarship ◽  
The Supreme Court ◽  
Art Forms ◽  
Simple Question ◽  
The Relationship

Free Speech Beyond Words: The Surprising Reach of the First Amendment addresses a straightforward, and seemingly simple, question—why is it that certain art forms that do not communicate a specific, clearly articulated message, are considered “speech” and, thus, are covered under the First Amendment?  Written by three authors, this work is divided into an introduction, three main chapters, and a concluding chapter.  In Chapter One, Alan Chen discusses instrumental music under the First Amendment, while in Chapter Two, Mark V. Tushnet focuses on nonrepresentational art and the First Amendment, and Joseph Blocher explores the relationship between nonsense and the First Amendment in Chapter Three (as the Supreme Court has declared nonsense poetry such as Lewis Carroll’s “Jabberwocky” to be protected under the First Amendment.)  While the authors make some headway in trying to justify First Amendment protection for these art forms (and for the concept of nonsense), their primary goal seems to be to make the argument that this is an important area of legal scholarship that has been underexplored, and to encourage further study and work in this area. 

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