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What is a prominent theme in romanticism

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What is a prominent theme in romanticism

There are many themes in romanticism but in my personal opinion the prominent theme would be that of emotion in its naturalist state.
I can not guarantee you that each and every scholar agrees on this but inspiration and connecting emotionally with nature is what Romanticism heavily relied on.
Hope this helps!
If you have any other questions or would like further explanation just let me know!

Eng 11A Begns of Romanticism (Unit 2) Flashcards | Quizlet

Eng 11A Begns of Romanticism (Unit 2) Flashcards | Quizlet – which of the following is a prominent theme in romanticism. the individual against society. what important face about Ichabod Crane comes to light in "The Legend of Sleepy Hollow" Ichabod was an unjust teacher who punished his students with prejudice.Click here 👆 to get an answer to your question ️ Which of the following is a prominent theme in romanticism? cafrinaaa1141 cafrinaaa1141 24.06.2018 English Secondary School Which of the following is a prominent theme in romanticism? 2 See answers PrAbHuDuTt11 PrAbHuDuTt11Romanticism (also known as the Romantic era) was an artistic, literary, musical, and intellectual movement that originated in Europe towards the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to 1850.Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the

Which of the following is a prominent theme in romanticism – Romanticism in literature and arts is a movement and style that involves personal emotions and play of imagination that are often unrealistic. Romanticism started on late 1700s and until the mid 1800s. The prominent theme in romanticism is the individual against society. The correct answer is option C.Answer The correct answer is "the individual against society" This is a theme that occurs on many occasions as romantic writers wanted to break free of the bonds of the society and live their lives based not on common sense, but on what their hearts truly want. Such a writer was Shelly, a British poet, or Nathaniel Hawthorne, an American novelist.Answer There are many themes in romanticism but in my personal opinion the prominent theme would be that of emotion in its naturalist state. I can not guarantee you that each and every scholar agrees on this but inspiration and connecting emotionally with nature is what Romanticism heavily relied on.

Which of the following is a prominent theme in romanticism

Romanticism – Wikipedia – Romanticism Romanticism is a cultural movement which took place throughout Europe between 1770 and 1848. It started in Germany between 1770 and 1785 with the "Sturm und Drang" movement whichSeveral of the major Romantic poets traveled extensively throughout Continental Europe and lived abroad for extended periods. The Importance of Individualism The Romantic period was also the period of the industrial revolution, which created a new and very wealthy class of businessmen and entrepreneurs that was much larger than the ancientanswers D. the surroundings of an individual is incorrect. I believe C. the individual against society is correct.Explanation:D. the surroundings of an individual was marked incorrect. Which of the followin…

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Keyword: Sentimentalism – PROFESSOR: Uses of the word sentiment
dates back to the 14th century.
It's lengthier derivative,
sentimentality and sentimentalism, acquired special significance
for 19th century American writers who used these concepts. They might figure out
the moral significance and social purposes of human emotions. 19th century American novelists like
Susan Warner, Marie Susanna Cummins, and Harriet Beecher Stowe, considered
sentimentality a literary form. It was ideally suited both
to incite feelings in readers and to direct those feelings toward
projects of social betterment. Temperance novels and
abolitionist tracks were two of the most prominent
of sentimental genres that those writers used
to cultivate the sympathy and benevolence of their readers. The most influential sentimental
novel, Uncle Tom's Cabin, was written to promote resistance to
the enactment of the Fugitive Slave Law. To understand the role sentimentalism
played in its production, let's consider the following passage. "There is one thing that
every individual can do. They can see to it that they feel right. An atmosphere of sympathetic
influence encircles every human being; and the man or woman who feels
strongly, healthily and justly, on the great interests of humanity, is a
constant benefactor to the human race." In this passage, Stowe has associated
her novel's sentimental investments with the effort to enlarge
the bond of fellow feeling, so as to include individuals felt, as
well as understood to be fully human. Sentimental fiction clearly
enjoyed enormous popularity during that Antebellum period. However, by the time
American literature programs were getting started on
US campuses in the 1950s, sentimentality had
become a pejorative term. Instructors in close
reading in particular, then characterized sentimentality
as a mawkish, simple-minded form of emotional excess brought on
by over indulgence in the tender emotions of pathos and sympathy. In her 1985 book, Sensational
Designs, the Cultural Work of American Fiction 1790 to
1860, literary scholar Jane Tompkins struggled to reverse the literary
establishment's calcified attitude toward sentimental literature
with this stinging critique. "Twentieth century critics have
taught generations of students to equate popularity with debasement,
emotionality with ineffectiveness, religiosity with fakery, domesticity
with triviality, and all of these, implicitly, with womanly inferiority." Tompkins argued that sentimentality was
a complex rhetorical strategy, designed to reorganize United States culture
from the woman's point of view. Since the 1960s, critics and literary
scholars across the gender divide have followed Tompkins'
lead in underscoring the importance of sentimental
literature to American cultural studies. But now, at the turn
of the 21st century, literary scholars have also
expressed some concerns about hidden complicities
between the universal circle of fellow feelings Stowe celebrated, and
the construction of racial categories that serve the interests
of imperial rule. Apropos concerns, African-American
scholar Saidiya Hartman has recently asked whether the empathy that
white 19th century sentimental writers purported to feel for
the slave's suffering bodies, might not in fact have
figured a way for them to feel good about themselves,
rather than for those, whom this exercise in imagination,
presumably is designed to reach. But what do you think? Does sentimental
literature continue to play a crucial role in the promotion of
projects of social and cultural reform across this planet? Should it? .

Paul Cézanne, Bathers Motif, Renaissance Pyramid – Origins of Modern Art 3 – In romantic style, Paul Cézanne painted his later wife, Hortense.
Only in the early period of his career, he allowed his emotional feelings to be expressed in his work. He created some 200 paintings exploring the theme of female and male nudes disporting in the landscape, singly and in groups, which he will call "Bathers". This is an example from his dark or romantic period, 1870 And these "Four Bathers", painted seven years later, are an example from his Impressionist period. Cézanne's "Bathers" derive in part from pastoral images of female bathers, such as the goddess Diana and her maidens, long favored in French art, like this painting, in French mannerist style, of François Clouet, called: "The Bath of Diana". Cézanne, with some exceptions, one of which we have seen in video I.2, did not use direct literary sources. This naturalist painting of five bathers, dating around 1887, is an example from his mature period. There is interaction between the bathers; they seem to have a good time together. In the same period, Cézanne's good friend, the impressionist artist:
Pierre-Auguste Renoir painted these "Large Bathers". With this painting Renoir attempts to reconcile the classicist tradition with modern painting. Cézanne, however, developed in that period in the opposite direction, further away from classicism. Renoir never again devoted the for him so painstaking effort to a single work. At the end of his life, twelve years after Cézanne's death, Renoir painted these bathers, much less conform nature, showing that development in modern art was unstoppable. During the last decade of Cézanne's life, his final period, this "Bathers motif" culminated in three huge paintings. This is the version of The Barnes Foundation in Merion, Pennsylvania. At the time of his death he seems to have been at work on all three versions simultaneously. Because of their size they were called "The Large Bathers", "Les Grandes Baigneuses". The three paintings epitomize his movement toward abstraction and share numerous traits, for example the bathers' faces are nearly devoid of detail and definition, their bodies merge with the landscape, and narrative content is scant or missing. The Barnes version is the most intentionally
and densely modeled and painted, clearly the most worked-over. For that reason, most art historians agree
that it is the earliest version of the three. As mentioned before, he worked on all three versions till the very end of his life. In 1905, in the year before his death, Cézanne posed in front of the present version. Interestingly, the woman on the left lost her place in the immediate fore-ground of the painting This version of the Large Bathers is housed
in the National Gallery in London. There is a salient harmony of the figures with the landscape, expressed through solid forms and strict architectonic structure and the earth tones of the bodies. This bather is shown from two viewpoints. We see more of her back and bottom than under a single point of view. This version, housing in the Philadelphia Museum of Art,
is the largest of the three; it measures about two by two and a half meters. Although it is unfinished, it is considered by art history experts to be the most resolved. Primed areas of unpainted canvas create many whitish areas, while the figures in the lower right barely obscure earlier contours. The compositions of the three versions of the "Large Bathers" are comparable. The nude, androgynous figures form two groups on each side of the foreground of the paintings and surprisingly (Cézanne was a strong opponent of the classical style in painting) he uses the classical pyramidal device: an imaginary pyramid roughly outlining the line-up of each sub-group. Notwithstanding the various poses of the figures, the two opposing pyramids create a balance in the picture which is reminiscent of the work of Renaissance artists. In the Philadelphia version, the presence of the pyramid structures is even further emphasized by the leaning trees, forming an enormous triangular structure acting like a great vault over the human figures. It was Leonardo da Vinci who pioneered this composition of a human pyramid in the "Virgin of the Rocks", his foremost early work, showing the Madonna, the Christ Child with the infant John the Baptist and an angel, in a rocky setting, which gives the painting its unusual name. We see here the version of the Louvre Museum from 1483-86. The use of a pyramidal device for the arrangement of figures might be called one of the characteristics of the High Renaissance, in which artists began to strive for unified compositions giving their works a more harmonious appearance. Michelangelo's Pietà, a sculpture made in 1498-99 is also an example for the striving for harmony in art. The two figures are carved so as to appear in a unified composition which forms the shape of a pyramid. This "Madonna of the Meadow" with the Virgin Mary in a contrapposto pose, the Christ Child and Saint John the Baptist, is a 1506 painting by Raphael. Like in the forgoing Renaissance works, a sense of serenity permeates the scene. The three figures are enclosed by an upright, symmetrical pyramid. This complexly composed painting by Titian from 1556-59 in mannerist style, portrays the moment in which the goddess Diana discovers that her maid Callisto has become pregnant by Jupiter. Complexity is notable in Mannerism. No longer, elegance and beauty are based on good proportions or harmony. Postures are artificial, twisted, and movement is emphasized. Nevertheless Titian applies the pyramid device to arrange his figures in space. Comparable to Cézanne's "Large Bathers" Titian uses two tilted, asymmetrical pyramids, making the scene more vivid and dynamic. In the immediate foreground of the painting rests one of Diana's hounds. Indeed, also in Cézanne's Barnes version of the "Large Bathers", we saw before, on the same location in the painting lies also a dog, although a much more domesticated specimen. Could it be that the Barnes version, the earliest version of the three "Large Bathers", is inspired by Titian's "Diana and Callisto" and that Cézanne — who depicted dogs hardly if any – with his dog pays tribute to Titian as the source of inspiration? In any case, the similarities in the composition of both paintings are evident. This is Nicolas Poussin's depiction of a Bacchic Scene from circa 1627. At Cupid's command… the goat-legged shepherd-god Pan has knelt and taken Venus, the goddess of love, on his shoulders. A little winged putto is giving a hand, and the group is accompanied by a sturdy faun bearing a basket with fruit and glassware on his head and back. Poussin has painted many scenes of nude figures in a landscape; his work was a great inspiration for Cézanne. In part I.2 we already mentioned the influence of this leading painter of the classical French Baroque style. Perhaps more than any other artist of the Baroque, Poussin obsessively theorized about his art, painstakingly planning every detail of his composition in order to create maximum impact. This painting is based on one Renaissance pyramid, which seems perhaps too much a restriction for this vivacious scene in the open air. A last example of a composition based on the pyramid is the famous "Raft of the Medusa" by Théodore Géricault, dating from 1819. Géricault was an influential pioneer of the French Romantic movement. In this dramatic depiction we see the surviving men of the raft of the foundered French frigate: the Medusa. The classical rendering of the structure of the composition stands in contrast to the turbulence of the subject, as was more or less the case in Poussin's picture, but Géricault, like Titian in "Diana and Callisto" based his composition on two tilted human pyramids. While the Bathers paintings were initially not well-received by the public, Cézanne's fellow artists were immediately enamored of them. When the English sculptor and artist, Henry Moore saw one of Cézanne's versions of the "Large Bathers" in 1922, he was stunned by its composition and said, "If you asked me to name the ten most intense moments of visual emotion in my life, that would be one of them." French modern painter, Henri Matisse bought in 1899 this "Three Bathers" by Cézanne. When he donated the painting to the Petit Palais Museum in Paris, he wrote in a letter to the art curator: "In the thirty-seven years I have owned this canvas, I have come to know it quite well, though not entirely, I hope; it has sustained me morally in the critical moments of my venture as an artist; I have drawn from it my faith and my perseverance; for this reason, allow me to request that it be placed so that it may be seen to its best advantage…" In this remarkable loosely painted watercolor of Cézanne from his final period, we see bathers with a hardly discernible Mont Sainte-Victoire in the background. .

Transcendentalism | Wikipedia audio article – Transcendentalism is a philosophical movement
that developed in the late 1820s and 1830s in the eastern United States.
It arose as a reaction to protest against
the general state of intellectualism and spirituality at the time. The doctrine of the Unitarian church as taught
at Harvard Divinity School was of particular interest. Transcendentalism emerged from "English and
German Romanticism, the Biblical criticism of Johann Gottfried Herder and Friedrich Schleiermacher,
the skepticism of David Hume", and the transcendental philosophy of Immanuel Kant and German Idealism. Miller and Versluis regard Emanuel Swedenborg
as a pervasive influence on transcendentalism. It was also strongly influenced by Hindu texts
on philosophy of the mind and spirituality, especially the Upanishads. A core belief of transcendentalism is in the
inherent goodness of people and nature. Adherents believe that society and its institutions
have corrupted the purity of the individual, and they have faith that people are at their
best when truly "self-reliant" and independent. Transcendentalism emphasizes subjective intuition
over objective empiricism. Adherents believe that individuals are capable
of generating completely original insights with little attention and deference to past
masters. == Origin ==
Transcendentalism is closely related to Unitarianism, the dominant religious movement in Boston
in the early nineteenth century. It started to develop after Unitarianism took
hold at Harvard University, following the elections of Henry Ware as the Hollis Professor
of Divinity in 1805 and of John Thornton Kirkland as President in 1810. Transcendentalism was not a rejection of Unitarianism;
rather, it developed as an organic consequence of the Unitarian emphasis on free conscience
and the value of intellectual reason. The transcendentalists were not content with
the sobriety, mildness, and calm rationalism of Unitarianism. Instead, they longed for a more intense spiritual
experience. Thus, transcendentalism was not born as a
counter-movement to Unitarianism, but as a parallel movement to the very ideas introduced
by the Unitarians. == Transcendental Club == Transcendentalism became a coherent movement
and a sacred organization with the founding of the Transcendental Club in Cambridge, Massachusetts,
on September 8, 1836 by prominent New England intellectuals, including George Putnam (1807–78,
the Unitarian minister in Roxbury), Ralph Waldo Emerson, and Frederic Henry Hedge. From 1840, the group frequently published
in their journal The Dial, along with other venues. == Second wave of transcendentalists ==
By the late 1840s, Emerson believed that the movement was dying out, and even more so after
the death of Margaret Fuller in 1850. "All that can be said," Emerson wrote, "is
that she represents an interesting hour and group in American cultivation." There was, however, a second wave of transcendentalists,
including Moncure Conway, Octavius Brooks Frothingham, Samuel Longfellow and Franklin
Benjamin Sanborn. Notably, the transgression of the spirit,
most often evoked by the poet's prosaic voice, is said to endow in the reader a sense of
purposefulness. This is the underlying theme in the majority
of transcendentalist essays and papers—all of which are centered on subjects which assert
a love for individual expression. Though the group was mostly made up of struggling
aesthetes, the wealthiest among them was Samuel Gray Ward, who, after a few contributions
to The Dial, focused on his banking career. == Beliefs ==
Transcendentalists are strong believers in the power of the individual. It focuses primarily on personal freedom. Their beliefs are closely linked with those
of the Romantics, but differ by an attempt to embrace or, at least, to not oppose the
empiricism of science. === Transcendental knowledge ===
Transcendentalists desire to ground their religion and philosophy in principles based
upon the German Romanticism of Herder and Schleiermacher. Transcendentalism merged "English and German
Romanticism, the Biblical criticism of Herder and Schleiermacher, and the skepticism of
Hume", and the transcendental philosophy of Immanuel Kant (and of German Idealism more
generally), interpreting Kant's a priori categories as a priori knowledge. Early transcendentalists were largely unacquainted
with German philosophy in the original and relied primarily on the writings of Thomas
Carlyle, Samuel Taylor Coleridge, Victor Cousin, Germaine de Staël, and other English and
French commentators for their knowledge of it. The transcendental movement can be described
as an American outgrowth of English Romanticism. === Individualism ===
Transcendentalists believe that society and its institutions—particularly organized
religion and political parties—corrupt the purity of the individual. They have faith that people are at their best
when truly "self-reliant" and independent. It is only from such real individuals that
true community can form. Even with this necessary individuality, transcendentalists
also believe that all people are outlets for the "Over-soul." Because the Over-soul is one, this unites
all people as one being. Emerson alludes to this concept in the introduction
of the American Scholar address, "that there is One Man, – present to all particular men
only partially, or through one faculty; and that you must take the whole society to find
the whole man." Such an ideal is in harmony with Transcendentalist
individualism, as each person is empowered to behold within him or herself a piece of
the divine Over-soul. === Indian religions ===
Transcendentalism has been directly influenced by Indian religions. Thoreau in Walden spoke of the Transcendentalists'
debt to Indian religions directly: In the morning I bathe my intellect in the
stupendous and cosmogonal philosophy of the Bhagavat Geeta, since whose composition years
of the gods have elapsed, and in comparison with which our modern world and its literature
seem puny and trivial; and I doubt if that philosophy is not to be referred to a previous
state of existence, so remote is its sublimity from our conceptions. I lay down the book and go to my well for
water, and lo! there I meet the servant of the Brahmin, priest of Brahma, and Vishnu
and Indra, who still sits in his temple on the Ganges reading the Vedas, or dwells at
the root of a tree with his crust and water-jug. I meet his servant come to draw water for
his master, and our buckets as it were grate together in the same well. The pure Walden water is mingled with the
sacred water of the Ganges. In 1844, the first English translation of
the Lotus Sutra was included in The Dial, a publication of the New England Transcendentalists,
translated from French by Elizabeth Palmer Peabody. === Idealism ===
Transcendentalists differ in their interpretations of the practical aims of will. Some adherents link it with utopian social
change; Brownson, for example, connected it with early socialism, but others consider
it an exclusively individualist and idealist project. Emerson believed the latter; in his 1842 lecture
"The Transcendentalist", he suggested that the goal of a purely transcendental outlook
on life was impossible to attain in practice: You will see by this sketch that there is
no such thing as a transcendental party; that there is no pure transcendentalist; that we
know of no one but prophets and heralds of such a philosophy; that all who by strong
bias of nature have leaned to the spiritual side in doctrine, have stopped short of their
goal. We have had many harbingers and forerunners;
but of a purely spiritual life, history has afforded no example. I mean, we have yet no man who has leaned
entirely on his character, and eaten angels' food; who, trusting to his sentiments, found
life made of miracles; who, working for universal aims, found himself fed, he knew not how;
clothed, sheltered, and weaponed, he knew not how, and yet it was done by his own hands. …Shall we say, then, that transcendentalism
is the Saturnalia or excess of Faith; the presentiment of a faith proper to man in his
integrity, excessive only when his imperfect obedience hinders the satisfaction of his
wish. == Influence on other movements == Transcendentalism is, in many aspects, the
first notable American intellectual movement. It has inspired succeeding generations of
American intellectuals, as well as some literary movements.Transcendentalism influenced the
growing movement of "Mental Sciences" of the mid-19th century, which would later become
known as the New Thought movement. New Thought considers Emerson its intellectual
father. Emma Curtis Hopkins "the teacher of teachers",
Ernest Holmes, founder of Religious Science, the Fillmores, founders of Unity, and Malinda
Cramer and Nona L. Brooks, the founders of Divine Science, were all greatly influenced
by Transcendentalism.Transcendentalism also influenced Hinduism. Ram Mohan Roy (1772–1833), the founder of
the Brahmo Samaj, rejected Hindu mythology, but also the Christian trinity. He found that Unitarianism came closest to
true Christianity, and had a strong sympathy for the Unitarians, who were closely connected
to the Transcendentalists. Ram Mohan Roy founded a missionary committee
in Calcutta, and in 1828 asked for support for missionary activities from the American
Unitarians. By 1829, Roy had abandoned the Unitarian Committee,
but after Roy's death, the Brahmo Samaj kept close ties to the Unitarian Church, who strived
towards a rational faith, social reform, and the joining of these two in a renewed religion. Its theology was called "neo-Vedanta" by Christian
commentators, and has been highly influential in the modern popular understanding of Hinduism,
but also of modern western spirituality, which re-imported the Unitarian influences in the
disguise of the seemingly age-old Neo-Vedanta. ==
Major figures == Major figures in the transcendentalist movement
were Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and Amos Bronson Alcott. Some other prominent transcendentalists included
Louisa May Alcott, Charles Timothy Brooks, Orestes Brownson, William Ellery Channing,
William Henry Channing, James Freeman Clarke, Christopher Pearse Cranch, John Sullivan Dwight,
Convers Francis, William Henry Furness, Frederic Henry Hedge, Sylvester Judd, Theodore Parker,
Elizabeth Palmer Peabody, George Ripley, Thomas Treadwell Stone, Jones Very, and Walt Whitman. == Criticism ==
Early in the movement's history, the term "Transcendentalists" was used as a pejorative
term by critics, who were suggesting their position was beyond sanity and reason.Nathaniel
Hawthorne wrote a novel, The Blithedale Romance (1852), satirizing the movement, and based
it on his experiences at Brook Farm, a short-lived utopian community founded on transcendental
principles.Edgar Allan Poe wrote a story, "Never Bet the Devil Your Head" (1841), in
which he embedded elements of deep dislike for transcendentalism, calling its followers
"Frogpondians" after the pond on Boston Common. The narrator ridiculed their writings by calling
them "metaphor-run" lapsing into "mysticism for mysticism's sake", and called it a "disease." The story specifically mentions the movement
and its flagship journal The Dial, though Poe denied that he had any specific targets. In Poe's essay "The Philosophy of Composition"
(1846), he offers criticism denouncing "the excess of the suggested meaning… which turns
into prose (and that of the very flattest kind) the so-called poetry of the so-called
transcendentalists." ==
See also == Dark romanticism
Immanentism Self-transcendence
Transcendence (religion) == Notes .